{"id":60197,"date":"2020-07-29T12:59:36","date_gmt":"2020-07-29T12:59:36","guid":{"rendered":"http:\/\/www.mycello.it\/?p=60197"},"modified":"2024-05-22T19:40:08","modified_gmt":"2024-05-22T19:40:08","slug":"schumann-piatti-works-for-cello-orchestra","status":"publish","type":"post","link":"https:\/\/www.mycello.it\/en\/schumann-piatti-works-for-cello-orchestra\/","title":{"rendered":"SCHUMANN & PIATTI, Works for Cello & Orchestra"},"content":{"rendered":"

\u201cBoth Schumann (1810-56) and Piatti (1822-1901) played an important role in the development of the cello, and in raising expectations of what it could achieve as a solo instrument. That there is a more tangible link between Schumann and Piatti is not so well known. During my research for the new edition of the Schumann Concerto, published by Edition Peters and based on the Krak\u00f3w autograph, I discovered among leaves from the original manuscript held in the Bergamo, Biblioteca Civica Angelo Mai, Italy, a message from Clara Schumann, dated October 1881, in which she offers Piatti her husband\u2019s concerto: \u201cTo Mr. Piatti, with fond memories, Clara Schumann.\u201d It is possible that she was even present when Piatti gave the British premiere of the Schumann Concerto, at the Crystal Palace, London in 1866. I am delighted that these three nineteenth-century masterpieces can now be celebrated on this disc.\u201d <\/em><\/p>\n

In these words, Josephine Knight<\/strong><\/a> sums up the choice of combining in a single CD Schumann’s Concerto<\/em> for cello and orchestra with the Concertino op.18<\/em> and the Concerto op.26<\/em> by Alfredo Piatti. The streets of Clara Schumann and Alfredo Piatti crossed several times on the English stages, starting from 1856 a deep mutual esteem bound the two great interpreters together. Certainly, Clara made her husband’s compositions known and appreciated by Piatti. After playing for the first time with Clara, on May 13, 1856, at the Musical Union, Piatti began to systematically include Schumann’s compositions in his concert programs, while before that date he had never performed Schumann’s compositions. And therefore it appears natural that Piatti had been entrusted with the first London performance of Schumann’s Concerto.<\/em><\/p>\n

Schumann’s Concert<\/em> is very well known today. Josephine Knight offers an excellent interpretation of it highlighting the emotional tension without losing the interpretative balance and demonstrating his ability to dialogue well with the Royal Northern Symphony<\/a><\/strong> that supports her under the expert guidance of Martin Yates. The two pieces by Piatti, certainly less well known, are worthy of entering fully into the cellist repertoire. To perform them, it is necessary to possess a complete technical mastery of the cello and a deep sensitivity necessary to make the instrument authentically sing. Josephine Knight<\/strong><\/a> passes the test with flying colors, grace, balance, and decision, proving herself the worthy heir of Alfredo Piatti at the Royal Academy of Music<\/em>.<\/p>\n

In the CD booklet, interesting historical information allows a contextualized listening of the three pieces proposed.<\/p>\n

_________________________________________________________________<\/h2>\n

SCHUMANN & PIATTI, Works for Cello & Orchestra<\/em><\/h2>\n

– ROBERT SCHUMANN, Cello Concerto in A minor, Op. 129: Nicht zu schnell – Langsam – Etwas lebhafter<\/em>
\n– ALFREDO PIATTI, Concertino for Cello & Orchestra, Op. 18:\u00a0<\/em>
\n– ALFREDO PIATTI, Cello Concerto No. 2 in D minor, Op. 26:<\/em> Maestoso \u2013 Poco pi\u00f9 moderato \u2013 Cadenza \u2013 Pi\u00f9 moderato – Andante lento – Allegro vivo<\/p>\n

Performers: Josephine Knight<\/strong>, cello – Royal Northern Sinfonia<\/strong>\u00a0 (dir. Martin Yates<\/strong>)
\nLabel: Dutton<\/a><\/strong>
\nReleased: March 20, 2020<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cBoth Schumann (1810-56) and Piatti (1822-1901) played an important role in the development of the cello, and in raising expectations of what it could achieve as a solo instrument. That there is a more tangible link between Schumann and Piatti is not so well known. During my research for the new edition of the Schumann […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[413],"tags":[7443,7444,7445,1222,2239,3378,4309,4905,6302,6329],"class_list":["post-60197","post","type-post","status-publish","format-standard","hentry","category-listening-advice","tag-josephin-knight-en","tag-martin-yates-en","tag-royal-northern-sinfonia-en","tag-op-26","tag-violoncello-en","tag-rovert-schumann","tag-alfredo-piatti-en","tag-alfredo-piatti-en-2","tag-op-18-en","tag-concerto-en"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/posts\/60197","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/comments?post=60197"}],"version-history":[{"count":0,"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/posts\/60197\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/media?parent=60197"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/categories?post=60197"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mycello.it\/en\/wp-json\/wp\/v2\/tags?post=60197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}