Cinque Pezzi (1930)*
Pensiero nostalgico (1931)*
String Quartet in C major (1932)*
Salmo di David (1933)*/***
Sinfonia da camera (1933)**
***Sabina von Walther (soprano); Ensemble Überbrettl / Pierpaolo Maurizzi (piano)
***Latin text and English/Italian translation.
Naxos 8.574049 [83’05”]
Producer Giovanna Salviucci Marini
Engineer Tommaso Tacchi
Recorded *23-25 July 2017 at Sala dei Concerti di Palazzo Chigi Saracini, Sienna and **4-7 October 2018 at Teatro degli Atti, Rimini
Written by Richard Whitehouse
What’s the story?
Naxos continues its inestimable series devoted to Italian music of the twentieth century with this disc of mainly first recordings by Giovanni Salviucci (1907-1937) – a largely forgotten composer, whom his contemporary Goffredo Petrassi once referred to as ‘‘the best of us all’.
What’s the music like?
Although his composing career lasted barely a decade, Salviucci left several notable works across most major genres. Of those pieces included here, earliest is the Five Pieces for violin and piano – appealing if expressively unvaried music, from which only the lively Alla Festa hints at his later rhythmic ingenuity. Each of them, though, would make an attractive encore; as too would Nostalgic Thought for cello and piano, or Psalm of David for soprano and piano – verse from Psalm 61 with its roots in a modality also drawing on French and Italian sources.
Just before this latter piece, Salviucci achieved something of a breakthrough with his String Quartet. The fast-slow-fast trajectory may yield no obvious surprises, but beneath the intently contrapuntal surface of its outer movements is a quixotic handling of tonality that offsets any risk of predictability. The highlight (in every sense) is the slow movement, an Adagio whose suffused eloquence and finely wrought rhetoric transcend Salviucci’s earlier music. That the piece is unpublished is something this excellent recording should go some way to remedying.
The other two pieces have previously been recorded, which hardly makes them familiar. Its scoring for 17 instruments suggests that the Chamber Symphony may have been conceived with knowledge of Schoenberg’s eponymous work, even though Salviucci’s approach to the balance between wind and strings is less combative and more pragmatic. Outer movements combine rhythmic incisiveness with a harmonic lambency redolent of Vaughan Williams, while the heartfelt Adagio and piquant scherzo confirm an ongoing process of maturation.
A process culminating in the Serenade that was Salviucci’s last completed work. Scored for nine instruments, its textural clarity and harmonic astringency suggest increasing familiarity with the composer’s inter-war contemporaries (Italian and otherwise), and if the lively outer movements are almost too succinct for their motivic ingenuity fully to register, the Canzona elides between soloistic and ensemble writing with deft mastery. The Venice premiere, four days after Salviucci’s death, must surely have rendered the loss of such potential more acute.
Does it all work?
For the most part. Salviucci’s earlier music may be notable more for fluency of technique, but the composer’s idiom evolved apace over his few remaining years, so that one is left only too aware of what he might have gone on to achieve in the very different cultural climate of post-war Italy.
The performances by the excellent Ensemble Überbrettl leave little to chance, with Pierpaolo Maurizzi as astute in direction as he is a pianist. Sound is just a little confined in the chamber works, while Giordano Montecchi’s notes provide a valuable biographical overview.
Is it recommended?
Indeed. Salviucci was already a composer to reckon with, and this generous selection makes an ideal introduction to his music. Hopefully Naxos will now turn to the handful of orchestral works that he completed: in the meantime, the present release should be acquired forthwith.
For more information on this release and to purchase in multiple formats visit the Naxos website