Antonio BAZZINI (1818-1897)
Works for violin and piano
Violin Sonata in E minor Op.55 (1867) [22:13]
Novellette Op.54 (1867) [10:27]
Three Morceaux Op.53 (1867) [16:26]
Three Morceaux Op.46 (1865) [18:02]
Luigi Alberto Bianchi (violin)
Aldo Orvieto (piano)
rec. April 1999, Dynamic Studios, Genoa
DYNAMIC DM8018 [67:14]
These performances were recorded back in 1999 but have been re-released by
Dynamic. They’re absolutely charming, and demonstrate a rapport between
Bianchi and Orvieto that is a joy to hear. They’re also stylistically
apt performances and allow Bianchi the full resources of a master orator at
full flow. Perhaps the better, if more expected analogy, is with a singer
because Bazzini, who is best remembered now as a composer for the violin,
wrote a considerable amount of music in other forms and had indeed written
much choral music.
It’s true that, notwithstanding Robert Schumann’s admiration for
Bazzini when the Italian performed one of his Violin Concertos in Leipzig,
not all the music is strictly from the top drawer. But that’s not to
impugn it, much less the marvellously communicative performers, and at its
best it has a sensual attraction and a salon refinement that is a distinct
cut-above.
The Sonata was written in 1867. It has a strong romantic pull, indeed something
of a Schumannesque one in fact - Bazzini may be thought representatively Italian
but he was clearly influenced by German Romanticism. There are Sturm und
Drang elements at work in the fiery passagework, but plenty of expansive
lyricism too, and equally stormy piano writing. How artfully in the slow movement
Bianchi twists and turns his line, heightening expression through subtle finger
position changes, varying his bow weight with great tact and acumen; his approach
is bel canto legato and enshrines a real sense of vocalism. This is
gorgeous violin playing, pure and simple. By contrast the finale is light
and lissom, graced by gracious portamenti, and hugely enjoyable.
The smaller works are no less interesting, indeed their compression aids appreciation
of their charm. The second of the Op.54 Novellette is called La Nymphe
des bois and its salon sentiment is strong but not at all cloying. There’s
wistful sentiment in the first of the Op.53 Morceaux, and this is conveyed
tonally by Bianchi with exquisite perception. By contrast the last of the
three is a coquettish one, aided no end by the dapper exchanges between Bianchi
and Orvieto. The central morceaux of the Op.46 set, called Séparation,
is an Andante appassionata that evokes Bazzini’s contemporary
Raff in its double stopping, lyric gift and strong cadential passage. Inquiétude
is a sweet envoi.
Bazzini’s gifts were strong, but not necessarily ‘deep’,
if that’s the criterion you require. Bruckner he isn’t. His qualities
included charm, lovely tunes, drama and a real gift for atmosphere. Add a
good recording, and gorgeous performances, and you have a delightful programme.
Jonathan Woolf
Absolutely charming … a rapport that is a joy to hear.