The most important epoch of Italian violoncello playing came to a close
with Boccherini. His early withdrawal from his native land caused a loss
all the more sensibly felt because there was no one of equal importance
to compensate for him in the further development of the art, from the
point to which he had attained both in its executive and productive
aspect. This task fell principally to Germans, French, and Belgians,
whilst Italy was deprived of the position of pre-eminence in regard to
violoncello playing which she is asserted to have held for a long time
in the previous century. The same phenomenon consequently was repeated
here as in regard to violin playing.
Already towards the end of the eighteenth century Art, and especially
instrumental music, in which the Italians had accomplished so much that
was praiseworthy, fell into decline on the Apennine Peninsula--although
Italy brought out some important productions, particularly in the
department of opera compositions. The Musical Almanack for Germany, of
1783, contains the correspondence of an anonymous German artist who
travelled in Italy in the year 1782. It is there said: “At Naples I
found in the Conservatoire[97] a veritable horror. Caffaro[98] is here
with Milico, whose music gave me the most pleasure. As for the rest it
is all miserable, heavy, modern Italian opera music, as well as in the
churches. I hoped to find a great deal at Venice, but it is no better
there. Above all, the execution in the whole of Italy is less good than
formerly.... But what astonishes me most is the extraordinarily little
appreciation of music in Italy now. It is almost a miracle to see people
of position who have a love of music. It created a great sensation when
we gave concerts in Rome which were frequented by sincere admirers and
friends. Instrumental music is at such a low ebb that it is almost
beneath any criticism.”
At the beginning of the present century things were not changed in this
respect. Louis Spohr, who was in Italy in 1816, expresses himself in his
autobiography concerning the condition of music there much in the same
manner as the anonymous writer cited above, and, a little later, Felix
Mendelssohn Bartholdy likewise.
Under these conditions it cannot excite surprise if Italy in consequence
did not produce so many representatives of violoncello playing in the
highest sense of the word as hitherto.
LUIGI VENZANO must be mentioned as one of the first distinguished
Italian cellists of this century. He was born in Genoa about 1815, and
was solo cellist in the orchestra of the Theatre Carlo Felice, as well
as teacher at the musical institute of his native town. He died on
January 27, 1878. As a composer he devoted himself to vocal and stage
compositions.
An incomparably more important player than the preceding artist, or his
countrymen to be subsequently mentioned, is ALFREDO PIATTI, born at
Bergamo on January 8, 1822, and not in 1823, as Fétis says. His father,
who died on February 27, 1878, and who early instructed him in music,
was not a singer but a violin player.[99] The boy soon decided for the
violoncello, on which he received his first lessons from his great
uncle, Zanetti, who was engaged as music master at Bergamo.
Later he was sent to Milan for the benefit of the Conservatoire. Here
the excellent violoncellist, Merighi, conducted his further education.
Piatti attended the above-named Institution until September, 1837,
after having appeared previous to this date at one of the concerts with
decided success. In April, 1838, he gave a concert of his own in the
Teatro della Scala, at Milan, with the profits of which he supplied
himself with the means of undertaking a concert tour. Soon after he
was heard very favourably at Venice and Vienna. In the latter town he
remained some time; then he returned to Italy and gave concerts at
Milan and Padua. In 1843 he went to Munich and joined in a concert
with Liszt there. In the following year he presented himself at
Frankfort-on-the-Maine, Berlin, Breslaw, and Dresden, when he afterwards
visited Paris. In 1845 he was in St. Petersburg, where his performances
met with unusual appreciation. Having returned to Milan, the post of
teacher was offered to him, in 1846, at the Conservatoire. He did
not, however, accept the offer, but established himself in the same
year in the English capital, which from that time he has only left
occasionally, either to undertake concerts or journeys to recruit his
health. In London he soon became one of the most distinguished artistic
celebrities, and he still remains in full favour with the public. His
performances are proportionably marked by fine tone, the greatest
purity, tasteful rendering, as well as by a perfect mastery of all
technical difficulties. He is not only the most important cellist in
England, but belongs altogether to the highest rank of artists of the
present time. He wrote for his instrument two Concertos (Op. 24 and 26),
a Concertino (Op. 18), a “Fantasia romantica,” Capriccios (Op. 22 and
25), a “Sérénade Italienne” (Op. 17), “Airs Baskyrs” (Op. 8), as well
as a long list of other works, consisting of Themes with variations and
drawing-room pieces of various kinds. Further he has brought out new
editions of old cello compositions and six Sonatas by Boccherini. He has
also published original songs with violoncello obbligato.
Two other pupils of the Milan Conservatoire are GUGLIELMO QUARENGHI
and ALESSANDRO PEZZE. The first, born on October 22, 1826, in Casal
Maggiore, was pursuing his studies during the years 1839-1842. Arrived
at maturity he was first violoncellist at the Teatro della Scala, at
Milan, and from 1851 he gave instruction also at the Conservatoire to
which he was indebted for his education. In February, 1879, he took the
place of Boucheron as Choirmaster at the Cathedral. He enjoyed this
position only a few years, for he died February 3 or 4, 1882. Amongst
his compositions the most noteworthy are--Six Capriccios, a “Chant
elégiaque,” with piano accompaniment; two Romances, a Scherzo, “Un
pensiero al lago,” and some Fantasias on _Motifs_ from Italian operas.
ALESSANDRO PEZZE, born 1835, at Milan, received from his father, a
clever dilettante, his first musical instruction, after which, in 1846,
he went to the Conservatoire of his native town. Merighi directed his
violoncello studies. After he had been for some time first cellist
at the Teatro della Scala, he was engaged by the English impresario,
Lumley, for Her Majesty’s Theatre in London. Pezze belonged to it until
1867, in which year the theatre was destroyed by fire. Later this artist
was employed in the orchestras of the Philharmonic Society and Covent
Garden. He is still living in London.
The Naples Conservatoire produced GAETANO BRAGA, born on June 9, 1829,
at Guilianuova in the Abruzzi. He was originally destined for the
church, but the inclination for music came out so strongly that he
could not be kept back from it. His parents now wished that he should
be educated as a singer; he, however, decided for the violoncello, on
which Gaetano Ciandelli directed his studies. He soon became a pupil of
Mercadante for composition. In the year 1852 he had finished his studies
at the Conservatoire. Soon after he undertook a concert journey to the
North of Italy, and from thence to Vienna, where he formed a connection
with Mayseder, and was a member of his String Quartet for a short time.
In 1855 he betook himself to Paris, where he was much in request as
a favourite solo player. He is at present living in Florence. As a
composer Braga devoted himself by preference to stage compositions. For
the violoncello he only wrote a Concerto, and some smaller pieces with
piano accompaniment, and a Serenade for voice with cello accompaniment.
Other Italian violoncellists at the present time worthy of notice
are--RONCHINI and G. MAGRINI in Milan, PINI in Venice, SERATO in
Bologna, TOSCANINI in Parma, SBOLCI and CASTAGNOLI in Florence, FURINO
in Rome, CENTOLA in Naples, MONTECCHI (who lives at present at Rennes in
Bretagne as a music teacher), and MATTIOLI, now in Cincinnati.[100]