The music on this disc is a considerable find. Extravagant claims for the
work of little-known composers may often be regarded with suspicion, if not
downright hilarity. There is none here; those that are made are entirely
justified. For example; ‘eclecticism and originality’, ‘music of quality and
expressive power’; ‘one of the most important representatives of Italian
instrumental music at the end of the 19
th century’.
I would not argue with any of that. The keyword is originality; even
though the influences of Schumann, Wagner, Brahms and Liszt may be heard - a
musical heritage passed down through teachers like Martucci and Sgambati -
the voice is individual. One might describe it as a fusion of Brahmsian and
Wagnerian lines with
fin-de-siècle tendencies.
A few words of background are in order. Scion of a Tuscan noble family
and a godson of Liszt, Roffredo Caetani studied in Italy with Giuseppe
Martucci and in Vienna and Berlin where he met Brahms. Most of his slender
output was complete by 1907, though there are two operas -
Hypathia
and
L'Isola del Sole from 1924 and 1943 respectively – and
a very small number of other works from later. Caetani continued to
give public concerts until the death in action of his son Camillo in
1940 in whose memory he founded
La Fondazione Camillo Caetani
in 1956. In 1972, his daughter Lelia founded
La Fondazione Roffredo
Caetani. Although Caetani, who was 17
th Duke of Sermoneta
and 8
th Prince of Teano, was the last male survivor of his
line, the name lives on with the conductor Oleg, son of Igor Markevitch
and Roffredo’s niece Topiaza.
Both Foundations were involved in the production of this CD which appears
to be only the second devoted to Caetani’s piano music, the first having
been recorded by Roberto Prosseda, the husband of Alessandra Ammara and
insightful writer of the notes on this CD. He draws attention to ‘a
preference for gloomy atmospheres and veiled sonorities’, and that is
evident from the very first few bars of the
Ballata whose elaborate
chromaticism produces a melancholy air. Even a rather stiffly gestural
passage near the end fails to mar the overall effect.
The
Four Impromptus are perhaps the most successful items on the
disc; the dark effect of the chromatic language is alleviated by the lighter
weight of the impromptu form. Here, as in the
Toccata, which also
has a touch of Beethoven about it, the influence of Schumann is most felt
though Caetani’s singular voice is not eclipsed.
The
Sonata may derive from the classical form but the latter two
movements at least come across as extended rhapsodies with the character of
ballades. Their expressive diversity is well articulated by Ammara’s variety
of touch.
As to the playing, the pianism of Alessandra Ammara has been greatly
admired in these webpages, for example:
Ravel and
Schumann.
I fully agree with the sentiments expressed in those reviews. Her work is
subtle and delicate, her rubato relaxed and natural. Even though much of the
music on this record is essentially low-key, she is able to maintain the
interest with intelligent characterization and total commitment.
This CD serves as an introduction to some very worthwhile music and an
excellent addition to a fine pianist’s discography.
Roger Blackburn
