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
Luigi Alberto Bianchi (violin) 
