AN EDITION OF OTTORINO RESPIGHI'S FANTASIA SLAVA ...

AN EDITION OF OTTORINO RESPIGHI’S FANTASIA SLAVA, P. 50

WITH AN ANALYSIS OF HIS EARLY STYLE

by

JASON BRADLEY BAKER

NOEL J. ENGEBRETSON, COMMITTEE CHAIR

LINDA PAGE CUMMINS CRAIG P. FIRST

TANYA L. GILLE DANIEL E. SWEANEY

HOLLY L. GROUT

A DOCUMENT

Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

in the Department of Music in the Graduate School of

The University of Alabama

TUSCALOOSA, ALABAMA

2014

Copyright Jason Bradley Baker 2014 ALL RIGHTS RESERVED

ii

ABSTRACT

Fantasia Slava, a 1903 work by Ottorino Respighi (1879-1936) for piano and orchestra,

can be considered the embodiment of his early style. The characteristics of this style will be

examined through brief analyses of four works written prior to Fantasia Slava: Violin Sonata in

D Minor (1897), P. 15; Piano Sonata in F Minor, P. 16 (1897); Six Pieces for Violin and Piano,

P. 31 (1901-2); and Piano Quintet in F Minor (1902). The characteristics developed over the

course of these pieces directly affected the construction of Fantasia Slava and shows the young

composer developing his compositional language.

This document also includes an edition of Fantasia Slava for two pianos–one piano

designated for the solo and another a piano reduction of the orchestral part. The sole publication

of Fantasia Slava is the orchestral score from Ricordi, copyrighted in 1986. It is from this

edition that the author has drawn his two-piano edition. The manuscript for Fantasia Slava,

P. 50 was not available for review at the time of this document. Permission to utilize the first

edition of the work in such a manner was graciously granted by Lucia Castellina, editor at Casa

Ricordi, in a November 14, 2013, email to the author.

The orchestral reduction is intended to reflect accurately the sonority and scope of the

orchestra score, while remaining playable and true to the inherent properties of the modern

piano. Critical notes following the edition reflect discrepancies between the orchestral score and

the present edition. They also outline salient points regarding the edition’s creation.

iii

LIST OF ABBREVIATIONS

BE Baker Edition

bt. Beat

bts. Beats

Cb. Contrabass

Cl. Clarinet in Bb

FE First Edition

Fg. Bassoon

C.i. English Horn

Fl. Flute

Cr. Horn in F

LH Left hand

Ob. Oboe

Perc. Percussion

Pf. Piano

Ott. Piccolo

Tp. Timpani

Tr. Trumpet in Bb

Va. Viola

Vc. Cello

Vn. Violin

iv

ACKNOWLEDGEMENTS

This document is incomplete without the acknowledgement of many individuals who

unselfishly contributed their time, support, and expertise. The chair of my DMA committee, Dr.

Noel Engebretson, has been at once my private instructor, mentor, and friend while a student at

the University of Alabama. His encouragement accompanies me in every project, and I am

blessed to henceforth have his influence in my teaching and musicmaking.

Dr. Linda Cummins has been my advisor throughout my degree, but has made her impact

felt in so many more ways. Her attention and care for others continue to be an inspiration to me,

and I am endlessly thankful for her advice and wisdom on countless issues. Dr. Cummins will

always have a special place in my heart.

I am also indebted to the remainder of my committee for their remarkable influence

throughout both my degree and the completion of this project. Their enthusiasm for detail

pushed me to perform at my highest level, and they have inspired me to accept nothing less from

myself as a scholar and a musician. Without their support and the influence of countless others,

this project would have never come to fruition.

Finally, I am thankful for the expertise of my friend and colleague, Dr. Amir Zaheri, and

his assistance with the production of this edition. His experience with notational software and

his willingness to assist me with the intricacies of notational conventions was without limit. He

is truly an exemplary colleague, and sets a standard for unselfishness that I forever strive to meet.

v

CONTENTS

ABSTRACT .................................................................................................................................... ii

LIST OF ABBREVIATIONS ........................................................................................................ iii

ACKNOWLEDGEMENTS ........................................................................................................... iv

LIST OF TABLES ......................................................................................................................... vi

LIST OF EXAMPLES .................................................................................................................. vii

PART ONE:

1. INTRODUCTION ...................................................................................................................... 1

2. RESPIGHI’S STYLE PRIOR TO FANTASIA SLAVA, P. 50 (1903) ......................................... 3

a. Violin Sonata no. 1 in D Minor, P. 15 (1897) ............................................................................. 3

b. Piano Sonata in F Minor, P. 16 (1897) ....................................................................................... 9

c. Six Pieces for Violin and Piano, P. 31 (1901-02) ..................................................................... 16

d. Piano Quintet in F Minor, P. 35 (1902) .................................................................................... 25

PART TWO:

1. INTRODUCTION TO FANTASIA SLAVA, P. 50 (1903) ......................................................... 36

2. CRITICAL COMMENTARY .................................................................................................. 48

3. FANTASIA SLAVA, P. 50 (1903) FOR TWO PIANOS ............................................................ 51

REFERENCES ............................................................................................................................. 81

RECORDINGS ............................................................................................................................. 84

vi

LIST OF TABLES

1.1. Compositions prior to Violin Sonata in D Minor, P. 15 (1897) .............................................. 8

1.2. Compositions between the Violin Sonata in D Minor, P. 15 (1897) and Respighi earning the violin diploma from Liceo Musicale Bologna in 1899 ................................................................... 9 2.1. Critical Commentary to Accompany the Edition ................................................................... 50

vii

LIST OF EXAMPLES

1.1. Measures 1-7 from Violin Sonata in D Minor, P. 15: Mvt. I ................................................ 5

1.2. Measures 12-17 from Violin Sonata in D Minor, P. 15: Mvt. I ............................................ 6

1.3. Measures 41-44 from Violin Sonata in D Minor, P. 15: Mvt. I ............................................ 6

1.4. Measures 16-18 from Violin Sonata in D Minor, P. 15: Mvt. II ........................................... 7

1.5. Measures 5-8 from Violin Sonata in D Minor, P. 15: Mvt. III .............................................. 8

1.6. Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. I ................................................ 11

1.7. Measures 26-27 from Piano Sonata in F Minor, P. 16: Mvt. I ............................................ 12

1.8. Measures 28-30 from Piano Sonata in F Minor, P. 16: Mvt. I ............................................ 12

1.9. Measures 34-36 from Piano Sonata in F Minor, P. 16: Mvt. II ........................................... 13

1.10. Measures 75-79 from Piano Sonata in F Minor, P. 16: Mvt. II ........................................... 13

1.11. Measures 1-4 from Piano Sonata in F Minor, P. 16: Mvt. III ............................................. 14

1.12. Measures 10-12 from Violin Sonata in D Minor, P. 15: Mvt. II ......................................... 14

1.13. Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. III ............................................. 15

1.14. Measures 1-20 from Six Pieces for Violin and Piano, P. 31: Aria ...................................... 17

1.15. Measures 1-7 from Six Pieces fro Violin and Piano, P. 31: Leggenda ............................... 19

1.16. Measures 21-23 from Six Pieces for Violin and Piano, P. 31: Leggenda ........................... 19

1.17. Measures 1-6 from Six Pieces for Violin and Piano, P. 31: Berceuse ................................ 21

1.18. Measures 1-2 from Six Pieces for Violin and Piano, P. 31: Berceuse ................................ 22

1.19. Measures 1-4 from Six Pieces for Violin and Piano, P. 31: Melodia .................................. 23

1.20. Measures 4-9 from Six Pieces for Violin and Piano, P. 31: Serenata ................................. 25

viii

1.21. Measures 1-7 from Piano Quintet in F Minor, P. 35: Mvt. I ............................................... 27

1.22. Measures 1-8 from Johannes Brahms: Piano Quintet in F Minor, Op. 34: Mvt. I .............. 28

1.23. Measures 43-56 from Piano Quintet in F Minor, P. 35: Mvt I ............................................ 29

1.24. Measures 28-30 from Piano Quintet in F Minor, P. 35: Mvt. I ........................................... 30

1.25. Measures 144-146 from Piano Quintet in F Minor, P. 35: Mvt. III .................................... 31

1.26. Measures 61-63 from Piano Quintet in F Minor, P. 35: Mvt. I ........................................... 31

1.27. Measures 15-22 from Piano Quintet in F Minor, P. 35: Mvt. II .......................................... 32

1.28. Measures 27-30 from Piano Quintet in F Minor, P. 35: Mvt. II .......................................... 33

1.29. Measures 37-42 from Piano Quintet in F Minor, P. 35: Mvt. III ........................................ 34

1.30. Measures 140-142 from Piano Quintet in F Minor, P. 35: Mvt III ..................................... 34

1.31. Measures 65-66 from Fantasia Slava, P. 50 ....................................................................... 34

2.1. Measures 1-5 from Fantasia Slava, P. 50 ........................................................................... 39





2.6. Measures 232-234 from Fantasia Slava, P. 50 ................................................................... 42





ix


2.12. Measures 1-4 from Fantasia Slava, P. 50 ........................................................................... 46


1

PART ONE

INTRODUCTION

Ottorino Respighi (1879-1936) was born in Bologna, Italy, into a musical climate that

was dominated by the influence of nineteenth-century Italian opera. The political and social

upheaval of nineteenth-century Italy invited the popularity of the theatre in everyday Italian life.

Theatres were widespread throughout the country and, during the carnival season, they would

offer cheap spectacles for the lower classes and nightly opera productions for the upper classes.

This gathering of citizens was worrisome for those in power, who eventually utilized the theatres

as a means of organizing their people and exercising control over them. Nevertheless, it is

sufficient to say that opera and the theatre were entrenched in nineteenth-century Italian life and

culture. Because of opera’s prevalence in Italian culture, much of Italian music from this

century, even instrumental output, possesses a distinctly vocal quality, an aspect prevalent in

Respighi’s early work.

Potita Pedarra, in his catalogue of Respighi’s output, lists 1893 as the year of Respighi’s

first known musical composition, the Piccolo Overture. This piece was written two years after

he enrolled as a violin student at the Liceo Musicale Bologna.1 The overture, like much of

Respighi’s early output, remains unpublished and exists only in manuscript form. Of the fifty-

seven known compositions written prior to Fantasia Slava, fifteen have been published.

Characteristics of Respighi’s early style can be seen in a representative cross section of those

1 Potito Pedarra, “Catalogo delle Composizioni di Ottorino Respighi,” in Ottorino Respighi, ed. Giancarlo Rostirolla (Torino: ERI, 1985), 337.

2

fifteen published works, specifically the Sonata in D Minor for Violin and Piano (1897), Piano

Sonata in F Minor (1897), Six Pieces for Violin and Piano (1901), and Piano Quintet in F Minor

(1902). These pre-1903 compositions reveal Respighi’s development of a unique compositional

language.

Fantasia Slava, while not one of Respighi’s mature works, shows compositional

elements that had been developing in the years leading up to its composition. A brief analysis of

this work and the exploration of such characteristics prepare the reader for an informed

interaction with the two-piano edition of Fantasia Slava that follows. The included edition of

Fantasia Slava, P. 50, is created for two pianos: one for the solo and one for orchestral reduction.

It is based on the work’s first edition, an orchestral score produced by G. Ricordi & Co. in 1986.

While the orchestral score is useful for a conductor and soloist in thorough preparation for a

performance, a two-piano reduction not only allows the soloist to rehearse the piece more readily

with a colleague, but also provides the pianist a convenient means of playing the orchestral part

herself. The critical notes that follow the two-piano edition outline any differences between the

two-piano score and the first edition.

3

RESPIGHI’S STYLE PRIOR TO FANTASIA SLAVA, P. 50 (1903)

Analyzing Respighi’s early works reveals certain compositional techniques, such as a

distinctly vocal approach, the inherent tension of cross rhythm, and a syncopated accompaniment

style, all of which combine with an interest in the musical language of the past. Presented are

brief analyses of representative works from the period prior to Fantasia Slava: Sonata in D

Minor for Violin and Piano (1897), Piano Sonata in F Minor (1897), Six Pieces for Violin and

Piano (1901), and Piano Quintet in F Minor (1902). These works span the years between 1897,

when Respighi was a violin student at Liceo Musicale in Bologna, to 1902, a year before

Fantasia Slava. The analysis uncovers evidence of a composer who methodically considered his

craft and who sought to discover his voice through experimentation in his own compositional

output.

Violin Sonata no. 1 in D Minor, P. 15 (1897)

Of the fifty-seven works produced prior to Fantasia Slava, four are for violin and piano:

Violin Sonata in D Minor, P. 15 (1897); Sarabanda, P. 15a (1897); Giga, P. 15b (1897); and Six

Pieces for Violin and Piano, P. 31 (1901). Including the Violin Sonata in B Minor, P. 110 from

1917, these works constitute the whole of Respighi’s original output for violin and piano. He

also contributed eight realizations for violin and piano of scores by Italian Baroque composers

Locatelli, Porpora, Tartini, Valentini, Veracini, and Vivaldi. These realizations date from 1908

and make up P. 77-84 of Respighi’s oeuvre.2

2 Ibid., 350-1.

4

The Violin Sonata in D Minor, P. 15 (1897) is Respighi’s first chamber composition and

his first work for violin, Respighi’s primary instrument. At the time of its composition, Respighi

was studying violin and viola with Federico Sarti and composition with Luigi Torchi at the Liceo

Musicale in Bologna.

The Violin Sonata was only available in manuscript form until 2011 when A-R Editions,

Inc. with editor Eli Kalman produced an edition of the work. The A-R Editions, Inc. edition is

based on the manuscript housed at the Musico Internazionale e Biblioteca della Musica in

Bologna, Italy.3 Prior to the A-R Edition publication, the work had been recorded four times: on

the Nuova Era (1993), Dynamic (2002), Claves (2007), Tactus (2008), and Genuin (2009)

recording labels. Two other labels released recordings since the publication of this early sonata:

Brilliant Classics (2013) and Naxos (2014).4

Respighi’s instructor at the time, Luigi Torchi, was both a musicologist and a composer.

As a result of Torchi’s guidance, Respighi was no doubt exposed to the music of earlier periods.

This exposure laid the groundwork for his life-long interest in the language of earlier

generations, which is evidenced by his Ancient Airs and Dances, numerous realizations of

Baroque violin sonatas, and musicological writing on and orchestration of Monteverdi’s Orfeo.

It is readily apparent the Lento from this sonata’s two-part introduction that Respighi is

considering the tenets of the French Overture style (see Example 1.1).

3 Ottorino Respighi, Sonata in D Minor for Violin and Piano (1897), ed. Eli Kalman (Middleton, WI: A-R Editions, Inc., 2011), iv. 4 See Violin Sonata no. 1 in D Minor, P. 15 (1897) in RECORDINGS for complete listings.

5

Example 1.1: Measures 1-7 from Violin Sonata in D Minor, P. 15: Mvt. I5

This turgid French Overture introduction gives way to the second part of the introduction:

a furious Allegro that emphasizes G# and Bb, the two semitones bounding the dominant. It

effectively builds harmonic tension until the dominant sonority at measure 12 heralds the

presentation of the first thematic material (see Example 1.2). Measure 13 marks the statement of

the first theme, a theme that has a decidedly vocal quality with its texture of

melody+accompaniment. The violin’s statement is enhanced by a beautiful countersubject in the

bass line of the piano while the right hand consists of primarily arpeggiation.

5 This example is based on Ottorino Respighi: Sonata in D Minor for Violin and Piano (1897), edited by Eli Kalman. A-R Special Publications, vol. 14. Middleton, WI: A-R Editions, Inc., 2011. Used with permission. All rights reserved., 1.

6


The second theme area, shown in Example 1.3, brings into focus a common technique of

Respighi’s early style, which I will refer to as a syncopated accompaniment.


6 Ibid., 4.

7

This style of accompaniment is found throughout Respighi’s early works and will be seen

again in the Six Pieces for Violin and Piano, P. 31 (1901). It encourages a forward momentum

to the setting, while also providing an energized sustained quality.

The second movement of the Violin Sonata in D Minor, P. 15 (1897) illustrates another

common attribute of Respighi’s early style: cross-rhythm, specifically triple vs. duple (see

Example 1.4).

Example 1.4: Measures 16-18 from Violin Sonata in D Minor, P. 15: Mvt. II8

Respighi chose to enhance the beautiful vocal quality of the violin’s duple melodic

material with an accompaniment that is largely composed of triplets. It is only in moments of

dramatic repose that this cross-rhythmic relation is abandoned. The third movement, Scherzo,

also utilizes this texture to portray its turbulence (see Example 1.5). Extensive use of this

method to convey the mood and motion of the score is rather common in Respighi’s early style.

7 Ibid., 4. 8 Ibid., 15.

8

Example 1.5: Measures 5-8 from Violin Sonata in D Minor, P. 15: Mvt. III9

The Violin Sonata in D Minor, P. 15 is a successful example of Respighi’s early

compositional style. This work indicates a composer expanding established forms using the

musical language of nineteenth-century Italy.

The year 1897 indicated a shift in Respighi’s compositional output. As Table 1.1 shows,

the vast majority of his output prior to 1897 involved the use of small forms.

Table 1.1: Compositions prior to Violin Sonata in D Minor, P. 15 (1897)

Pedarra # Date Title Type of Work 1 1893 Piccolo Overteure Overture 1b 1893-4 Sentite Tintinnan le mandrie Soprano/Chorus/Orchestra 2 1894 Preludio Orchestral 3 1894 Compito di armonia Class Exercise 4 1895 Compito di armonia Class Exercise 4a 1895-6 Sonata in A Minor for Piano (Version 1) Sonata 4b 1895-6 Sonata in A Minor for Piano (Version 2) Sonata 5 1896 Compito di polifonico Class Exercise 6 1896 Andante for Piano (F Major) Short Piece for Piano 7 1896 Andante for Piano (D Major) Short Piece for Piano 8 1896 L’ultima ebbrezza for voice and piano Voice and Piano Work 9 1896 Lagrima for voice and piano Voice and Piano Work 10 1896 Allegro for piano Short Piece for Piano 11 1896 Notturno (for voice and piano) Voice and Piano Work 12 1897 Tanto bella! (for voice and piano) Voice and Piano Work 13 1897 Gosdemlem (for 4-hands piano) 4-hands Piano Work 14 1897 Tema di contrappunto Class Exercise

9 Ibid., 23.

9

However, production between 1897 (the D Minor Violin Sonata) and the conferral of his

violin diploma in 1899 reveals an increasing attraction larger forms (See Table 1.2).

Table 1.2: Compositions between the Violin Sonata in D Minor, P. 15 (1897) and Respighi earning the violin diploma from Liceo Musicale Bologna in 1899

Pedarra # Date Title Genre

15 November 1897 Sonata in D Minor for Violin and Piano Sonata 15a 1897 Sarabanda (for violin and piano) Sarabande 15b 1897 Giga (for violin and piano) Gigue 16 1897-8 Sonata in F Minor for Piano Sonata

17 1897-8 Salutazione angelica (for soprano, chorus, and orchestra) Cantata

18 Dec. 1897-Jan. 1898 Quartet in D Major No. 1 String Quartet

19 March 1898 Cortege (transcription of Moskowski for string quartet) Character Piece

20 1897-8 (May?) Quartet in Bb Major No. 2 String Quartet 21 1897-8 (May?) Quintet in G Minor Wind Quintet 22 August 1898 Suite for Piano Suite 23 August 1898 Preludio for Piano Prelude

24 1899 Christus

(for tenor and bass soloist with male chorus and orchestra)

Cantata

25 1899 Fuga reale a 4 voci 4-voice fugue

Noticeably absent in Table 1.2 are juvenile attempts at larger scale works and the

predominance of works in small forms. In this period, Respighi completed a mature Piano

Sonata, two Cantatas, two String Quartets, a Wind Quintet, a 4-voice Fugue, and a Suite for

Piano. The Violin Sonata, therefore, signifies a newly found comfort with larger forms.

Piano Sonata in F Minor, P. 16 (1897)

In 1895-6, Respighi produced a youthful Piano Sonata in A Minor, P. 4a-b.10 The work

is evidence of a promising and ambitious young composer, but one who was unable to

successfully maneuver large-scale musical structures. The melodic material is unique and

10 Pedarra, 337.

10

intriguing, but its setting is not sufficiently sophisticated in its approach to maintain interest in

this larger form.

Respighi’s second attempt at a piano sonata, the Piano Sonata in F Minor of 1897, was

published by G. Ricordi & Co. in 1986 on the fiftieth anniversary of the composer’s death. Also

currently published are four commercially available recordings. The Italian pianist Massimo

Palumbo presented the recording premiere in 1993 on the Nuova Era label. Three recordings

have followed by other artists on Naxos (1997), Jasrac/Tokuma (2000), and Dynamic (2002).11

The Piano Sonata builds on the successful attributes of the Violin Sonata in D Minor,

P. 15, expanding some ideas further, and introducing other newly discovered concepts, such as

the rhythmic repetition of pitches and alternating of the hands. There are three main similarities

between the Piano Sonata and Violin Sonata. Like the Violin Sonata, Respighi opens the first

movement of his Piano Sonata with an introduction that builds in intensity until an arrival at

dominant harmony. The Piano Sonata’s texture, like the work for violin, closely resembles that

of a nineteenth-century aria with its melodic line accompanied by an arpeggiated figure. These

two attributes can be observed in Example 1.6, which is a reprint of the introduction and the

beginning of the first theme area.

11 See Sonata in F Minor for Piano, P. 16 (1897) in RECORDINGS for complete listings.

11

Example 1.6: Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. I12

In the Violin Sonata, Respighi places the second theme area in Bb major, the submediant

of the overall key of D minor. Similarly in the Piano Sonata, he explores the submediant for the

second thematic area. Respighi takes additional steps to contrast the second theme material with

the first theme by presenting it in triple division instead of the preceding material’s duple

division. While the underlying metric division of the second theme area is triple, the melody

contains duple elements. This differing division of the pulse results in the cross-rhythmic

concept of 3:2. The initial cross-rhythmic unit of this section is the eighth vs. eighth-note triplet,

as seen in Example 1.7.

12 From the edition Ottorino Respighi, Sonata in Fa Minore per Pianoforte. (Milano: G. Ricordi & C., 1986), 1.

12


However, in Example 1.8, Respighi extends this idea in the Piano Sonata to the quarter

note vs. the quarter-note triplet. Of course, this is simply an expansion of the cross-rhythm

concept from Example 1.7, but it indicates Respighi extending this concept further. Such an

extension is foreshadowing of further development in the second movement.


In the second movement, Respighi begins to expand the possibilities of cross-rhythmic

expression to its extreme. Building on his techniques from the Violin Sonata and the opening

movement of the Piano Sonata, Respighi composes a movement that is essentially an arena for

exploration in duple vs. triple cross rhythm. There are two discoveries for Respighi in

movement II: the octuplet vs. triplet and the implications of simultaneous usage of simple and

13 Ibid., 2. 14 Ibid., 2.

13

compound triple meter. Examples 1.9 and 1.10 illustrate the extension of these compositional

ideas.

Example 1.9: Measures 34-36 from Piano Sonata in F Minor, P. 16: Mvt. II15

Example 1.10: Measures 75-79 from Piano Sonata in F Minor, P. 16: Mvt. II16

At the conclusion of the second movement of the Piano Sonata in F Minor, P. 16, it

seems that Respighi has exhausted his current cross-rhythmic imagination.

The third, and final, movement of the sonata is written in a simple triple meter with only

the occasional, but not jarringly unpredictable, metrical manipulation. More importantly, this

movement is an example of two methods that were heretofore not thoroughly explored in the 15 Ibid., 12. 16 Ibid., 15.

14

Violin Sonata. Only three bars into this movement of the Piano Sonata, Respighi utilizes the

repetition of pitches for a purely rhythmic purpose.

Example 1.11: Measures 1-4 from Piano Sonata in F Minor, P. 16: Mvt. III17

Respighi had introduced this idea in the second movement of the Violin Sonata with the

repeating triplets, shown in Example 1.12, but not with the same intensity of the Piano Sonata’s

last movement.

Example 1.12: Measures 10-12 from Violin Sonata in D Minor, P. 15: Mvt. II18

Another new idea is the use of alternating hands present in measures 9-10 of the last

movement in the Piano Sonata in F Minor, P. 16. This is shown in Example 1.13, which is a

reprint of measures 5-14 of the last movement.

17 Ibid., 16. 18 This example is based on Ottorino Respighi: Sonata in D Minor for Violin and Piano (1897), edited by Eli Kalman. A-R Special Publications, vol. 14. Middleton, WI: A-R Editions, Inc., 2011. Used with permission. All rights reserved., 15.

15

Example 1.13: Measures 5-14 from Piano Sonata in F Minor, P. 16: Mvt. III19

This technique can be considered closely related to the syncopated accompaniment with

the only difference being the intent of the alternation. Respighi’s sole purpose in the final

movement of the Piano Sonata is to propel forward motion, while the syncopated

accompaniment of the Violin Sonata is to simply provide a rhythmized sustaining

accompaniment.

Much of Respighi’s compositional output following the Violin Sonata in D Minor, P. 15

and the Piano Sonata in F Minor, P. 16 shows an exploration of larger forms. It was not until

after his employment as violist in the Russian Imperial Theatre and the pivotal five months of

instruction with the Russian master Nikolai Rimsky-Korsakov that Respighi would again

supplement his output with composition in smaller forms, as found in the Six Pieces for Violin

and Piano, P. 31.20

19 From the edition Ottorino Respighi, Sonata in Fa Minore per Pianoforte. (Milano: G. Ricordi & C., 1986), 17. 20 Alvera, 15.

16

Six Pieces for Violin and Piano, P. 31 (1901-02)

The date of composition for the Six Pieces for Violin and Piano, P. 31, is somewhat

ambiguous. The collection is an amalgamation of short works, all of which were not originally

intended for violin and piano. According to Pedarra’s record of Respighi works, the sixth piece

in the set was the first work to be composed. The Aria is a violin and piano transcription of

Respighi’s earlier piece of the same name for violin and organ. It was written in Moscow in

March 1901, leading to speculation that the work was composed with direction from Rimsky-

Korsakov.21 The violin’s line is vocal in style and features stepwise motion as a predominant

element. Absent is the use of the triple-duple cross-rhythm; instead, Respighi employs a direct

and efficient rhythmic setting.

21 Pedarra, 341.

17

Example 1.14: Measures 1-20 from Six Pieces for Violin and Piano, P. 31: Aria22

22 From the edition Ottorino Respighi,Six Pieces for Violin and Piano. (Boca Raton, FL: MasterS Publications, 1905), 31.

18

The Aria has enjoyed individualized attention from performers since its composition.

Most recently, the Chamber Orchestra of New York, Ottorino Respighi released a recording on

Naxos23 of conductor Salvatore Di Vittorio’s violin and orchestra arrangement of the work. 24

The group’s Honorary Board includes prominent Respighi scholars Potito Pedarra and Luigi

Verdi, as well as members of Respighi progeny. Italian organist Ireneo Fuser also produced a

transcription of the work, for solo organ, that was published in 1949 by the Bolognese firm

Bongiovanni.25 This transcription has been recorded by the Italian organist Andrea Macinanti -

in 200126 and 2005.27 Respighi also used the Aria in the 1905 Suite in G Major for Strings and

Organ, which has been recorded eight times in its entirety. The Suite was premiered in Trento in

1905, but was not published until 1957 by Biongiovanni.28

The third work of the Six Pieces is Leggenda, originally composed in Berlin,

March 1902, for violin and orchestra. According to Pedarra, this is the second of the

Six Pieces for Violin and Piano to be composed.29 The original version of the work, for violin

and orchestra, remained unpublished until Respighi’s use of it in the Six Pieces. However,

unlike the other five works, this composition does not translate so easily into its violin and piano

arrangement. The introductory material alone stands as entirely orchestral in its scope.

23 Ottorino Respighi, Aria in G Major, P. 32, Salvatore Di Vittorio, conductor, and Chamber Orchestra of New York-Ottorino Respighi, Orchestra. Naxos 572332, CD, 2011. 24 Ottorino Respighi, transcribed by Salvatore Di Vittorio. Aria per archi, P. 32. Palerma, Italia: Edizioni Panastudio, 2010. 25 Ottorino Respighi, transcribed by Ireneo Fuser. Aria per Organo: dalla Suite in Sol maggiore. Bologna: F. Bongiovanni, 1949. 26 Ottorino Respighi, Aria in G Major, P. 32, Andrea Macinanti, organ, Tactus TC 871801, CD 2001. 27 Ottorino Respighi, Aria in G Major, P. 32, Andrea Macinanti, organ, Tactus TC 871802, CD 2005. 28 Pedarra, 346. 29 Pedarra, 342.

19

Example 1.15: Measures 1-7 from Six Pieces for Violin and Piano, P. 31: Leggenda30

Because of the inherent decay of the piano, the orchestral swell of the thirds in the upper

staff is not nearly so effective on the instrument. Bars 21-23 further indicate the

inappropriateness of the transcription.

Example 1.16: Measures 21-23 from Six Pieces for Violin and Piano, P. 31: Leggenda31

30 From the edition Ottorino Respighi, Six Pieces for Violin and Piano. (Boca Raton, FL: Masters Publications, 1905), 14. 31 Ibid., 14.

20

To be a true partner with the violin in measure 22, the pianist should crescendo with the

instrument, rather than the decay that is the reality of the piano. Therefore, Leggenda can only

be considered a violin work with orchestral reduction.

From February to April 1902, Respighi attended classes in Berlin led by Max Bruch.

While Spini explained that these lessons had little affect on the young Respighi, the uniqueness

of Leggenda when compared to his contemporary works suggests that Respighi attempted to

experiment with some of the new ideas to which Bruch introduced him.32 None of the

characteristics from his early style are found in this work except vocally inspired melodic

writing. The uniqueness of the work lies in Respighi’s setting of the melodic line, which stands

out as highly orchestral. Beautifully voiced chords and arpeggiation underneath a fluid violin

line comprise the primary characteristics of this work. The piece has not been published outside

the Six Pieces for Violin and Piano, P. 31, but has been recorded twice on commercial labels:

Tirreno (1994) and Inedita (2007).33

The third work composed in the set of Six Pieces for Violin and Piano, P. 31 is the

Berceuse. Like other pieces in the group, this work was originally composed for violin and

orchestra. Composed in 1902, it was first performed 8 June 1902 at the Liceo Musicale in

Bologna. It has remained unpublished outside the Six Pieces, but has been twice recorded on the

Tirreno label (1994) and Chandos (1995).34

Unlike Leggenda, Respighi’s adaptation of this violin and orchestra piece also functions

effectively for violin and piano. The composition is a serene lullaby that reaches forte only once

32 Daniele Spini, “Ottorino Respighi (1879-1936): Profilo biographico.” in Ottorino Respighi, ed. Giancarlo Rostirolla (Torino: ERI, 1985), 15. 33 See Leggenda, P. 36 (1902) in RECORDINGS for complete listings. 34 See Berceuse, P. 38 (1902) in RECORDINGS for complete listings.

21

and maintains dynamic levels of piano and pianissimo for the majority of its duration. Example

1.17 is typical of the piano and violin relationship.

Example 1.17: Measures 1-6 from Six Pieces for Violin and Piano, P. 31: Berceuse35

The piano is accompanimental throughout, with murmuring arpeggiations in the upper

staff for the majority of the piece. Above this landscape, the violin is in mostly stepwise motion,

a hallmark of Respighi’s vocal style.

35 From the edition Ottorino Respighi,Six Pieces for Violin and Piano. (Boca Raton, FL: Masters Publications, 1905), 1.

22

Example 1.18: Measures 1-2 from Six Pieces for Violin and Piano, P. 31: Berceuse36

Closer examination of the material reveals the composer’s economical use of resources.

Considering only measure 1, shown in Example 1.18, one notices three instances of a motivic

cell: D-C-D, C-Bb-C, and A-G-A. This motive is directly related to the first three pitches of the

violin melody. Heretofore, Respighi’s style has been somewhat straightforward with little

interest in significant motivic transformation. This work marks the first piece to show a

concentrated effort in motivic relationships, indicating a growing sophistication of his style.

The next two works composed for the set are the Melodia and Valse caressante. These

pieces were composed as one work in the Melodia e valse caressante, P. 42. Pedarra does not

indicate a composition date, but his listing implies either 1902 or 1903.37 It was written

originally for flute and strings, but is unpublished and unrecorded in this arrangement. Melodia

is utilized in the Six Pieces as the second piece in the set, and Valse caressante functions as the

fourth. The Valse caressante is also found in the 1903 Six Pieces for Piano, P. 44, but in a

different key. The violin and piano arrangement is written in D Major, while the solo piano

36 Ibid., 1. 37 Pedarra, 343.

23

version is in Eb Major. Both versions are identical in structure and musical material, with only a

few details missing from the solo piano arrangement.

Example 1.19 shows Melodia as a prime example of Respighi’s use of syncopated

accompaniment. Respighi has designated that the piece should be performed Andantino mosso,

roughly translated as “a moving Andantino”; the syncopation in the piano contributes well to the

forward motion needed to achieve this expressive marking. Also present in this short piece is the

triple vs. duple relation so common in Respighi’s early compositions. Examining the section

marked Agitato by Respighi reveals the violin’s prevalent use of triplets, while the piano

maintains a duple division. One notable difference is that Respighi has altered the bass line of

the piano to arrive on the offbeats of the measure. This alteration of metrical placement coupled

with the triplets of the solo line allow for the Agitato nature of this section to naturally occur.

Example 1.19: Measures 1-4 from Six Pieces for Violin and Piano, P. 31: Melodia38

The Valse caressante is a well-crafted charming work for violin and piano that could

easily have been heard in the popular music of nineteenth-century Bologna. It begins with a

piano introduction that announces the entry of the violin melody. The piano’s role is entirely

accompanimental until the B section, in the key of the subdominant G Major, where the two

38 From the edition Ottorino Respighi, Six Pieces for Violin and Piano. (Boca Raton, FL: Masters Publications, 1905), 8.

24

instruments join together for the melodic line. The A section returns as before and is followed

by the C section in the key of the dominant A Major. Finally, the A section concludes the work.

Respighi’s use of key relationships is masterful in this work, which are outlined as Tonic-

Subdominant-Tonic-Dominant-Tonic. Such a straightforward and efficient structure is a strength

of this carefree piece.

The composition date of Serenata, which is taken from Respighi’s 1905 comic opera Re

Enzo, is unclear. Pedarra does not list the work separately from the opera itself; many sources

list the composition date of the entire set of Six Pieces as between 1901 and 1905. It was not

uncommon in the nineteenth century for popular opera arias to be extracted and performed

separately or adapted for use in concert arrangements, so despite Re Enzo’s 1905 composition

date, one cannot immediately ascribe the date of Serenata to the same year. Pedarra points out in

his comments concerning the Six Pieces that “we can deduce that the six pieces were composed

between 1901 and 1902, as the first 4 pieces are orchestral versions dated 1902 and the last one

dated 1901.”39 His assumption is clearly that the aria from Re Enzo was composed in the years

1901-02. With no evidence of a premiere for the set, nor a first edition published prior to 1905,

it is likely that Serenata was composed before the premiere of Re Enzo in March 1905.40

Similar to Berceuse, this work features the piano primarily in an accompanimental role,

while the violin assumes the melodic line. Also like Berceuse, the accompaniment pattern

remains the same throughout with alterations only for harmonic changes. Bars 37-42 add the

melodic material to the piano’s accompaniment pattern, while the violin provides filigree and

color to the melody. This particular piece is closely aligned with the arias of nineteenth-century

Italy, specifically Bellini and Donizetti, in which the accompanying force primarily contributed

39 Pedarra, 341. 40 Ibid., 345.

25

harmonic support through use of arpeggiation. Given Respighi’s compositional ancestry and the

musical climate of nineteenth-century Italy, it is no coincidence that this style is present in his

work.

Example 1.20: Measures 4-9 from Six Pieces for Violin and Piano, P. 31: Serenata41

Piano Quintet in F Minor, P. 35 (1902)

Referencing Pedarra’s record, it appears that the compositions between the Six Pieces for

Violin and Piano, P. 31 of 1901 and the Piano Quintet in F Minor, P. 35 from 1902 include the

String Quintet in G Minor, P. 33 (1901), the String Quartet in Bb Major, P. 33a (1901), and the

Orchestral Suite in E Major, P. 34 (1901). However, in actuality, these works from the Six

Pieces were composed amidst the larger compositions.

41 From the edition Ottorino Respighi, Six Pieces for Violin and Piano. (Boca Raton, FL: Masters Publications, 1905), 27.

26

The premiere performance of the Piano Quintet in F Minor, P. 35 took place on 8 June

1902 at the Liceo Musicale in Bologna with Antonio Illesberg, piano, the composer on first

violin, Umberto Supino as second violin, Mario Corti, viola, and the cellist Ferdinando Frasnedi.

However, the performance included only three movements of the composition: Allegro,

Andantino, and Presto.42 Pedarra indicates that the first edition, the manuscript for which is

housed in Siena at the Biblioteca Comunale di Palazzo Sormani, contains only three movements,

while the second set of parts, currently in Venezia at the Fondazione Giorgio Cini, includes all

four. Presumably, this discrepancy would indicate that Respighi added the final movement to the

Piano Quintet some time after the premiere performance of 8 June 1902. The first (and currently

the only available) edition of the Piano Quintet in F Minor, P. 35 is the G. Ricordi & Co.

publication, copyrighted 1986. The Ricordi edition is based on the first set of parts and contains

only the first three movements. In all of the current commercially available recordings of this

work, none include the fourth movement. Recordings of this composition are found on the

following labels: Ermitage (1993), Nuovo Era (1993), Dynamic (1994, 2002), Aura Classics

(2000), Chandos (2001), and Amadeus (2011). 43

The Piano Quintet is closely related to the Brahms Quintet of the same key, a connection

that is immediately recognizable in the first few bars of the piece (compare Examples 1.21 and

1.22). Both works begin with an octave statement of thematic material followed by sixteenths in

the piano. The similarities continue through the quintet to a degree that makes it clear that

Respighi was using Brahms’ monumental work as a model.

42 Pedarra, 342. 43 See Piano Quintet in F Minor, P. 35 (1902) in RECORDINGS for complete listings.

27

Example 1.21: Measures 1-7 from Piano Quintet in F Minor, P. 35: Mvt. I44

44 From the edition Ottorino Respighi, Quintetto in Fa Minore per Pianoforte e Archi. (Milano: G. Ricordi & C., 1987), 1.

28

Example 1.22: Measures 1-8 from Johannes Brahms: Piano Quintet in F Minor, Op. 34: Mvt. I45

The vocal style of Brahms’ opening bars would have resonated with Respighi, with its

simple statement of a melodic figure presented in octaves throughout the ensemble, would have

inspired Respighi to attempt the same success in his own piano quintet. Therefore, it is no

surprise that this approach permeates the work, resulting in a minimally contrapuntal style, as

seen in measures 48-56 (See Example 1.23). The cello and first violin are in octaves while the

piano serves a purely accompanimental role. A few bars later, the viola and first violin are in

octaves, the cello and second violin are paired, and all are accompanied by the piano.

45 From the edition Johannes Brahms, Quintett for Pianoforte, 2 Violinen, Bratsche, und Violoncell, Op. 34, ed. Hans Gal (Leipzig: Breitkopf & Härtel, 1926-7), 1.

29


Another common feature of this work is the use of tremolos as interlocking octaves, as in

measures 28-30 of the first movement, seen in Example 1.24. Respighi seems to use this concept

as the piano’s method of producing an effect similar to the strings’ tremolos, which occur in the

preceding bars.

46 From the edition Ottorino Respighi, Quintetto in Fa Minore per Pianoforte e Archi. (Milano: G. Ricordi & C., 1987), 5.

30


If considering the two procedures related, the tremolo is utilized prominently throughout

the entire composition. Example 1.25 is from the final movement of the work.

47 Ibid., 3.

31

Example 1.25: Measures 144-146 from Piano Quintet in F Minor, P. 35: Mvt. III48

Not unrelated to the tremolo is the repetition of pitches for the purpose of forward

momentum. See Example 1.26, a reprint of bars 61-63 from the first movement.


48 Ibid., 47. 49 Ibid., 6.

32

This passage recalls the third movement of the Piano Sonata in F Minor, P. 16 (see

Examples 1.8 & 1.9).

The usage of the syncopated accompaniment style figures prominently into the Piano

Quintet as well. It is prevalent in the second movement, which is marked Andantino. It shows

up in both the piano solo sections and the portions in which the piano is simply accompanying

the strings. Example 1.27 stems from bars 15-22 where the tenor and alto voices of the solo part

form the accompaniment to the soprano and bass.

Example 1.27: Measures 15-22 from Piano Quintet in F Minor, P. 35: Mvt. II50

50 Ibid., 35.

33

A few bars later, beginning in measure 25, the piano utilizes this same method in

accompanying the strings’ melodic material. Example 1.28 is from measures 27-30.

Example 1.28: Measures 27-30 from Piano Quintet in F Minor, P. 35: Mvt. II51

Another common technique of Respighi’s is the 3:2 relation. It is found throughout all of

the works examined thus far and is present also in his Piano Quintet. The third movement begins

with the piano establishing what sounds like a straightforward 6/8. However, measure 13 enters

with the strings playing eighths in 2/4, the movement’s designated time signature. The cross

rhythm pervades the movement. Example 1.29 is a reprint of bars 37-42 from the movement.

51 Ibid., 36.

34


The similarities between the Piano Quintet and Fantasia Slava renders it possible that

Respighi was using his own quintet as an arena to prepare for the composition of Fantasia Slava,

which would be completed the following year. Selected for comparison in Example 1.30 and

Example 1.31 is a direct connection to Fantasia Slava: the appearance of quintuplets in the last

movement’s Presto.


Example 1.31: Measures 65-66 from Fantasia Slava for Piano and Orchestra, P.

5054

The culmination of the compositional elements in Respighi’s early works is found in the

Piano Quintet in F Minor, P. 35. Observed in this work are the techniques of using a syncopated

accompaniment style, Respighi’s vocal style, the cross-rhythmic possibilities of triple vs. duple,

52 Ibid., 39. 53 Ibid., 47. 54 From the edition Ottorino Respighi, Fantasia Slava for Piano and Orchestra. (Milano: G. Ricordi & C., 1987), 11.

35

and the use of repeated pitches, interlocking octaves, or tremoli to create forward momentum and

motion. The development of his compositional style is observable in his increased adaptations of

larger forms and structures and his development of motivic efficiency. His experimentation and

exploration of his personal craft spurred him to develop his style efficiently and effectively. The

works examined here project an upward trajectory of compositional complexity that prepared

Respighi for his first experiments with the form of his Piano Concerto and Fantasia Slava that

was to follow.

36

PART TWO

INTRODUCTION TO FANTASIA SLAVA, P. 50 (1903)

Ottorino Respighi’s Fantasia Slava, P. 50 is a work for piano and orchestra composed in

1903 that is often referred to in Respighi literature as the “G Minor Fantasy.” Some speculation

may be made regarding the “Slavic” designation Respighi assigns this fantasy for piano and

orchestra. John Tyrrell writes of the dumka, a common Slavic musical form, that adaptations of

the form are typically based in minor, but contain use of modal contrast. According to Tyrrell, a

dumka possesses a structure of multiple sections in which one might be a contrasting faster

section in major.55 The first section of Fantasia Slava is primarily based in minor with a rather

slow, plaintive melody, while the second section is much faster, in the major mode, and of a

different character. Therefore, it is possible to consider Fantasia Slava related to the Slavic

dumka. Additionally supportive of this claim is the proximity of Respighi’s trip to Russia to the

work’s composition date. While no definitive evidence is available, the popularity of this form

in Russian composition renders it probable that he would have been exposed to the dumka form

in his five-month tenure at the Russian Imperial Theatre or in his lessons with Nikolai Rimsky-

Korsakov.56

55 John Tyrrell. "Dumka." Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 22, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08312. 56 Consider Russian examples of Dumky from Tchaikovsky (Dumka, Op. 59), Balakirev (Dumka in Eb Minor), and Mussorgsky (Parasya’s “Dumka” from Sorochintsy Fair).

37

The orchestration for the work requires piccolo, two flutes, two oboes, Bb clarinets, two

bassoons, four horns in F, two trumpets, percussion, violin I & II, viola, cello, and bass.

According to Pedarra’s 1986 record of Respighi works, the premiere performance of Fantasia

Slava took place on 31 January 1904 in Respighi’s hometown of Bologna with Filippo Ivaldi

performing on piano and Bruno Mugellini conducting.

Mugellini and Ivaldi were no strangers to Respighi; both were students of Guiseppe

Martucci at the Liceo Musicale Bologna.57 Ivaldi performed as pianist in the premiere of

Respighi’s Piano Concerto in A Minor, P. 40, which took place at the Liceo on 8 June 1902.58

Mugellini was serving as professor of piano at the Liceo Musicale in 1898 while Respighi was a

violin student there.59 Additionally, Daniele Spini reports that the Mugellini Quintet premiered

the Respighi Piano Quintet and included it on the repertoire list of a ten-concert Italian tour in

the spring of 1906. 60 It was in this year that the group, minus Mugellini, also presented the

premiere of Respighi’s 1904 String Quartet No. 3 in D Major, P. 53. 61

The manuscript of Fantasia Slava, P. 50, which is currently housed at the Ricordi

Historical Archive in Milan, was not available to review for the present edition. G. Ricordi &

Co. has edited and published the only available edition of the work, an orchestral score,

copyrighted 1986. Also published are four commercial recordings of this work, available on the

following labels: Chandos (1994), Tirreno (1994), Naxos (1995), and Brilliant Classics (2013). 62

57 Sergi Martinotti, “La Musica per Pianoforte di Respighi.” in Ottorino Respighi, ed. Giancarlo Rostirolla (Torino: ERI, 1985), 190. 58 Pedarra, 343. 59 At the time of Fantasia Slava’s premiere performance, Mugellini was still serving as professor of piano at the Liceo Musicale Bologna. 60 The Mugellini Quintet was comprised of Mario Cort and Fantuzzi, violins, Respighi as violist, Antonio Certani as cellist, and Bruno Mugellini performing as pianist. 61 Spini, 18. 62 See Fantasia Slava, P. 50 (1903) in RECORDINGS for complete listings.

38

Fantasia Slava exhibits many characteristics of Respighi’s early style, including the

vocal quality of the writing style, cross-rhythms, metrical manipulation, motivic development,

and others. The influence of the vocal style on Respighi can be observed in the opening

statement of the clarinets, bassoons, and strings, as seen in Example 2.1. The dominance of the

melody+accompaniment arrangement is immediately apparent, a feature that can be described as

vocal in nature.

39

Example 2.1: Measures 1-5 from Fantasia Slava, P. 5063

63 From the edition Ottorino Respighi, Fantasia Slava for Piano and Orchestra. (Milano: G. Ricordi & C., 1987), 1.

40

The piano solo does not interact with the orchestra as a member of the texture in any

significant manner until the G Major section, which begins at m. 87 and is denoted by a tempo

change and expression marking of Allegro con fuoco. Up until this point, the soloist simply

comments on or accompanies the ensemble using various scalar passages, arpeggios, and

extended passagework. A typical example of this relationship is in the second statement of the G

Minor melody, beginning in measure 49. Printed here is an excerpt (measures 49-52) from the

passage with reduction completed by the author.


The section marked Allegro con fuoco exemplifies another familiar aspect of Respighi’s

early style: the ubiquitous duple vs. triple cross rhythm. Respighi transitions into the section

41

with a non-melodic figure in the piano where the upper staff is entirely duple and the bottom

staff is triple.64


However, Respighi chooses in the Allegro con fuoco theme to utilize the triple vs. duple

cross rhythm in its metrical application: the hemiola. It is striking that measures 87-94, the first

statement of the Allegro con fuoco theme in the piano solo, is entirely based in hemiola. In

contrast to the metrical instability of the hemiola-dominated measures 87-94, Respighi sets the

final two bars, measures 93 and 94, squarely in 3/4 (see Example 2.4, printed here from the two-

piano reduction of the piece).


64 This could also be considered an example of quadruple vs. triple. Regardless, the concept of cross rhythm is at play in these measures. 65Ibid., 17.

42

The charm of this theme is a result of the arrival of this hemiolic effect after the

preceding 89 bars of clear 4/4. As a result, it is rather confusing and a bit surprising when the

phrase is concluded in bars 96 and 97 so definitively in 3/4. Another remarkable moment of

interest in this opening phrase of the Allegro con fuoco is the cadence of the antecedent phrase,

bars 89 and 90 (see example 2.5).


The hemiola remains in full force in the left hand, while the right hand is squarely in the

triple meter of 3/4. Another such situation is found beginning in bar 236, reprinted here as a

portion of the orchestral score.


66Ibid., 41.

43

The meter designations in this instance signify the cross-rhythmic relation. All

instruments’ meters are designated as 2/4, with the exception of the timpani, which maintains

3/4. Respighi’s use of this technique has now developed to a remarkable level, and he projected

the interest of the cross-rhythmic relation of 3:2 in multiple guises.

The casual listener may begin to wonder at this point in the work if Respighi has

abandoned the original G minor melody altogether. However, it is clear that Respighi is now

beginning a skillful marriage of the two melodies. The work continues with orchestra and soloist

trading statements of this original Allegro con fuoco theme in various keys and settings until

measure 141, marked Piu Vivace, unexpectedly returns to the original G minor material.

Comparing the material of the oboes and upper staff of the piano in mm. 141-145 to the clarinets

and bassoons of mm. 3-4, it is clear that the melodic material is identical: C-Bb-A-G. It is not

until the hemiola of the trumpets in bars 171-173 that the Allegro con fuoco theme is heralded,

and the piano follows with the “retrograded” version of the theme. Bars 183-187 indicate

another juxtaposition of the two melodic ideas (see Example 2.7).


The bottom staff of the piano solo contains the line marked by C-B-Bb-A-D-G. The B♮

is simply a passing tone between C and Bb, while the D could be considered as applied chord

movement to G. Such considerations result in melodic material of C-Bb-A-G, which is again the

opening clarinet and bassoon statement of the entire work.

44

The next moment of interest in Respighi’s combination of the two themes begins in bar

212. Example 2.8 is a print of the two-piano reduction of bars 212-214.


While the clarinets constitute a clear statement of the Allegro con fuoco theme (now

under the marking Meno), the piano begins in bar 213 with Bb-A-G-D, a retrograde of the

work’s first four pitches. This combination continues in other key areas until the frenzy carries

the ensemble to measure 236.

The section including measures 240-280 is squarely based on the Allegro con fuoco

material with its equally concentrated level of hemiola and cross-rhythmic activity. The melodic

material is also remarkably similar to the Allegro con fuoco theme, which exhibits extended

arpeggiated use of the tonic triad and 6th scale degree. Likewise, if one includes the neighbor

tones, scale degrees 1-6 are utilized exclusively in measures 240-280.

45


Measures 244-247 also use these identical scale degrees, but in a downward scalar

fashion versus the upward arpeggiated manner of its earlier relation.


The arpeggiation commences later in the section and serves to solidify the connection

with the Allegro con fuoco material.

The Lento of bar 280 reintroduces the opening key of G minor. This material is clearly

based on the opening of the work, to which a direct reference is made in bars 289-292 (see

Example 2.11).


67Ibid., 17.

46

Measure 289’s bottom staff consists of the phrase G-A-Bb, followed by the upper staff of

measure 291: C-Bb-A-G. This melodic motion is a direct statement of pitches 2-4 and 7-10 of

the original melody (reprinted in Example 2.12).

Example 2.12 Measures 1-4 from Fantasia Slava, P. 50

Measures 300-303 constitute another example of Respighi combining the two melodic

ideas. Following the repeated chords of measure 300, the piano solo continues with an

alternating hand statement of the Allegro con fuoco melodic idea, thus combining the two

concepts. The G minor melodic idea established at the Lento, measure 280, continues until the

coda, measure 317.

Fantasia Slava’s coda is largely G minor arpeggiation with a hinted emphasis at an Aug6

(see example 2.13).

68Ibid., 49.

47

Example 2.13 Measures 317-322 from Fantasia Slava, P. 50

The second beat of each measure in Example 2.13 shows a Ebdom7 with an added 2

instead of the 3rd scale degree. The composition concludes with a definitive G Major chord.

48

CRITICAL COMMENTARY

The following critical notes outline the process of creating the above two-piano reduction

and to document discrepancies between the first edition of Fantasia Slava, P. 50 and the author’s

two-piano reduction of the work. The first edition is the orchestral score of Fantasia Slava,

copyrighted in 1986 by G. Ricordi & Co. It is with their generous permission that I based the

present edition on their first edition. The manuscript was unavailable for review.

Care has been taken to produce an orchestral reduction that is playable, yet accurately

reproduces the sound and scope of the orchestral score. On occasion, instrumental parts have

been left out so as to produce a passage that can more closely align to the orchestral realization

of the score. Performers of this edition are encouraged to look beyond the printed score to

accurately portray the orchestra. In the spirit of assisting the pianist in this daunting role,

discrete abbreviations of the orchestral instruments involved in a passage are presented within

the score and should be carefully observed so as to produce a tone consistent with the original

instrumentation.69

The author has altered pitch, rhythm, or phrase material only when the choice seemed

obvious. As an esteemed publisher, G. Ricordi & Co.’s original text was considered

authoritative in passages where the pitches were only suspect. However, those materials that

seemed clearly in error have been altered, and the following notes closely reflect such decisions.

69 The abbreviations used follow the conventions established in the first edition and are also outlined in the LIST OF ABBREVIATIONS.

49

Adjacent to the table are critical notes regarding the author’s two-piano edition of Ottorino

Respighi’s Fantasia Slava, P. 50.

Certain syntactical conventions are necessary to communicate in reading Table 2.1. The

left-hand column represents the measure and beat at which the discrepancy or comment occurs.

When describing beats, I have chosen the quarter note as the division of pulse, which is the basis

for all meter in Fantasia Slava. In the case of a comment occurring in a division of the quarter,

the beat is designated using fraction (e.g. 2 ½ representing a comment on the fifth 8th note of the

measure). If multiple beats are affected, the ampersand symbol is utilized.

The right-hand column represents the actual comment. Many items are abbreviated in the

interest of space consideration and efficiency. Refer to the LIST OF ABBREVIATIONS for

assistance in deciphering the abbreviations of Table 2.1’s right-hand column. In the case of

communicating a small fragment, the author has used two methods to denote the difference

between single pitches and dyads, triads, and larger groups. Simultaneous pitches, regardless of

quantity, are combined with the hyphen (“-”), while consecutive pitches are separated by a

comma (“,”). These syntactical conventions established will allow the reader an efficient use of

Table 2.1.

50

Table 2.1: Critical Commentary to Accompany the Edition

m. 34 Pf RH: FE A♮, BE has Ab m. 37 Pf LH: FE no bass clef prior to beat 2 m. 41-4 Pf RH: FE 16th rests on beat 1 m. 44-6 Pf LH: FE bass clef, BE treble clef m. 54 Pf: 8va begins on 2nd note of quintuplet m. 56 Pf LH: FE bass clef, BE treble clef m. 57 Pf LH: Bass clef m. 61, bt.1 Pf RH: FE Eb, BE E♮ m. 63, bt.2 Pf RH: FE Gb-A, C-F, E♮, Db;

BE Gb-A, F, E♮, Db m. 65 Vc: FE Dotted half note-8th, BE half note-8th m. 69, bt.1 Pf RH: FE 16th rest, BE 32nd rest m. 76, bt.3 Cl: FE A-D, BE G-D m. 78, bt.3 Vn2, Va, Vc: FE 8th, BE doubly-dotted 8th m. 81, bt.2 ½ Va: FE F, D, F; BE Gb, D, F m. 89, bt.3 Pf: FE F#-E, BE F#-F# m. 122, bt.2 Pf LH: FE A-E-F-C, BE Ab-Eb-F#-C m. 133, bt.3 Pf RH: FE F#, BE F♮ m. 134, bt.1 Pf RH: FE F#, BE F♮ m. 153, bt.2 Pf LH: FE Db, BE Eb m. 154, bt.1 Pf LH: FE A♮, BE Ab m. 156, bt.1 Pf RH: FE D-Db, BE F-Db m. 194 Orchestra: FE dotted-half rest, BE tonic resolution m. 208, bts.2&3 Cl 2: FE F#, F#; BE Eb, Eb m. 210, bt.1 Pf LH: FE A♮, BE Ab m. 214, bt.1 Pf: FE dotted quarter, BE doubly-dotted quarter m. 228, bt.1 Pf RH: FE 8th rest, BE dotted 8th rest m. 243, bt.2 ½ Pf LH: FE nothing, BE 8th rest m. 301&303, bts.1&2 Pf: FE 32nd rests, BE 16th rest m. 301&303, bt.3 Pf: FE nothing, BE 16th rest m. 325, bt.1 Pf RH: FE Bb-D-F-Bb, BE Bb-D-G-Bb m. 326, bt.1 Pf RH: FE G-D, G, Eb, Bb; BE G-D, Bb, G, D

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43

43

43

43

Piano I(Solo)

Piano II(Reduction)

∑

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Andante

p

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Pno. I

Pno. II

77

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.

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œb œ œ

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œb œ ˙œœ

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œ œ œ

œ œ œ

∑

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œ œ ˙œœ#

œ œ ˙œœ#

51

Fantasia Slava

Ottorino Respighi

Solo and Piano Reduction

Orchestral Reduction by J. Bradley Baker

for piano and orchestra

[Cl., Fg.]

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Pno. I

Pno. II

1313

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Pno. I

Pno. II

√ √ √1717

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œ œ œ œ œ œ

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œ œ

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1717

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44

44

44

44

Pno. I

Pno. II

(√)1919 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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1919

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52

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Pno. I

Pno. II

2121 œœœœœ> . .. .œœ œœb œœ

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Pno. I

Pno. II

2424 œœb œœ

b œœb œœn œœ œœ œœb œœn œœ œ

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3 3 3 3 3 3 3 3

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Pno. I

Pno. II

√2525 œœb œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ

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2525

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Pno. I

Pno. II

√

2626

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Pno. I

Pno. II

2828 . .. .œœ œœb..œœbb œœ

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2828

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Pno. I

Pno. II

3030 œœb œœ

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œ œœb œœn œœ œœ œœb œœn œœ œ

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3 3 3 3 3 3 3 3

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3030

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43

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Pno. I

Pno. II

3131 œœb œœ œœb œœnb œœ œ

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3 3 3 3

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Pno. I

Pno. II

3333 œœb œœbb œœb œœ œœ œœb

œb œ œb œ œ œ.˙?

3333

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Pno. I

Pno. II

3636

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Pno. I

Pno. II

√3838

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3 3 3

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42

42

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42

Pno. I

Pno. II

(√)

√

3939 œœœ#.

‰œ œ œ œ œ œ# œ œ œn œ# œ œb œ œn œ œ œ œ œ œ œ œ œ œb

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œœ.

‰œ œb œ œ# œn œn œb œ œ# œn œn œb

œn œb œ œ# œn œn œb œ œ# œn œn œb œ œb œ œ#œn œn œb œ œ# œn œn œb œ œb œ œ# œn œb œ œ?

3939

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42

42

42

42

Pno. I

Pno. II

4040

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?

œ œb œ œ# œn œb œ œ œn œb œ œ œn œb œ œ

4040

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43

43

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Pno. I

Pno. II

√

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Ÿ~~~~ Ÿ~~~~~~~Ÿ~~~~~~~ Ÿ~~~~~~~4343 ® œ œ œ# œ œ œ œ# œ œ œ œ œ œ

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Pno. I

Pno. II

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~4949 ˙ œ œ œ œ# œ œ œ

7

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4949

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Pno. I

Pno. II

5151

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7

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57

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Pno. I

Pno. II

√

5353

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œ œ œ œ5 5 5

5353

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Pno. I

Pno. II

(√)

√

5555

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58

[Winds, Strings, Vc.]

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Pno. I

Pno. II

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~

5757˙ œ œ œb œb œ œ œ

7

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Pno. I

Pno. II

5959

≈ œ œ œb œ œ œ ≈ œb œ œ œ œ œ ≈ œn œ œ œ œb œ7 7 7

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Pno. I

Pno. II

6161

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5

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6161

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Pno. I

Pno. II

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6363

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6363.˙ .˙b..˙̇

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π

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Pno. I

Pno. II

6666

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60

[Winds, Strings, Vc.]

[Strings]

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Pno. I

Pno. II

6969

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44

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44

Pno. I

Pno. II

7272

œœ œ œb

œ œ œ œ

œœb

œ œ œb œ

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13

&?

7272

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3

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44

44

44

44

Pno. I

Pno. II

7575

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∑

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. .. .œœ œœ ..œœ œœ ..œœ œœ œœ œœ œœ œœ œœ œœ

3 3

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P

61

[Fl., Cl.]

[+C.i.]

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Pno. I

Pno. II

7777

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∑

7777 œ œ œ œ# œ œ œn œ# œ œ œn œ# œ œ œn œ# œ œ œn œ# œ œ œn œ#

3 3 3 3 3 3 3 3

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œ . .œ œ œ . .œ œ

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Pno. I

Pno. II

7979

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∑

7979 . .. .œœ œœ ..œœ œœ ≈ . ®œ œ œ œ œ œ

33

&

œ œ .œ œ œ .œ œ .œ œœœ œœ œœ œœ œœ œœ

3 3

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œ . .œ œn œ . .œ œ

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&

?

bb

bb

bb

bb

Pno. I

Pno. II

8181

∑

∑

8181

œ œb œb œn œ œ œb œn œ œ œb œn œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ3 3 3 3 3 3 3 3

œ . .œ œ ˙

œ œb œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3 3 3 3

œ . .œ œ ˙

F

62

[C.i., Strings]

[C.i., Strings, Vc.]

&

?

&

?

bb

bb

bb

bb

Pno. I

Pno. II

√8282

œœn# œœ œœ# œœn œœ œœ#b œœ#n œœn œœn# œœ œœ# œœn œœ œœ#b œœ#n œœ œœn œœ œœ œœ œœn œœ#b œœn œœn œœ# œœ œœ# œœn

œœ

^œ œ œ# œ œ œ œ

œ œ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œœ œ œ œ

&

8282

œœœœ‰ Œ Ó

Jœ

œ ‰ Œ Ó

f

f

&

&

&

?

bb

bb

bb

bb

Pno. I

Pno. II

(√)

√

8383 œœ#n œœn œœ œœ ..˙̇#...˙̇̇b

œ# œ œ œŒ Ó

8383

∑U

∑

ƒœœ œ œ# œ œœ œ œn œ œœ œ œ# œ œœ œ œn œ

œ œ œ œ œ œ œ œ œ œ œ œ3 3

3 3?

∑

∑

Presto

63

&

?

&

?

bb

bb

bb

bb

n n #

n n #

n n #

n n #

43

43

43

43

Pno. I

Pno. II

(√)8585 œœ œ œ# œ œœ œ œn œ œœ œ œ# œ œœ œ œn œ

œ œ œ œ œ œ œ œ œ œ œ œ3 3

3 3

8585

∑

∑

œœ œ œ# œ œœ œ œ œ œœ œ œ œœœœœn ‰

œ œ œœ œ œ

œ œ œœœœ

‰3 3 3

∑

∑

ç

œœ

œ œœ. œ

œœ

˙̇˙

œœœ

∑

∑

ƒ

Allegro con fuoco

Allegro con fuoco

&

?

&

?

#

#

#

#

Pno. I

Pno. II

8888 œœ. œ

œœ œ

œ.

œœœ˙̇˙

8888

∑

∑

œœ œ

œœœ.

˙˙̇

œœœ

∑

∑

œœ

œ œ œ œ

œœœœ

˙̇˙

∑

∑

œœ

œ œœ. œ

œœ

œœœ.

œ˙ œ

∑

∑

œœ. œ

œœ œ

œ.

œœ.

œœœœ

.

œ ˙

∑

∑

œœœœ œœ

œœœ.

˙˙

œœ.

∑

∑

˙̇̇˙ Œ

˙˙

Œ

œ œ œ œ œ œ œ œ œ3

3 3

∑

f

∑

∑

œœb

b œ œœ. œ

œœb

˙̇˙nb

œœœ

&

?

&

?

#

#

#

#

Pno. I

Pno. II

9696

∑

∑

9696 œœ. œ

œnn œ œ

œ.

œœœ˙̇˙nb

∑

∑œœ œ

œœœ.

˙˙̇n

bb

œœœ

∑

∑

œœ

œb œ œ œœn

n >

œœœ

˙̇˙nb

∑

∑

œœb

b œb œœ. œ

œœ

œbœœb.

œn˙ œ

∑

∑

œœ. œ

œbb œn œ

œ.

œœb.

œœœb.

œ ˙

∑

∑

œœn

nœœ#

# œœ.

˙̇˙

œœ.

∑

Œ Œ œœ

^

˙̇̇˙ Œ

˙̇̇˙ Œ

ƒ

œœœœ œœœ

œœœœœœ

˙̇̇ œœœ

∑

∑

64

[Tutti]

&

?

&

?

#

#

#

#

Pno. I

Pno. II

√104104

œœœœœœ. œœœ

.

œœœ˙˙

104104

∑

∑

∑

∑

œœ œ œœ œœ œœ œ œ

˙̇˙

œœœ

f

∑

∑

œœ œ œ œœ.

œœ.3

œ œ œ

œœœ˙̇˙

˙ œœ œ œ

.œ œ

˙̇˙˙œœœœ

∑

∑

F cresc.

œ ˙œ.

œ œ œ.

œœœœ˙̇˙˙

∑

∑

˙ œœ œ œ

.œ œ

˙̇˙˙œœœœ

∑

∑

œ ˙œ.

œ œ œ.

œœœœ˙̇˙˙ &

∑

∑

˙ œœ œ œ

.œ œ

˙˙˙̇ œœœœ

∑

∑

f cresc.

&

&

&

?

#

#

#

#

Pno. I

Pno. II

√

√(√)√112112

œ ˙œ.

œ œ œ.

œœœœ˙˙˙̇

112112

∑

∑

œœ œ

œœ œ

˙˙ ˙

œ œœ œ œœ ˙ ˙̇

∑

∑

ƒ

˙˙ ˙

œœ.

‰U

˙ ˙̇ œœ.‰

U?

∑

∑

ß

œ

œœ# œœ

œœ#

œœ# œœ

œœ#

œœ œœ

3

3 3

&

∑

∑

∑

œ ‰ Œ Œ

∑

Œ œ̄ œ̄

ß

4 œœœbbb .

‰ Œ Œ

œœœœbb.

‰ Œ Œ ?

œœb

b œn œœ.

œœ

œb

˙̇˙

bb œœœ

f

∑

∑

œœ. œ

œbb œ œ

œ.

œœœ˙̇˙

bb

&

?

&

?

#

#

#

#

Pno. I

Pno. II

119119

∑

∑

119119 œœ œ

œ.œœ.

˙̇̇˙b

bn œœœœ

∑

∑

œœn

n œb œ œ œb >

œœœœ˙̇˙

bb

œœ

œ œœ

œœb

b œn

˙˙̇#bb œœœœ

∑

∑

f

œœb

b œœb

b œb œœ

œœœœ˙̇˙˙#bb

∑

∑

œœ œ

œœœ

˙̇˙

œœœ

n

∑

∑

œœœœœœn

n œœœœœœ

œœœ^

œœœ œ

œ.œœv

∑

∑

∑

∑

œœb œœ œœ.

œœ œœ˙ œ

œ œ œ œ œ˙ œ

p

65

[Tp.] [Winds, Cr.]

[Fl., Cl., Cr.]

&

?

&

?

#

#

#

#

Pno. I

Pno. II √

√126126

∑

∑ &

126126

œœ.

œœ œœ œœ œœœ ˙

œ œb œ œœ ˙ &

œ œ œ œ œœ œb œ

.œb

œ œ

œœ œ# œn œ œb œ

..˙˙b œ ‰Œ Œ

œ. œ. œ. œ. œ.

p leggiero

œ œ œ œœb.

œ œb œ œ.

œn

œb œ œ œb œ œb

..˙˙

œ. œœ.

œœ.

œœ.

œb‰ Œ ŒJœ

.

œb ‰ Œ ŒJœb

œb œb œ œ œbœn œ œb.

œ œb œ

œb œ œ œn œ œb..˙˙bb>

p

∑

∑ ?

œn œb œb œœb.

œb œ œb œ.

œ œb œ œb œ œb œ

3

&

?

&

&

#

#

#

#

Pno. I

Pno. II

131131 œ œ œ œn œnœ œb œ œb œ œ

œœ œ œn œ œb œ

131131 œ.

œ.

œ.

œ.

œ.

Jœ

..˙˙nbJœ

œn œ œ œœb œ œb œ œ œn

œb œ œ œb œ œb

œ. œ. œ. œ.

..˙˙

œb œb œ œn œbœ œ œb œ œb œ

œ œ œ œn œ œb

œb .œb . œb .

..˙˙bb

œn œb œb œœb œb œ œb œ œ œn3

œ œb œ œb œb œ œb3

œb .Œ Œ

œb.

œb.

..˙˙bb?

&

?

&

?

#

#

#

#

n b

n b

n b

n b

Pno. I

Pno. II

√

√

135135

œ‰

Jœ

œœv

œ œ œ

œ3

œ ‰

135135

∑

œœ.

‰ Œ Œ

ƒœ œ œ œ œ œ

œ œ œ3

3 3

∑ &

∑

∑

œœœ.

‰œœœb

œœ

œœœ

œœ

œœœ

œœ

œœœ

œœœœœœb

.‰ Œ Œ

.˙.˙

∑

p

...˙̇̇b

..˙̇

.˙.˙

∑ &

...˙̇̇b

..˙̇

.˙.˙

.˙

dim.

P

...˙̇̇b

..˙̇

.˙.˙

.˙

66

[+Ott.] [+Fl.] [+Tr., Tp.] [Winds, Strings]

[Tmb.] [+Tr.]

&

&

&

&

b

b

b

b

Pno. I

Pno. II

(√)

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

141141 œœœ œ œœœ œ œœœœ

˙̂ œ.

141141

∑

˙̂̇̇ œœœ.

p

Più Vivace

Più Vivace

p

œœœœ œœœ

œ œœœœ

˙̂ œ.

∑

˙̂̇̇ œœœœ.

œœœ œ œ œ œ

œ. œ. œ.

.˙

œœœb . œœœ . œœœn .

œ œ œ œ œ œ

œ. œ. œ.

.˙

œœ. œœ. œœœ.

œ œ œ œ œ œ

œ. œ. œ.

.˙

œœœb . œœœ . œœœn .

œ œ œœ œ

œœ

‰

œ.

jœn œ.

‰ Œ ŒJœœ

œ œ œ œ œ œ

?

˙̇˙> œœœb

b .

œb >œ. œ.

œb .

∑

.˙b

p leggiero

&

&

&

?

b

b

b

b

Pno. I

Pno. II

(√)148148 œœœb . œœœ

. œœ.

œ. œ. œb . œ.

148148

∑

∑

œœœb . œœœ. œœ

.

œb .œb .

œn .

∑

∑


.

œb .œb .

œœ.

∑

∑


.

œœb

b. œb .

œœn

n.

∑

∑

˙̇˙b >

Œ

œœb

b.

œ. œ.?

∑

∑

˙̇˙b

b > œœœb .

œœb

b>

œb .œœb

b.

∑

∑

f

œœœb . œœœ. œœbb

.

œb . œœb

b .œb .&

∑

∑

œœœb . œœœ. œœbb

.

œb .œb .

œ.

∑

∑

dim.

&

&

&

?

b

b

b

b

Pno. I

Pno. II

(√)156156

œœb œb œœbœ œœbb

œ

œb .œb .

œn .

156156

∑

∑

œœb œb œœbœ œœbb

œ

œb .œb .

œ.

∑

∑

˙̇b œb > ‰

œb .œb .

œ.

∑

∑ &

∑

∑

˙̇>

œœ.

œ œ œ œ œ œ

..˙˙b >

p

5

∑

∑

œœ.

œœ.

œœb.

œ œ œ œ œ œ

˙˙ œœ

∑

∑ ?

œœ.

œœ.

œœb.

œ œ œ œ œ œ

˙˙b >œœ

œb œ œ

œ œ œ œ.

‰

33

&

œœ.

œœ.

œœb.

œ œ œ œ œ œ

˙˙b >œœ

67

[Ob., Cr., Tr.] [+Ott.]

[Tutti]

&

&

&

&

b

b

b

b

Pno. I

Pno. II

√163163

œb œ œ

œ œ œ œ.

‰

3

3

163163 œœ.

œœ.

œœb.

œ œ œ œ œ œ

˙˙b >œœ

?

œb œ œ

œ œb œ œ.

‰

3

3

˙̇>

Œœ œ œ

œ œ œ˙b

œœœ#ggœn œ œ œ œ œ3

˙ œn.˙

˙̇̇# > œœœ.

..˙˙>

Jœ.

p

œœ#g œ œ œ œ œ œ3

˙ œ.˙

œœ# . œœ. œœœ.

˙˙ œœ

œ œ œœ# œ œœœ

œ# ‰œ.

œ.?

œœ#.

œœ.

œœ.

œ œn œ œ œ œ

˙˙> œœ

œœ#œ œœ# œ œœ

œ

œ.œ. œ.

œœ#.

œœ.

œœ.

œ œn œ œ œ œ

˙˙> œœ

&

?

&

?

b

b

b

b

Pno. I

Pno. II

(√)169169


œ

œ.œ.

œ.

169169 œœ#.

œœ.

œœ.

œ œn œ œ œ œ

˙˙> œœ


œ

œ. œ.œ.

˙̇#>

Œœ œ œ œ

œ œ#˙˙>


œ

...˙̇-̇

œœfl

œœ. œœ. œœfl

œœ.

œ. ‰ Œ Œ

p

π dim.


œ

...˙̇-̇

œœ. œœfl

œœ. œœ.

∑


œ

...˙̇˙-

&

œœ. œœ. œœ>

∑


œ

...˙̇-̇

..˙˙

∑ &

68

[Tr.]

&

&

&

&

b

b

b

b

Pno. I

Pno. II

(√)

√

√

175175 œ œn œ.

œ# œœ# œn œ œb œ œ#

œœ œ# œn œ# œn œ

175175 ..˙˙

œ. œ. œ.p

œ#. œ œ œ

.

œn œnœb œ œ# œn

œb œ œ# œn œn œb

..˙˙

œ.œ. œ.?

œœ

œ œœ Œ

3

œ#.

‰Œ

œ. ‰ Œœœœ-

œ œn œ.


œœ. œ œ# œn œ

&

œœ

œ œœ Œ œ

œœ œ

œ3

3

Œ œœœ-

Œ ?

œ#. œ œ œ

.

œn œnœb œ œ# œn


œ œn œ.


œœ œ# œn œ# œn œ

‰ Œ ŒJœ#.

œ.

œ.

œ.

Jœ...?

&

?

&

?

b

b

b

b

Pno. I

Pno. II

180180

œ#.

œ œ œœn œn œb œ œ# œn


180180

∑

œ. œ. œ.

œ ‰ œœ

œ œœ

Œ3

Jœ#

Œ œœœœ ‰

œ œn œ.


œœ.

œ œ# œn œ

p

cresc.

œœ

œ œœ

Œ œœ

œ œœ

3 3

Œ œœœ

Œ

œ#.

œ œ œ.

œn œn œb œ œ# œn


Œ œœ

œ œœ Œ

3

œœœ

œœœnn œœœ

‰ œœœ

œ# .‰ Œ Œ

œ.‰ Œ Œ

f

œœ

œ œœ Œ

œœ

œ œœ

3

3

Œ œœœbb Œ

∑

∑

Œœœ

œ œœ Œ

3

œœœŒ œœœ

^

∑

∑

69

[Ob., Strings] [Winds] [Strings]

[Ob., Cl., Fg., Cr.]

&

?

&

?

b

b

b

b

n #

n #

n #

n #

Pno. I

Pno. II

√186186 œ

œœ œ

œ Œœœ

œ œœ

3 3

Œœœœ

^ Œ

186186

∑

∑

œœœ ‰ Œ Œ

œœ

‰ Œ Œ

œœ

œ œœ. œ

œœ

˙̇˙

œœœ

f

Tempo I

Tempo I

6

∑

∑

œœ. œ

œœ œ

œ.

œœœ˙̇˙

∑

∑

œœ œ

œ. œ

œ.

˙˙̇

œœœ

∑

∑

œœ

œ œ œ œ̂

œœœœ

˙̇˙

∑

∑

œœ

œ œœ. œ

œœ

œœœ.

œ˙ œ

∑ ?

∑

œœ. œ

œœ œ

œ

œœ.

œœœœ.

œ ˙

?

?

&

?

#

#

#

#

Pno. I

Pno. II

193193

œ^

œ œ œ œ œ œ33

œvœ œ œ œ œ œ3 3

193193œœ œ

œ. œœœ

.

˙̇˙

œœ.

ƒ

œ œ œ œ œ œ œ œ œ

3 3 3&

œ œ œ œ œ œ œ œ œ3 3

3

˙̇̇˙>

Œ

˙˙>

Œ

œ œ œ œ œ œ œ œ œ3

3 3

œ œ œ œ œ œ œ œ œ3 3

3

∑

∑

œœb œœn œœ. œœ

œœb

œb .œn . œb .

&

∑

∑

f p

œœn. œœnb œœ œœ

.

œ. œn .œb .

∑

∑

œœb œœn œœb œœb œœ œœ

œn œ œ œb œ.

‰œb

∑

∑

&

&

&

?

#

#

#

#

Pno. I

Pno. II

199199 œœ œœb œœn œœb œœ>

œœnnœ# œœ

199199

∑

∑

œœb œœbb œœ. œœn œœb

œbœœbb . œn

∑

∑

cresc.

œœn. œœb œœn œœ

.

œœb.

œœœb .

?

∑

∑

œœ> œ# œ œœ œ œ

œœœœ#n œ

∑

∑

f

œœœ>

œ

œ œ

Œ

Œ œ

∑

∑

∑

∑

œ œ œ.

œ œœ.

œ.

œ.

œ.

œ œ œ.

œ œ œ.

œ œ

p

70

[Strings]

[Winds]

&

?

&

?

#

#

#

#

Pno. I

Pno. II

√205205

∑

∑

205205

œ.

œ œ œ.

œ.

œ.

œ.

œ œ œ.

œ.

œ.

œœ œ.

∑

∑

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Œœœ. ‰ œœb .

‰

∑

∑ &

œ œ œ œ œ>

œœ. ‰ œœbb .‰ œœ. ‰

&

œœbb œ œbœœb œœn œ

œb . œb . œb .?

œb œb œ. œb œb

œb.

œ.

œb.

œœb . œœbb .

œœb .

p cresc.

p

œœb œb œœœb œœ œb

œb .œb . œb .

œb. œb œb œ

.

œb.

œb.

œ.

œœbb .

œœb . œœbb.

?

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œb œn œ œ

œb . œb .œ.

‰ œ. œ. œb . œn . œ.

˙̇̇bb> œœœœnb .

‰

f

&

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&

?

#

#

#

#

n bb

n bb

n bb

n bb

Pno. I

Pno. II

√ √211211

œœ œ .œ>

œn œb œ œb

œ.œb . œb .

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.

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71

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Pno. I

Pno. II

(√) √217217 ....

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Pno. I

Pno. II

(√) √222222 . .. .. .. .

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œœœœnœœœœ

. .. .. .. .œœœœnb>

Rœœœœn

n œœœœ?

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72

&

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Pno. I

Pno. II

√228228 ‰ ≈

œœœœ....

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42

42

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42

Pno. I

Pno. II

√234234 œ

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234234

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73

[Cr., Tp.]

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Pno. I

Pno. II

(√)243243

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‰

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243243 œœœ œœœ.

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Pno. I

Pno. II

(√)

√

253253 œœœœ.œœœœ..

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74

[Tp., Strings] [Cr., Tp.] [Tp., Strings]

[Tutti]

[Ob., Cr., Tp.]

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Pno. I

Pno. II

263263

∑

∑

263263

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œ. œ. œ. œ.p

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p

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-

˙

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&

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Pno. I

Pno. II

274274

˙̇̇-

œ œ œ œ˙œ

274274

∑

∑

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-

˙

˙̇˙

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rit.

π rit.

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Œ œ.

∑

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&

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Pno. I

Pno. II

286286

˙̇̇-̇

˙̇̇-

Œ œ.

286286

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75

[Ob., Cl.,Strings] [Tp.]

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Pno. I

Pno. II

œœœ ‰ Œ

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298298

Œœ

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˙˙

p

9

∑

∑

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ƒ

Grandioso

Grandioso

&

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Pno. I

Pno. II

√

301301 rKœœ

.œœ

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œœ

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œœ

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œœ

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˘

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76

[Tp., Strings] [Tutti]

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Pno. I

Pno. II

√

303303 rKœœ

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RÔ

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Pno. I

Pno. II

304304

∑

∑

304304œœœœ- œœœœ

- œœœœ- œœœœœ

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œœœ- œœœ

- œœœ- œœœ

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77

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Pno. I

Pno. II

307307

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Pno. I

Pno. II

√309

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Pno. I

Pno. II

(√)

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315 œœœœ.

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33 ?

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Pno. I

Pno. II

√

(√)

321 ˙̇ ˙̇b

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3

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79

[Strings] [Winds]

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Pno. I

Pno. II

√ √328 œœ

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Pno. I

Pno. II

√330

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REFERENCES

Adriano. “Adriano’s Respighi Discography.” MusicWeb International. 2011. Accessed March 1, 2014. http://www.musicweb-international.com/respighi/adriano1.htm.

Alvera, Pierluigi. Portraits of Greatness: Respighi. New York, NY: Treves Publishing

Company, 1986. Balthazar, Scott L., ed. The Cambridge Companion to Verdi. Cambridge, UK: Cambridge

University Press, 2004. Barrow, Lee G. Ottorino Respighi (1879-1936): An Annotated Bibliography. Lanham, MD:

Scarecrow Press, Inc., 2004. Brahms, Johannes. Quintett for Pianoforte, 2 Violinen, Bratsche, und Violoncell, Op. 34, Edited

by Hans Gal. Leipzig: Breitkopf & Härtel, 1926-7. Clark, Martin. The Italian Risorgimento. New York, NY: Addison Wesley Longman Inc., 1998. D’Amico, Fedele. “Ottorino Respighi’s Position.” Italy: Documents and Notes 29, no. 9 (1980):

43-54. Davis, John A. “Opera and Absolutism in Restoration Italy, 1815-1860.” The Journal of

Interdisciplinary History 36, no. 4 (Spring 2006): 569-594. Di Lena, Carla. Translated by Candace Smith. Program Notes to Ottorino Respighi: Opera

Completa per Violino e Pianoforte. Performed by Marco Rogliano, violin, & Maurizio Paciariello, piano. Tactus s.a.s di Serafino Rossi & C., TC 871890. CD. 2008.

Friedland, Bea. “Italy’s Ottocento: Notes from the Musical Underground.” The Musical

Quarterly 56, no. 1 (January 1970): 27-53. Gavazzeni, Gianandrea. “Ricordi ed Esperienze su Respighi.” In Ottorino Respighi, edited by

Giancarlo Rostirolla, 85-93. Torino: ERI, 1985. Gibson, Faye Marie. “Ottorino Respighi: A Stylistic Analysis of His Works.” Master’s thesis,

University of Kentucky, 1958. Gossett, Philip. “Becoming a Citizen: The Chorus in ‘Risorgimento’ Opera.” Cambrige Opera

Journal 2, no. 1 (March 1990): 41-64.

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Harwood, Gregory W. Guiseppe Verdi: A Research and Information Guide. New York, NY:

Routledge, 2012. Hess, Nathan Andrew. “Eclecticism in the Piano Works of Ottorino Respighi.” Doctor of

Musical Arts dissertation, University of Cincinatti, 2005. Kimball, David. “Opera since 1800.” In The Cambridge History of Italian Literature, edited by

Peter Brand and Lino Pertile, 450-456. New York, NY: Cambridge University Press, 1996.

Martinotti, Sergio. “La Musica per Pianoforte di Respighi.” In Ottorino Respighi, edited by

Giancarlo Rostirolla, 167-202. Torino: ERI, 1985. Pedarra, Potito. “Catalogo delle Composizioni di Ottorino Respighi.” In Ottorino Respighi,

edited by Giancarlo Rostirolla, 327-404. Torino: ERI, 1985. Respighi, Elsa. Ottorino Respighi. His Life-Story Arranged by Elsa Respighi. Translated by

Gwyn Morris. London: G. Ricordi & C., 1962. Respighi, Ottorino. Ancient Airs and Dances and Other Works for Solo Piano. Mineola, NY:

Dover Publications, Inc., 2006. Respighi, Ottorino. Quintetto in Fa minore per pianoforte e archi. Milano: G. Ricordi & C.,

1986. Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897), Edited by Eli Kalman.

Middlton, WI: A-R Editions, Inc., 2011. Respighi, Ottorino. Sonata in Fa Minore per Pianoforte. Milano: G. Ricordi & C., 1986. Rosselli, John. The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario.

New York, NY: Cambridge University Press, 1984. Rosselli, John. Music & Musicians in Nineteenth-Century Italy. London: B.T. Batsford Ltd.,

1991. Serra, Ilaria. “Teaching Italy Through Its Music. The Meaning of Music in Italian Cultural

History.” Italica 88, no. 1 (Spring 2011): 94-114. Sorba, Carlotta. “To Please the Public: Composers and Audiences in Nineteenth-Century Italy.”

The Journal of Interdisciplinary History 36, no. 4 (Spring 2006): 595-614. Spini, Daniele. “Ottorino Respighi (1879-1936): Profilo biographico.” In Ottorino Respighi,

edited by Giancarlo Rostirolla, 7-84. Torino: ERI, 1985.

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Stamatov, Peter. “Interpretive Activism and the Political Uses of Verdi’s Operas in the 1840s.” American Sociological Review 67, no. 3 (June 2002): 345-366.

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accessed April 14, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08312.

Waterhouse, John C.G. “The Italian Avant-Garde and National Tradition.” Tempo no. 68

(Spring 1964): 14-25. Zanolini, Bruno. Translated by Susannah Howe. Program notes to Ottorino Respighi: Complete

Works for Violin and Piano, Vol. 1. Sonata in D Minor, Six Pieces, Five Pieces. Performed by Emy Bernecoli, violin, & Massimo Giuseppe Bianchi, piano. Naxos Rights US, Inc., 8.573129. CD. 2014.

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RECORDINGS

Violin Sonata no. 1 in D Minor, P. 15 (1897) Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). R. Baraldi, violin and M.

Palumbo, piano. Nuova Era 7159, CD, 1993. Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). S. Pagliani, violin and M.

Vincenzi, piano. Dynamic CDS 404, CD, 2002. Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). I. Turban, violin and K.

Nemirovitch-Dantchenko, piano. Claves 50-2109, CD, 2007. Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). Marco Rogliano, violin and

Maurizio Paciarello, piano. Tactus TC.871890, CD, 2008. Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). I. Then-Bergh violin and

M. Schäfer, piano. Genuin GEN 89116, CD, 2009. Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). Fabio Paggioro, violin and

Massimiliano Ferrati, piano. Brilliant Classics B00G76HSOC, CD, 2013. Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). Emy Bernecoli, violin and

Massimo Giuseppe Bianchi, piano. Naxos 8.573129, CD, 2014. Sonata in F Minor for Piano, P. 16 (1897) Respighi, Ottorino. Sonata in F Minor for Piano, P. 16 (1897). M. Palumbo, piano. Nuova Era

7156, CD, 1993. Respighi, Ottorino. Sonata in F Minor for Piano, P. 16 (1897). K. Scherbakov, piano. Naxos

8.553704, CD, 1997. Respighi, Ottorino. Sonata in F Minor for Piano, P. 16 (1897). T. Seki, piano. Jasrac/Tokuma

TKCC-15177, CD, 2000.

Respighi, Ottorino. Sonata in F Minor for Piano, P. 16 (1897). M. Vincenzi, piano. Dynamic CDS 404, CD, 2002.

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Aria in G Major, P. 32 (1901) Respighi, Ottorino. Aria in G Major, P. 32. Salvatore Di Vittorio, conductor, and Chamber

Orchestra of New York-Ottorino Respighi, Orchestra. Naxos 572332, CD, 2011. Respighi, Ottorino. Aria in G Major, P. 32. Andrea Macinanti, organ. Tactus TC 871801, CD

2001. Respighi, Ottorino. Aria in G Major, P. 32. Andrea Macinanti, organ. Tactus TC 871802, CD

2005. Leggenda, P. 36 (1902) Respighi, Ottorino. Leggenda, P. 36. F. Borali, violin, and A. Bassi, conductor. Tirreno TIR

013, CD 1994. Respighi, Ottorino. Leggenda, P. 36. M. Rogliano, violin, and R. Diem Tigani, conductor.

Inedito PI 2632, CD 2007. Berceuse, P. 38 (1902) Respighi, Ottorino. Berceuse, P. 38. A. Bassi, conductor. Tirreno TIR 013, CD 1994. Respighi, Ottorino. Berceuse, P. 38. R. Hickox, conductor. Chandos CHAN 9415, CD 1995. Piano Quintet in F Minor, P. 35 (1902) Respighi, Ottorino. Piano Quintet in F Minor, P. 35. P. Prati, piano, and Quartetto di Venezia,

string quartet. Ermitage ER 410, CD 1993. Respighi, Ottorino. Piano Quintet in F Minor, P. 35. M. Palumbo, piano, and Nuovo Quintetto

Modigliani, string quartet. Nuova Era 7159, CD 1993. Respighi, Ottorino. Piano Quintet in F Minor, P. 35. A. Orvieto, piano, and Ex Novo Ensemble

di Venezia, string quartet. Dynamic CDS 99, CD 1994. Respighi, Ottorino. Piano Quintet in F Minor, P. 35. M. Vincenzi, piano, and Ensemble

Filarmonico Italiano, string quartet. Dynamic CDS 404, CD 2002. Respighi, Ottorino. Piano Quintet in F Minor, P. 35. Patrizia Prati, piano, and Quartetto di

Venezia, string quartet. Aura Classics 0416, CD 2000.

Respighi, Ottorino. Piano Quintet in F Minor, P. 35. D. Ambache, piano, and The Ambache, string quartet. Chandos CHAN 9962, CD 2001.

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Respighi, Ottorino. Piano Quintet in F Minor, P. 35. A. Cabassi, piano, and Five Lines, string quartet. Amadeus AM 254-2, CD 2011.

Fantasia Slava, P. 50 (1903) Respighi, Ottorino. Fantasia Slava, P. 50. G. Tozer, piano, and E. Downes, conductor.

Chandos CHAN 9311, CD 1994. Respighi, Ottorino. Fantasia Slava, P. 50. M. Palumbo, piano, and A. Bassi, conductor.

Tirreno TIR 013, CD 1994. Respighi, Ottorino. Fantasia Slava, P. 50. K. Scherbakov, piano, and H. Griffiths, conductor.

Naxos 8.553207, CD 1995. Respighi, Ottorino. Fantasia Slava, P. 50. D. Scuccuglia, piano, and F. La Vecchia, conductor.

Brilliant Classics 94394, CD 2013