Sivori (Paganini's student) - 2 Romances sans paroles: No. 1 in E-flat Major, Op. 23 (Sheet Music) скачать в хорошем качестве

Sivori (Paganini's student) - 2 Romances sans paroles: No. 1 in E-flat Major, Op. 23 (Sheet Music)

Composer: Camillo Sivori Violinist: Mauro Tortorelli Pianist: Angela Meluso Composed in 1862. I do not own this audio. 0:00 Andante. Ernesto Camillo Sivori (June 6, 1817 – February 18, 1894) was an Italian virtuoso violinist and composer. His 2 Romances sans paroles (Romanze senza parole in Italian, Romances without words in English) were arranged for double bass and piano by the Italian virtuoso bassist Giovanni Bottesini. Born in Genoa, he was the only known pupil of Niccolò Paganini. He also studied with Antonio Restano (1790–1885), Giacomo Costa (1760s or 70s-~1865) and Agostino Dellepiane. He competed, collaborated, and performed with many musical figures in his day, such as Mendelssohn, Schumann, Berlioz, Spohr, Thalberg, Bériot, Ernst, Ole Bull, Artôt, Alard, Vieuxtemps, Rossini, Cherubini, Baillot, Kreutzer, Liszt, Berlioz, Bottesini, and Hubert Léonard. From 1827, Sivori began the career of a travelling virtuoso, which lasted almost without interruption until 1864. On November 18, 1846, he performed at the Howard Athenaeum in Boston, where he played Il Campanello and Carnival of Venice. He played Mendelssohn's concerto for the first time in England in 1846, and was in England again in the seasons of 1851 and 1864. In 1864, he formed a permanent trio with cellist Alfredo Piatti and pianist Charlotte Tardieu. Camillo Sivori also collaborated with Giuseppe Verdi. In 1893, Verdi heard Sivori performed at his private music soirée and noted Sivori's impeccable technique, agility and musicianship. Sivori's performances ideas were directly influenced by Opera characters. His violin techniques, in many instances were executed to impersonate human sounds. "Le streghe" is one of his best examples in which his unique ability to create such lively, almost cinematographic effects is achieved. Sivori understood that he was the only violinist alive (in the late 1800s) who could immortalize Paganini's art of violin playing and unique operatic interpretations. The school of violin playing was rapidly changing and Paganini's art was being rapidly forgotten. He lived for many years in Paris, and died in Genoa on February 19, 1894. He collaborated with composers of his day, including Franz Liszt. He played the first performance of Luigi Cherubini's "Requiem" in E minor. He owned many valuable instruments, including violins by Amati, Antonio Stradivari, Carlo Bergonzi, Gaetano Chiocchi, and Jean-Baptiste Vuillaume. Sivori's favourite violin was the Vuillaume violin, which he received as a gift from Paganini. It was an impeccably close copy of Paganini's famous Cannone Guarnerius that was given to Sivori as Paganini was nearing his death. Paganini regarded him as his true successor with an almost parent-like affection. This violin is owned by the Musei Di Genova and displayed in their Palazzo Tursi. Sivori was known to adapt many peculiar pieces such that he could play them, and many of these pieces, once thought absurd, have now become quite popular. However, Giovanni Bottesini's Gran Duo Concertante, which was a double concerto originally written for two double basses alternating the melody, was not one of these. Although Sivori played it many times as a duo with Bottesini, the version for violin and double bass, had been made much earlier. Sivori's playing can be heard in a wax recording he made. Though originally attributed to August Wilhelmj, further research supports the idea that the performer is Camillo Sivori. Sivori was ill, out of his prime, and close to death at the time of recording. Still, the echoes of Paganini can be heard here:    • Paganini's only pupil Sivori (born 1817) p...   ***NOTE: It is known that Sivori, like Paganini, used a very "opera singer-like" sound on the violin. It may be assumed, then, that the extremely wide vibrato used in "Le streghe" (The Witch's Dance) is meant to sound like an opera singer. However, this is not the case. It can be observed that, when Sivori plays the other works on the wax recording, he never uses such a wide vibrato. Additionally, opera singers in the time of Paganini and Sivori did not use the wide vibrato known today. With all of these things considered, it is a much more likely conclusion to assume that the extremely wide vibrato is meant to be an unsettling, almost humorous imitation of an old witch's singing, not an accurate reflection of how players interpreted music at this time. A good reflection of how violinists played in this time can be heard in Sivori's performance of other pieces in the wax recording. The fact that Sivori's exaggerated vibrato in "Le streghe" sounds vaguely similar to modern opera singers is merely a coincidence. As opera singers in his time would not have used a very wide vibrato, it is important to avoid this misleading connection.