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ROMANZAS FOR CLARINET AND PIANO BY

ERNESTO CAVALLINI, A LECTURE

RECITAL, TOGETHER WITH

THREE OTHER RECITALS

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Mark Stanton Hollingsworth, B.M., M.M.

Denton, Texas
December, 1989
 Hollingsworth, Mark S., Romanzas for Clarinet and

Piano by Ernesto Cavallini: A Lecture Recital Together

with Three Other Recitals. Doctor of Musical Arts

(Clarinet Performance), December 1989, 95 pp., 18 figures,

bibliography, 40 titles.

The lecture was given on September 25, 1989. The

discussion dealt with the stylistic characteristics of

music for clarinet by Ernesto Cavallini and included a

performance of four romanzas: La Calma, Un Pensiero,

L'Incudine, and Lontano dalla Patria.

Cavallini was the foremost clarinet virtuoso of

the nineteenth century as well as a prolific composer

of music for his instrument. The works presented in

the lecture represent Cavallini's proclivity for a

performance style combining virtuosity with lyrical

expression.

Copies of the original publications of Cavallini's

romanzas were obtained from the Biblioteca del Conserva-

t o r y , "Giuseppi Verdi," Milan, Italy.

In addition to the lecture recital, three other

recitals for solo clarinet were given. The first recital

was given on October 29, 1984, and included works by

Carl Maria von Weber, Leslie Bassett, Halsey Stevens,

and Carl Reinecke. The second recital was given on

July 29, 1985, and included works by Bernard Heinrich

Crusell, Halsey Stevens, and Johannes Brahms. The third

recital was given on October 3, 1988, and included works

by Saviero Mercadante, Eugene Bozza, and John Ireland.

All four recitals were recorded on magnetic tape and

are filed, along with the written version of the lecture

materials, as a part of the dissertation.

 Copyright by

Mark Stanton Hollingsworth

1989

111
 TABLE OF CONTENTS

Page

LIST OF FIGURES v

PERFORMANCE PROGRAMS

First solo recital vii

Second solo recital viii

Third solo recital ix

Lecture recital x

Chapter

I. INTRODUCTION 1

II. ERNESTO CAVALLINI: CLARINETIST

AND COMPOSER 4

III. CAVALLINI f S ROMANZAS AND CHARACTER

PIECES FOR CLARINET 17

IV. SUMMARY 49

APPENDIX I 51

APPENDIX II 57

BIBLIOGRAPHY 93

IV
 LIST OF FIGURES

Page
Figure

Form and Key Associations in Cavallini's

Romanzas . 25
2. Thematic Differences in Caprice, Op. 4,
No• 4/ and La Calma . . . . . . . . . . . 28
Motivic Cell Transformation and Phrase
Structure in La Calma 29
4. Transition to the B Section of La Calma. . 29
5. Three Phrase Melody in the A Section of
Un Pensiero . 32
Transition to the Key of B Major in
Un Pensiero 33
Clarinet Melody in the Interlude of
Un Pensiero 34
Transition to the Virtuoso Section of
Un Pensiero 35
9. Clarinet Cadenza and Closing Phrase in
Un Pensiero 36
10. Comparison of Clarinet Thematic Material
in L'Incudine 38
11 . Approach and Departure of the Secondary
Theme in the First Section of L'Incudine, 40
12. Anvil Effect in the Piano Accompaniment in
the First Two Sections of L'Incudine. . 41
13. Clarinet Arpeggio Figures in the Coda of
L'Incudine 41
 List of Figures, Continued

Page
Figure

14. Progression to Virtuosity in the Clarinet

Thematic Material of Lontano dalla Patria. . 43

15. Clarinet Motivic Comparison in the First

Section of Lontano dalla Patria 44

16. Chromatic Mediant Harmony in the First

Section of Lontano dalla Patria 45

17. Thematic Contrast in the Second Section of

Lontano dalla Patria 46

18. Clarinet Cadenza and Closing Material in

Lontano dalla Patria 48

VI
 North Texas State University
School of Music
Graduate Recital

MARK HOLLINGSWORTH, Clarinet

Assisted by:
Judy Fisher, Piano
Donna Meinecke, Piano
Dennis Houghton, Horn

Monday, October 29, 1984 5:00 p.m. Concert Hall

Concerto f o r Clarinet
i n F Minor Opus 73 Carl Maria von Weber
Allegro moderato
Adagio
Rondo, a l l e g r o

Soliloquies f o r Solo B - f l a t C l a r i n e t Leslie Bassett

Fast, aggressive, d r i v i n g , dramatic
Flowing, singing
Fast, abrasive, contensious
Slow, l y r i c a l , expressive

Suite f o r C l a r i n e t and Piano .Halsey Stevens

Allegretto
Adagio
Bucolico, pesante
Moderato con moto

T r i o in B - f l a t Opus 274
C l a r i n e t , Horn and Piano. .Carl Reinecke
Allegro
A Tale, andante
Scherzo, a l l e g r o
Finale, a l l e g r o

Presented i n p a r t i a l f u l f i l l m e n t of the
requirements f o r the degree o f
Doctor of Musical Arts

vii
 North Texas State University
School of Music
Graduate Recital

MARK HOLLINGSWORTH, Clarinet

Assisted by
Donna Tan-Meinecke, Piano
Jane McCormick, Cello

Monday, July 29, 1985 8:15 p.m. Concert Hall

Introduction and Variations on a u

Swedish Air Opus 12 Bernhard Heinrich Crusell

Concerto for Clarinet and .

String Orchestra Halsey Stevens
Andante non troppo, allegro
Quasi adagio
Allegro moderato

Trio in A Minor for Piano, Cello

and Clarinet Opus 114 Johannes Brahras
Allegro
Adagio
Andantino grazioso
Allegro

Presented in partial fulfillment of the

requirements for the degree of
Doctor of Musical Arts

Y1X1
 presents
Graduate Recital

MARK HOLLINGSWORTH, Clarinet

Dennis Boe, Piano

Concerto in B-flat for Clarinet and

Chamber Orchestra Saverio Mercadante

A11egro maestoso
Andante con variazioni

Concerto for Clarinet and Chamber

Orchestra or Piano. . . . . Eugene Bozza

A11egro moderato
Andantino
Vif

Fantasy-Sonata lre1anc*

Presented in partial fulfillment of the

requ i rements for the degree of
Doctor of Musical Arts

MONDAY, OCTOBER 3, 1988

CONCERT HALL
6:30 p.m.

IX
 mmmimmmmmvm

presents

Lecture Recital

MARK HOLLINGSWORTH> Clarinet

Assisted by
Rose Marie Chisholm, Piano

R0MANZA5 FOR CLARINET AND PIANO

BY

ERNESTO CAVALLINI

La Calrna, Romanza senza Parole Ernesto Cavallini

(1807-1874)
Un Pensiero, Romanza

L' 1 ncrud i ne, Romanza A11 egor i ca

Lontano da 11a Patr i a, Romanza

Presented in partial fulfillment of the

requirements for the degree of
Doctor of Musical Arts

MONDAY, SEPTEMBER 25, 1989

CONCERT HALL
6:30 P.M.
 CHAPTER I

INTRODUCTION

The clarinet gradually gained a place in the orchestra

during the eighteenth century and developed into a viable

solo instrument by 1800. The Mannheim Court was a major

center of the developing art of clarinet playing due to

the compositional efforts of Johann and Karl Stamitz and

the virtuosic performance abilities of clarinetists Joseph

Beer and Franz Tausch. The Mannheim acceptance of the

clarinet took hold throughout Germany and Austria and

spread quickly to other European musical centers. Towards

the end of the eighteenth century the clarinet became a

prominent member of the orchestra and also gained acceptance

as a chamber and solo music instrument.

Many clarinet virtuosi were also competent composers.

Anton Stadler (1753-1812) of Austria and Xavier Lefevre

(1763-1829) of France contributed to the development of

nationalistic styles of clarinet performance, which in turn

influenced the clarinetists of the nineteenth century. 1

1. F. Geoffrey Rendall, The Clarinet, rev. by Philip Bate

(London: Ernest Benn Ltd., 1971), 82.
The popularity of the instrument grew until clarinetists

were receiving training throughout Europe. For example,

in 1795, the Paris Conservatory employed twelve clarinet

2
instructors to teach 104 students.

Although the clarinet was used in Italy during its

early development, an Italian school of clarinet virtuosity

was not established until the mid-nineteenth century. The

major Italian clarinet virtuoso of this period was Ernesto

Cavallini.

Cavallini was well respected throughout Europe as a

virtuoso performer. In addition to his performing talents

he was also a prolific composer of clarinet music. Caval-

lini's influence as a performer was extensive; however, most

of his compositions have not retained popularity and have

not remained in publication. Only two works, Thirty Caprices

for Solo Clarinet and Adagio and Tarantella, have remained in

consistent use in the twentieth century. The caprices were

originally published as five sets of Sei capricci per clari-

netto solo each with separate opus numbers, 1 through 5 (the

only works by Cavallini that bear opus numbers).

2. John Williams Peterson, The Virtuoso Clarinet: Arrange-

ments from Nineteenth-Century Italian Opera (DMA diss.
North Texas State University, 1977, Denton, TX), 3.
 The caprices were written during Cavallini's student

years and early career in Milan. His later compositions

for clarinet, including Adagio and Tarantella, involved

piano or orchestral accompaniment and chamber music. The

style of his accompanied clarinet works, however, relates

directly to the caprices in the treatment of melodic mate- ,

rial and in the element of virtuoso display. His preference

for a bravura style continued in his later compositions,

the romanzas and character pieces for clarinet and piano,

published while he was clarinetist in the court and theatre

orchestras of St. Petersburg.

The purpose of this lecture recital, the presentation

and performance of romanzas for clarinet by Cavallini,

reguired research in several areas, including Cavallini's

career as a clarinetist and composer, the history of

romanza composition, and analysis and stylistic comparison

of Cavallini's works in relation to the virtuoso style of

the nineteenth century.

 CHAPTER II

ERNESTO CAVALLINI: CLARINETIST AND COMPOSER

Cavall irti ' s Early Career in Milan

Ernesto Cavallini (1807-1874) was one of the foremost

clarinet virtuosos of the nineteenth century. He was well

known throughout Europe as a solo performer and composer

during a period when piano and violin virtuosity over-

shadowed the capabilities of other instruments. Caval-

lini 's solo career surmounted all other clarinetists of

his day with the exception of Heinrich and Karl Baermann.^

Cavallini was born in Milan, the city which became

the center of his musical accomplishments. He was a member

of a musical family: his brother Eugenio was an accom-

plished violinist and his brother Pompey was a British

bandmaster. Cavallini entered the Milan Conservatory, at

the age of 10, as a student of Benadetto Carulli, principal

clarinetist of the La Scala Orchestra. In 1830 he accepted

the solo clarinet position of La Fenice Theatre, in Venice,

and later became a member of the Piedentesse Regiment Band.

1. Napoleon Cerminara, "Ernesto Cavallini," (The Clarinet,

No. 25, Winter 1956-57), 20.
Cavallini returned to Milan after a short stay in Venice

and joined the La Scala Orchestra as second clarinetist

2
under his former instructor, Carulli.

The year 1837 marked the beginning of Cavallini's

career as a soloist. He embarked on an extensive per-

forming tour of Italy with his brother Eugenio, who was

concertmaster of the La Scala Orchestra. Cavallini

returned from this tour to succeed Carulli as principal

clarinetist at La Scala. in 1846 he was appointed Profes-

3
sor of Clarinet at the Milan Conservatory.

Cavallini composed and published several works for

clarinet during his tenure at La Scala. Compositions

included five volumes of caprices for clarinet solo,

duets for clarinets, several operatic fantasias and other

sets of variations on operatic material. Cavallini per-

formed extensively throughout Europe during holidays from

his duties in Milan. He was a popular and greatly respected

performer in London, Paris, and Vienna and often performed
4
his own works.

2. Pamela Weston, More Clarinet Virtuosi of the Past

(London: Halston and Co. Ltd., 1977), 68.

3. Weston, op. cit., 69.

4. Wallace R. Tenney, "Ernesto Cavallini, Paganini of the

Clarinet," (Woodwind Magazine, December 1949, Vol. 2,
No. 4), 7.
 Cavallini's Later Career in St. Petersburg

Cavallini relinquished his positions in Milan in 1852

in favor of principal clarinet positions in the court and

theatre orchestras of St. Petersburg, a position he held

until 1867. He was also Professor of Clarinet at the

St. Petersburg Conservatory from 1862 to 1870. 5 Although

the duties of his new position precipitated the end of

his touring career, Cavallini continued to compose music

for clarinet. His clarinet compositions from this period

included duos for clarinets, duos for clarinet and flute,

fantasias and other variation-type works, and romanzas and

character pieces for clarinet and piano.

Cavallini returned to Milan in 1870 as an honorary

Professor of Clarinet at the Conservatory. He retained

this position until his death in 1874.6

Cavallini's Influence as a Clarinetist

Ernesto Cavallini's extensive career as an orchestral

musician and soloist established an Italian school of

clarinetistry which influenced performers throughout the

nineteenth century. Cavallini's early training in the

5. Weston, op. cit., 69.

6. Weston, op. cit., 69.

opera orchestra of La Scala was the major influence in

his style of virtuosic display. His bravura style of

playing was admired by Italian opera composers. This

admiration resulted in the composition of prominent

clarinet solos in operas such as the obbligato and

cadenza in the third act of Giuseppe Verdi's La Forza

del Destino.

Nineteenth-century operatic style made use of exten-

sive vocal technique within a dramatic context. The

competition to dazzle audiences with fiery cadenzas and

brilliant ornamentation was common practice among singers.

Wind instrumentalists displayed virtuosity in a similar

manner by using operatic fantasias and variations on

operatic melodies, often at the expense of tone and

musicality. Cavallini's approach to solo virtuosity

was a good example of this operatic-influenced style.

He was praised for his tremendous facility in executing

difficult passages in fingering and articulation, yet

he often was criticized for poor tone quality and intona-

tion which was especially evident in slow passages. This

criticism eventually became a divided issue as his tone

quality was praised by the French but denounced by the

English. The English clarinetist, Henry Lazarus (1815-1895),

praised Cavallini for his unapproachable technique but

felt his tone quality suffered in favor of virtuosic

7

display.

Cavallini was a frequent performer in Paris, where

he was well received by musicians and critics; he was

honored in 1842 with membership in the "Academie des
8

Beaux Arts." An extensive biography on Cavallini was

written by the French critic Francois Joseph Fe'tis

(1784-1871) in the Biblioqraphie Universelle des Musi-

ciens et Biblioqraphie Gene'rale de la Musique, while the

biography on the major French clarinetist of the day,

• 9
Hyacinthe Klose (1808-1880), was significantly shorter.

The differences in opinion of Cavallini's tone

quality were in part due to the mechanics of his instru-

ment. The clarinet used by Cavallini throughout his

career was a simple six-key instrument of yellow boxwood,

an instrument considered very outdated and impractical

for his time. Although a significant number of clarinetists

7. F. Geoffrey Rendall, The Clarinet, third edition rev.
by Philip Bate (Ernst Benn Ltd., 1971), 112.

8. Cerminara, op. cit. , 22.

9. Franpois Joseph Fe'tis, Biblioqraphie Universelle des

Musiciens et Biblioqraphie Ge'n^ral de la Musique,
Library de Firman Didout, Deuxieme edition, 8 vols.
(Paris: Feres, Fils et cie., 1867), Vol. 2, pp.
228-229.
used this system, multi-key clarinets were introduced

early in the nineteenth century and eventually replaced

the older simple key systems.^ Iwan Miiller introduced

a thirteen-key clarinet in 1812 which was accepted and

11 /

became readily available by 1835. Hyacmthe Klose and

Auguste Buffet successfully collaborated on the production

of a multi-key and ring system from 1839 to 1843. Their

collaboration resulted in the instrument which became the

12
prototype for the Boehm System clarinet. The Plana and
Miaro companies of Milan also produced clarinets with more
. . 13
than six keys during Cavallini's early career.

Cavallini's preference for a simple six-key clarinet

remains a curiosity as he had been exposed to more refined

systems in Italy and throughout Europe. The multi-key

systems were designed not only to improve technical facility,

but also to eliminate stuffy cross-fingerings which often

created intonation problems. The criticism of Cavallini's

tone, therefore, arose due to the noticeable differences

10. Adam Carse, Musical Wind Instruments (New York:

Da Capo, 1965), 156.

11. Carse, op. cit., 158.

12. Rendall, op. cit., 97.

13. Carse, op. cit., 162.

 10

in sound between the simple outdated system and the multi-

key clarinets favored by other performers. Cavallini

also favored a style of performance requiring the reed

placed against the upper lip, a style characteristic of

the Italian school of clarinet playing which existed well

14
into the twentieth century. Tone quality differences

were significant between the two styles of reed placement,

particularly in articulated passages.

Cavallini was often compared with another nineteenth-

century virtuoso, Nicolo Paganini (1782-1840). His career

paralleled that of the great Italian violinist, although

the two did not maintain a professional association. Both

musicians made virtuosity the foremost aspect of their

performance styles, possessed eccentric personality traits

15
and often were criticized for playing to the gallery.

Cavallini often demonstrated this sort of eccentric show-

manship: At a concert with orchestra in Spain, Cavallini

walked onto the stage without a clarinet. During the

14. Oskar Kroll, The Clarinet, rev. Diethand Reim, trans.

Hilda Morris, ed. Anthony Baines (New York:
Taplinger, 1968), 28.

15. Robert W. Flodin, The Meaning of Paganini (San Fran-

cisco: Morgan Printing Co., 1953), 3.
 11

orchestral introduction he assembled his instrument by

pulling pieces of it out of various pockets. He completed

the assembly briefly before he had to play the first notes

10
of the clarinet solo. Showmanship aside, he was contin-

ually cited for his high level of expression and inexhaust-

ible air supply.^

Both Cavallini and Paganini were composers, their

compositional contributions primarily containing works

for their individual instruments. Both virtuosi claimed

caprices as Opus 1. The similarities between the two

performers became so obvious and numerous that Cavallini

1R
became known as the "Paganini of the Clarinet."

Cavallini's influence as a virtuoso performer

extended through the nineteenth century. In 1866 the

Spanish clarinetist, Antonio Romero, wrote of Cavallini

in the preface to the third edition of his Clarinet

Method: ". . . a n admirable artist, gifted with a prodigy

of skill infingering as well as his rapidity of Articu-
. 1 9
lation." Cavallini's influence and prestige were

16. Tenney, op. cit., 10.

17. Flodin, op. cit., 8.

18. Rendall, op. cit., 112.

19. Tenney, op. cit., 10.

 12

continued by the twentieth-century Italian clarinetist

Alamiro Giampieri,who revised the Thirty Caprices as well

as several accompanied works for clarinet by Cavallini.

Cavallini As a Composer

Ernesto Cavallini was a prolific composer of clarinet

music. His output was typical of a virtuoso composer

consisting mainly of solo works for his instrument which

displayed virtuosity. The title pages of most of Caval-

lini' s published works include dedications to various

associates. Cavallini dedicated several pieces to his

teacher, Benedetto Carulli, and to his brother Pompey

Cavallini, who held a position as a military bandmaster

in England. Other dedications included the composer

Saviero Mercadante, publisher Carlo Canti, fellow clari-

netist Antonio Romero, and various aristocrats including

the Contessa Sofia Franceschi, Don Jose Cruz, and the

Grand Duchess Elene of Russia. The variety of nation-

alities found in Cavallini's dedications illustrates the

widespread success of his international career.

The
Thirty Caprices, Opp. 1-5. represent the only

examples of music Cavallini wrote for unaccompanied clari-

net. He published several sets of duets for two clarinets

as well as duets with piano accompaniment. However, the

 13

major portion of his compositional output falls into two

performance categories:

1. clarinet with orchestra or piano

2. clarinet with piano

The first category includes operatic fantasias and sets

of variations. Separate accompaniments with orchestra

or piano were published simultaneously. Cavallini com-

posed thirteen works of this genre between the years

1840-1863. 20

Operatic fantasias were an important performance

outlet for the nineteenth-century virtuoso composer.

Cavallini's career as an opera orchestra clarinetist

provided exposure to the music of the major opera com-

posers of his day, including Bellini, Donizetti, Meyer-

beer, Rossini, and Verdi. Cavallini borrowed material

from all of these composers for his fantasias and varia-

tion works. Another Italian opera composer, Saviero

Mercadante, was a close associate of Cavallini's and pro-

vided material for one work, Andante e Variazioni (1845),

Cavallini also dedicated a set of duets to Mercadante.

Cavallini composed only two works for clarinet with

specific orchestral accompaniment: the Concerto in E*3,

20. Publication dates listed by the Biblioteca del

Conservatorio, Milan.
 14

written during his student years in Milan, and the Con-

certo in C minor, written during his early years in the

21
La Scala Orchestra. Cavallini's orchestrations were

simple for his time, and instrumental usage reflected the

size of the La Scala orchestra. Aside from the usual

complement of strings, his orchestrations usually con-

tained parts for one flute, pairs of oboes, clarinets,

bassoons, horns and trumpets, two or three trombones, and

tympani. The only deviation from this instrumentation

occurred in two of Cavallini's variation works: A part

for serpent in place of trombone in the Andante e Variazioni

(1845) (on a theme of Mercadante) and a part for tamburo

in place of tympani in the variations on L'Elisir d'amore

(1840) .

The second category, works for clarinet and piano,

represents the largest section of Cavallini's compositional

output. He included, in this genre, fantasias and variations

as well as shorter romanzas and character pieces. The non-

fantasia works number sixteen and are based on Italian folk

melodies, such as Barcarola (1860), and Adagio e Taran-

tella, or bear descriptive titles: La Calma (1860),

21. Louis Vincent Sacchini, The Concerted Music for the

Clarinet in the Nineteenth Century (Ann Arbor:
University Microfilms, 1980), 69.
 15

L'Incudine (1860), Lontano dalla Patria (1860), Una Laqrima

sulla Tomba dell immortale Rossini (1870).

Other works with piano accompaniment include two

duets for two clarinets and piano, La Bacana and Grand

Duet on Motives from L'Africana (1865); and three selec-

tions for clarinet, flute and piano, Reverie Russe (1865),

and duos based on operas Faust and Norma. Cavallini com-

posed several works for clarinet solo with varied instru-

mental accompaniment, but only one true work of chamber

music where the clarinet functions equally with other

instruments, the Trio for flute, clarinet, oboe and piano.

Cavallini did not compose sonatas or chamber music

other than the Trio, typical of a virtuoso composer whose

main intention was to dazzle audiences. His early attempts

at concerto composition proved not as successful as his

fantasias or character pieces which were more readily

accepted by nineteenth-century audiences attending concerts

of wind music. Cavallini also contributed to another nine-

teenth-century musical genre, the art song, composing

several single works and collections for one or two voices

with piano.

Cavallini used similar compositional techniques for

most of his clarinet music. Embellished principal themes

were most often scored in the clarion register while slow

 16

melodies of variation forms were scored in the chalumeau

register. A rapid scale passage usually served as a

bridge to a well-known opera theme or recapitulation of

22
an original theme. Generally, Cavallini's style was

long and repetitious, dwelling on passages of technical

23
flourish as opposed to melodic development.

Although Cavallini was highly regarded as a virtuoso

clarinetist, he failed to achieve the same status as a

composer. He was not a symphonic or operatic composer,

nor did he produce solo virtuoso works in the manner of

Chopin or Liszt; consequently, he failed to achieve an

important rank in the history of nineteenth-century music.

Cavallini was influenced by elements of drama and musical

expression inherent in opera of his day, but his composi-

tions were based primarily on models of pre-existing

melodies as opposed to the development of a personal style.

Only a few of Cavallini's works have survived publication

in the twentieth century. These include the Thirty Caprices,

Adagio and Tarantella, Fiori Rossiniani, Adagio Sentimen-

tale, Serenata, and Six Grand Duets dedicated to Mercadante.

22. Cerminara, op. cit., 22.

23. Tenney, op. cit., 10.

 CHAPTER III

CAVALLINI'S ROMANZAS AND CHARACTER

PIECES FOR CLARINET AND PIANO

History of the Romanza

The term Romanza (Italy), or Romance (Spain),

originally applied to a vocal ballad. The designation

existed as a standard descriptive title as early as

the fifteenth century. French and German composers

later developed the concept of romanza to include songs

with an extravagant, sentimental or romantic text

constructed in either prose or strophic verse. The

style of eighteenth-century romanzas broadened to

include instrumental music which expressed lyricism

and romantic qualities.

Instrumental romanzas were usually found as slow

movements of concertos and symphonies constructed in

rondo, ABA or variation form. The melodic style of

orchestral romanzas featured simple binary themes. The

earliest instrumental work to contain a movement bearing

the title "Romanza" was Gossec's Symphony in E b . Op. 5

17
 18

No. 2 (Paris, 1761)•^ Mozart included the title in the

slow movement of the Serenade, K. 525 (Eine Kleine Nacht-

musik) and the earlier Piano Concerto in D minor, K. 466.

Mozart's concerto romance was constructed in rondo

form with a simple unembellished primary theme. Mozart

contrasted this simple melody with a highly technical

virtuoso section after which the still unembellished

primary theme returns. Mozart used similar procedures

in other piano concerti, C minor, K. 491 and B*3 major, K. 595,

but did not include the designation "Romanza." This

compositional style, however, was pervasive in many later

instrumental romanzas.

The instrumental romanza gained independence in

the nineteenth century as an individual structure.

Beethoven composed two solo romances for violin and

orchestra, Opp. 40 and 50, which served as models of

expressive lyricism. The most frequent use of the title

for instrumental music was applied to single movement

character pieces of a predominantly lyrical nature, for

piano or piano and solo instrument. The vocal romanza

existed as well, but the instrumental counterpart to this

1. Roger Hickman and Jack Sage, "Romance," The New Grove

Dictionary of Music and Musicians, 6th edition, 20 vols.,
ed. by Stanley Sadie (London: Macmillan, 1980), Vol. 16,
pp. 121-126.
 19

form,"Romanza senza parole" (Song without words), became

a popular performance medium for pianists. Mendelssohn's

Songs Without Words exhibit a typical style associated

with this type of romanza. The short piano pieces depict

a single mood or idea and maintain necessary lyrical

qualities inherent in the romanza. Schumann's Drei

RomanzemOp. 28, for oboe and piano, emphasizes lyricism

but does not correspond to a specific formal pattern.

Thus, the romanza of the nineteenth century evolved into

an independent musical structure without formal restric-

tions in which a composer could portray the expressive

nature of an instrument or melodic idea.

Cavallini's Romanzas and Character

Pieces for Clarinet

Cavallini composed several works for clarinet and

piano which contain similar stylistic traits of earlier

romanzas and character pieces. All were composed during

his later career in St. Petersburg (1852-1870) and pub-

lished by Giovanni Canti. The Canti firm of Milan

existed from 1835 to 1878 and was best known as Giuseppe

Verdi's first publisher. One of Verdi's early works

published by Canti was an album of vocal romances,

 20

Sei Romances (1838) as well as a later Romanza senza

Parole (1865) for piano.2 Cavallini's vocal romances

also were published by the same firm. Canti apparently

was concerned with the publication of shorter expressive

pieces while Cavallini's fantasia works from the same

decade, 1860-1870, found distribution through publishers

Lucca or Ricordi.

The largest, most complete collection of Cavallini's

works exists in the Biblioteca del Conservatorio di

Musica, "Giuseppe Verdi," in Milan. Included in this

collection are the first editions of the romanzas and

character pieces published during Cavallini's St. Peters-

burg period. Extensive lists of Cavallini's music also

exist in nineteenth-century sources by Francois Joseph

Fetis^ and Adolph Hofmeister^ as well as twentieth-century

2. Richard MacNutt, "Giovanni C a n t i T h e New Grove

Dictionary of Music and Musicians, 6th edition, 20
vols., ed.by Stanley Sadie (London: Macmillan, 1980),
Vol. 3, p. 721.

3. F r a n c i s Joseph Fe'tis, Biblioqraphie Universelle des

Musiciens et Bibliographie G^ndrale de la Musique,
Library de Firman Didout, Deuxieme edition, 8 vols.
(Paris: Feres, Files et cie., 1967), Vol. 2,
pp. 228-229. .

4. Adolph Hofmeister, Handbuch der Musikalischer

Literatur, ed. F. Hofmeister, 19 vols. (Leipziq
1844-1860), V. 1 , 98-99; V. 4, 24, 56; V. 5, 3o'.
 21

sources by Franz Pazdirek 5 and Pamela Weston. 5 A compila-

tion of the lists produces only eight works for clarinet

by Cavallini not found in the Milan library, including a

romanza-related work listed by Hofmeister and Pazdirek:

Romance et Variations sur un Melodie Ve'ni t ienne, for

clarinet and piano. 7 The two sources did not include a

date or publisher; thus, difficulty arises in placing the

work chronologically in Cavallini's career.

The works held in the Milan Library, published by

Canti, number fifteen; however, only four bear the title

of "Romanza":

La Calma, Romanza senza Parole

Un Pensiero, Romanza

L'Incudine, Romanza Alleqorica

Lontano dalla Patria, Romanza

The title pages of each romanza contain the inscription

"Clarinetto Solo di S.M. 1 1 Imperature di tutte le Russie."

Other achievements by Cavallini are mentioned on the

5. Franz Pazdirek, Universal Handbuch der Musik Literatur,

11 vols. (Wien: Pazdirek, 1904-1912), Vol. 2, pp. 11-12

6. Pamela Weston, More Clarinet Virtuosi of the Past

(London: Halston and Co., Ltd., 1977), p. 69.

7. See Appendix I.
 22

title pages, including his appointment as professor at the

St. Petersburg Conservatory. The date of publication was

not included on any pages of the romanzas, but the Milan

Library lists c.1860 as the date for all the Canti publi-

cations. The publication of the romanzas, in actuality,

occurred between the years 1862 to 1870, the years of

Cavallini's tenure at the Conservatory of St. Petersburg.

Cavallini's romanzas contain a duality of composi-

tional style. The first stylistic aspect represents the

association of lyricism with the romanza. The clarinet

melodies are rhythmically simple and span a small range

of the instrument. This simplicity creates a character

similar to the syllabic melodic style of Cavallini's

vocal romances. The phrase structure of the principal

themes usually falls into concise eight-measure patterns

founded upon a short motive. This type of motive simpli-

city serves as a musically binding device to begin and

end the romanzas. The harmony also reflects simplicity.

The piano accompaniment perpetuates diatonic harmony

with few chromatic excursions. Key centers are well estab-

lished through the redundant use of tonic and dominant

pedals.

The second stylistic feature illustrates the element

of virtuosity. After the statement of lyrical themes the

romanzas proceed to contrasting sections which emphasize

 23

far more rhythmic activity as well as a wider range for

the clarinet. The more active sections often begin

abruptly; however, a more progressive style of virtuosity

also exists within some of the romanzas. This "progression

to virtuosity" involves a gradual intensification of

activity as new sections occur. Although the romanzas

begin with a simple theme, the element of virtuosity

eventually overshadows the lyrical features.

Rendering a successful performance of Cavallini's

romanzas requires consideration of the stylistic duality

for the contrast between expressive and bravura sections.

Unfortunately, the Canti publications offer the clarinetist

little help in the area of expression as the scores lack

consistent dynamic and phrase indications. The examination

of the piano scores yields some information concerning

dynamics and tempo changes; however, the major content of

musical expression remains at the discretion of the per-

former .

The principal themes of the romanzas begin with a

dynamic level of piano. Although not consistently indi-

cated, the entrance of the bravura material requires a

mode of contrast consistent with the display of technical

virtuosity, achieved through a louder dynamic level.

Occasional repetitions of bravura passages lack a

 24

reiteration, of dynamics. Aside from the obvious assump-

tion that Cavallini intended similar dynamic levels,

these areas offer the performer opportunities for expres-

sive contrast. The romanzas which contain a progression

to virtuosity offer another mode of expression through

the gradual intensification of dynamic levels in bravura

sections.

Only two romanzas bear explicit tempo indication:

La Calma, Andante sentimentale, m.m. 69, and L'Incudine,

Allegretto, m.m. 104. The assertion of tempi for the

remaining romanzas occurs by using the tempo indications

comparatively. Thus, Lontano dalla Patria, Andante sos-

tenuto, begins in a tempo similar to La Calma, while

Un Pensiero, Andantino, proceeds at a somewhat faster

rate. Areas demanding expressive rubato are occasionally

indicated but often suggested by the indication of Tempo I

without prior notice of a change of pace.

Articulation remains the most consistent notational

aspect in Cavallini's music. The use of slurs in contrast

to articulated passages demonstrate a coherent pattern

for delineating melodic accentuation as well as expression

in both bravura and lyrical sections. The articulation

indications were Cavallini's; however, the publisher, Canti,

confused the issue of articulation style by indicating all

 25

articulated rhythmic subdivisions as staccato. The sections

centering on virtuoso display certainly demand a short ,

rapid articulation style. The more lyrical thematic

areas obviously require a more connected articulation

which does not disrupt the tone quality of longer rhythmic

values. Therefore, the indication of staccato must be

regarded as a flexible technical device which changes

according to the style of a specific section.

Although the romanzas share the distinct stylistic

contrast between lyrical expression and technical vir-

tuosity, each retains an individual form (Figure 1).

La Calma

Introduction A B A Coda
C major C major D b major- D major C major
A major

Un Pensiero

Introduction A (interlude) B (cadenza) Coda

B b maj or B D major B major E major- E maj or
Bb maj or

L 1 Incudine

Introduction A B C A Coda
F minor F minor A*3 major- F major F minor F major
C major

Lontano dalla Patria

Introduction A B (cadenza) Coda

B b major B b major a-G minor B*3 major B° major
b-B*5 major
a-G minor

Figure 1 — F o r m and key associations in Cavallini's romanzas

 26

Cavallini was not concerned with the identification

of romanza style through form or the use of a predominantly

lyrical theme. The element of virtuosity clearly stands

out as the primary inspiration in Cavallini's compositions.

Thus his romanzas are single-movement, multi-sectioned

character pieces composed primarily for the display of

virtuosity.

Cavallini's other character pieces bear similarities

to the romanzas through the use of virtuosity, but also

harbor a certain distinction: The bravura element enters

earlier (in some cases at the beginning) in the pieces

without the designation of romanza. Thus, Cavallini's

other works lack the stylistic contrast or the progression

to virtuosity.

La Calma, Romanza senza Parole

C major, Andante sentimentale, m.m. 69

The title, translated as The Calm, Song Without Words,

invokes expectations of the typical romanza style of

lyricism within a single musical mood. La Calma, the

shortest romanza, begins with a lyrical theme that Caval-

lini borrowed from one of his own caprices, Op. 4 No. 4 in

 27

D major (E major for B b clarinet). 8 Cavallini used only

the opening material of the caprice as the basis for

La Calma. The initial theme was transposed to C major

and treated differently through motivic extensions and

ornamentation (Figure 2).

The principal melody evolves from a simple three-note

motivic cell first stated by the piano. The motive con-

tains the internal combination of an ascending perfect

fourth and a major second. Cavallini used various trans-

formations of the motive throughout La Calma, always main-

taining the integrity of the smaller interval but occa-

sionally changing the larger. The entire melody contains

three phrases in a ternary pattern: a b a (Figure 3).

The overall tripartite form of La Calma contains a

middle section in the foreign key of D b major. Cavallini

arrived at this key transitionally using ^VI harmony (A13)

as a dominant of D*5. Although the element of virtuosity

enters during the transition, Cavallini maintained the

development of the fundamental motivic cell (Figure 4).

8. The Capricci, Opp. 1-5, do not contain an indication of

clarinet pitch; however, the romanzas as well as most
works listed by the Milan Biblioteca del Conservatorio
specify clarinet in B*5.
 28

Caprice, Op. 4, No. 4 m. 17-26

^/"N--}
1
y •

rr
4
n -}— 0 rf * = »
ft a ' f k* - r - f - J
~ t r j -•f-
J=bd •

--/4-

3 / 4 • » r r ) *r\
—z
»5
n# ±
=Lf i
La Calma m. 24-32

i m
r
fcL
Caprice, Op. 4, No. 4 m. 26-29

^ / p \
#•

5
4b
jfc *
5 * i I I——
£
La Calma m. 69-72

frm—a > f ^

<^1S 3:
P
Figure 2--Thematic differences in Caprice, Op. 4, No. 4,
and La Calma.
 29

g I 1 c p Q r n -. . n
r * - J. /.. •• '-TN
I S

rn i ~ '^iri a

P
it
w P S i
• f | / • J—r*(ff
m

?—i r
»
ii^
=v

kj - f JJ
' 5 P r-r • • f

- 1
. f] T - . H ? r n c u

Figure 3—Motivic cell transformation and phrase structure

in La Calma.

if §
I i m

t-srcsz?--

r - ^ r_>-
Figure 4—Transition to the B section of La Calma.
 30

After the transition the piano states the principal

theme in the new key while the clarinet presents virtuosic

accompaniment. The clarinet part becomes more active in

this section containing scales and arpeggios in rhythmic

subdivisions of thirty-second and sixty-fourth notes.

The second phrase of the B section acts as a transition

to the recapitulation of the principal melody and home

key of C major. The harmonic transition occurs indirectly

through the key of A major. The two keys of the B section,

and A, become related through the enharmonic treatment

of the note (C#).

The use of virtuosic material continues in the orna-

mented recapitulation and the coda of La Calma; however,

the continuation of the bravura element does not completely

overshadow the essential lyricism of the principal theme.

Therefore, La Calma represents a union of the two stylistic

aspects, lyricism and virtuosity.

Un Pensiero, Romanza

B*3 major, Andantino

O
Cavallini used the title of this romanza (translated
as "A Thought") for a vocal work, II Pensiero, Romanza,
also published by Canti. The score of the vocal romanza,
as well as the listing by the Milan library, does not
contain a date of publication. The two works are not
 31

related thematically; therefore, one romanza was not the

inspiration of the other except in the mood suggested by

the title.

The form of Un Pensiero contains only two major sec-

tions? however, the piece maintains a similar stylistic

contrast found in La Calma. The lyrical aspect controls

the first section while the virtuoso aspect dominates the

B section. The romanza lacks a recapitulation of the

principal lyrical theme; instead, the virtuoso material

continues to the end and predominates over the lyrical

aspect. The element of virtuosity enters gradually as

opposed to a direct stylistic departure.

The piano states a brief introduction followed by a

lyrical triadic melody for the clarinet. The clarinet

melody progresses through three independent phrases modu-

lating to the relative key of G minor and returning to B*5.

The phrases are related through key association but not

through the recapitulation of previous material.

The second phrase contrasts the first, not only in

key, but also in motivic content. The phrase contains less

triadic activity as well as rests to separate motives.

The last phrase resembles the first in triadic construc-

tion, yet does not represent a true reiteration of phrase

one (Figure 5).

 32

m $
m j,,r \\(\' <r j rPklii
b/f] f z2L

p *lrf
m T" ^

» » *
a
r«f i-

i m ± Mm £BEg // =5
v »
C 'i / i

Figure 5—Three-phrase melody in the A section of Un Pensiero.

An elusive transitory passage follows the principal

theme leading to the remote key of B major. The transi-
tion begins with a French augmented-sixth chord in the
key of B*3. The following harmony suggests movement to
the dominant; however, a sudden chromatic shift, in both
clarinet and piano, directly establishes the new key
(Figure 6).
 33

• #

•#+
?•»# *
"1 7+-T

r<ill. om foco

£? £
B :b ft
•v

' Fr. +-6

i '

TP*3 Z &
h J '

-# 1

VII1 ~k73:
T"

e
P' ~ sz
3:L b
1 x x i "i
E I

> :> 7 7 /Ti

f~\ | JJ.

T t h r f h r r h T ^ b - i •- - V»* fT" i
tip1 1 4 ' [ J \;P^ 1
1
f —
caf I- raJ'-f
£>

/ r1

as
J
Vi-H ±=± f t t i m £2 M i S
w*:
$ s #-» T
+*
2 7 3 1 7/(
Vir/Vi 6: X ' - - . Vail. f . I
»-i IL.
* -*Hf 3E
? b * * K < E ?1 T^_1 1 -4-* a :
FT

Figure 6--Transition to the key of B major in Un Pensiero,

The key of B lasts briefly in an interlude which

begins a progression to virtuosity. The interlude contains

more rhythmic activity and a wider clarinet range than the

principal theme (Figure 7).

A transition follows the interlude serving as connec-

tion to the virtuoso section in E b major. French augmented-

sixth harmony appears again at the beginning of a transi-

tion, serving to establish the new key. The approach

 34

M
mw'*

Figure 7—Clarinet melody in the interlude of Un Pensiero.

to the augmented-sixth chord occurs through the enharmonic

relation of the interlude tonic chord (B major) to the b V I

chord (Cb major) of E b . The transition continues the

progression to virtuosity begun earlier (Figure 8).

The virtuoso section emphasizes technical complexity

for the clarinet through rapid scale and arpeggio passages

performed in rhythmic subdivisions of thirty-second notes.

The piano rhythm also becomes more active, yet remains

subordinate to the solo line.

The transition back to the home key occurs in a more

subtle manner than the previous examples. The mediant

note (G) of the secondary key (Eb) descends by a minor

second to form a b VI relationship to the original key

"K
of B . This altered note in turn proceeds to the domi-
nant. Although the last transition does not contain
augmented-sixth harmony, a consistency exists in the use
of chromatic mediant relationships for transitory passages.
 35

H i

* all. atempo

I If

Figure 8—Transition to the virtuoso section of Un Pensiero,

The piano introductory material returns tempo doppio

after the virtuoso section. The clarinet continues with

virtuoso material disposing of the indication of a true

recapitulation. A lengthy, bravura clarinet cadenza

follows the false recapitulation leading to a single-

phrase coda in lyrical style. Although the closing

clarinet melody retains the triadic character of the

 36

principal theme, the piano lines create tension with

chromatic movement above a tonic pedal (Figure 9).

f^

f
Figure 9—Clarinet cadenza and closing phrase in Un Pensiero,

The lyrical and virtuosic sections of Un Pensiero are

c.learly delineated, but not equally balanced. The progres-

sion to virtuosity gradually overwhelms the lyrical aspect

and reaches a climax in the clarinet cadenza. The remain-

ing lyrical phrase does little to dispel the persistent

 37

bravura character; yet, it serves to briefly remind the

listener of the lyrical aspect associated with the

beginning of the romanza.

L'Incudine, Romanza Allegorica

F minor, Allegretto, m.m. 104

L'Incudine (the Anvil) contains distinct differences

from the previous romanzas in form and compositional

style. As the title suggests, the piece musically depicts

an inanimate object as opposed to an ethereal mood. The

form of L'Incudine contains four distinct sections (A B C A)

in different, but closely related, keys. Stylistically,

the work contains thematic contrast, yet lacks the progres-

sion to virtuosity present in other romanzas.

The first two sections maintain thematic simplicity

in contrast with the virtuoso section (Figure 10). A

recapitulation of the principal theme follows the virtuoso

section, and the romanza ends with a coda in the relative

major key.

The first section contains three thematic areas

arranged a (repeated) b a codetta. The first theme,

constructed from a simple two-measure motive, does not

project the similar qualities found in the opening material

 38

of the other romanzas. The theme contains more disjunct

movement and rests separating each two-measure motive.

t t
B E i ikm
^ , 1 1
. I— — J, I
P~ vI
f
M = L "I 1
i), i
f v N -
ty ' ' •
r
| /1
,
' LJ- 7
B
I L
. • • * * * * ^ - L *

f H Stf"* f-f~ ^ — 1
Jwfe—^ j - —.J Ffq
•CL> ' ^ U: !w
± E E - "1 S£
lolce
*
j—i. «— ** —
[.. . '#^l
F ^ F M= T *= : 1 F F I U }•
. j-sts^
— 7/ — •?-
r™
4 ' =
# -
--4-- — » 4 SJ-
f W
•Hrr-f—x—t—

±: . i- £ * M :+
A
s
m S 3

,
m—It- P: — < z
± ± F * T'F \
—

• F F1 . — 1 \»
•V M A " -/C- j
HY ik h
X H 3 P
I 53= J I I »< >
•

in
L1Incudine,
 39

The b theme enters in the key of E major. The

theme serves to expand the clarinet range and perpet-

uate the angular melodic quality. Although the use

of a half-step key relationship alludes to previous

techniques, the direct chromatic approach bears little

similarity to the transitions in La Calma or Un Pensiero.

However, the return to the a theme contains familiar

augmented-sixth harmony in a short transition (Figure 11).

The second section begins directly in the relative

major key, A b . The section continues the stylistic

qualities of the principal theme, yet contains a dif-

ferent phrase structure: a a b. The b theme contrasts

the a material -with an abrupt entrance of ornamented

clarinet motives and a change of key to C major. The

new key remains intact until the end of the second section.

The piano presents the allegorical material asso-

ciated with the title of the romanza in the first and

second sections. The bass clef line contains reiterated

tonic or dominant pedals on the first downbeat of every

measure. The pedals are followed by repeated eighth-

notes on a higher pitch. This style of bass repetition

creates a "hammering" effect to portray the sounds of an

anvil being struck (Figure 12).

 40

Direct approach to E major

•>*/•- f tr*.*

if" i i j W n i u ^ g

M ii
$ r
i
r r T r
h ;
T
3tr r r f.
EE 3 = 3 - 1 -*r jh J *' j
•'
f f f E; 'I ¥
Augmented-sixth harmony

4± J}£~bf. k - >
k-is4

"5 °f
I
Er
¥
I S WO To

4# r-H fr* • *
O ' V . b,
w.
E: '3Z* w w y - g T¥
1
f: * 3 1 Ge.*+b
S S

Figure 11—Approach and departure of the secondary theme

in the first section of L'Incudine.

The clarinet virtuoso section/ in F major/ portrays

the anvil effect through a motive beginning with a

rapid ascending arpeggio and ending on a pair of high

notes (see Figure 10). Unlike the previous sections,

 41

/rh
p ai
^ m
/

i i
t- r f
-7^-

3 "FIT f t * »' r » 1" ?• t

T F F
Figure 12—Anvil effect in the piano accompaniment in the
first two sections of L'Incudine.

the virtuoso area does not contain contrasting melodic

material or modulations. The third section ends abruptly

after one repetition of the bravura material.

The first section returns directly in the original

key (F minor) with one statement of the principal theme.

A transitory passage leads to an extensive coda in F major,

The coda contains arpeggiated figures reminiscent of the

virtuoso section, but without the anvil effect (Figure 13).

S S

Figure 13—Clarinet arpeggio figures in the coda of

L'Incudine.
 42

Although the coda begins at a faster pace and contains

elements of virtuosity, the tempo gradually slows to the

end. Thus, the virtuoso effect becomes less important

as the romanza concludes.

L'Incudine contains less stylistic contrast than

the other romanzas. The separate sections portray dif-

ferent musical characteristics through melodic contrast

and the insertion of selective virtuosic elements. The

lack of a predominant lyrical theme stands out as a major

difference in L'Incudine when compared with Cavallini's

other romanzas.

Lontano dalla Patria, Romanza

k 3
B D major, 4, Andante sostenuto

Lontano dalla Patria (Far From the Homeland) represents

a culmination of various stylistic features found in the

previous romanzas. A progression to virtuosity exists

(similar to Un Pensiero) within a tripartite form. The

three sections are separated in a fashion similar to the

delineation found in L'Incudine. The opening lyrical

theme serves as contrast to the more virtuosic middle

section, yet returns in an elaborated bravura recapitu-

lation (Figure 14). The predominant use of tonic or

dominant pedals, within a simple harmonic framework,

extends throughout the romanza.

 43

A theme

1 •

j i . ) c i v f i L i f r i[j
tfi f •( t i'u m i
accel.
•f* rail.
B theme

f -f- • •;-f +• • ^

B
P
* . #

{>(C0 f t
f- a :r

%HfLU;
Elaborated Recapitulation

lf.n i i f l w
#
* »
#r A O

3
• - • -Hs S3
Th Hh
#
#

—r1
f
it»
5' •jr •W*
1
# #J »H ,
1
Figure 14—Progression to virtuosity in the clarinet
thematic material of Lontano dalla Patria.
 44

The lyrical clarinet theme enters after a piano

introduction. It contains three different phrases

arranged a b (repeated) c. Each phrase develops from

a simple motive containing a one-beat triplet figure

and a larger note value (Figure 15).

Figure 15 Clarinet motivic comparison in the first

section of Lontano dalla Patria.

The endings of the a and b phrases contain identical

melodic material.while the c phrase ends with an extension

to close the first section. The first section does not

modulate; however, the b phrase contains chromatic

 45

mediant harmony usually reserved for transitory passages

in the other romanzas (Figure 16).

m
l
3 b ; /T*
^ = 1

P M

t
p 3:
'L f -j4- ~i>A.. a -
P P i T
t>r /

v.b»
..

bT v.? Xjr

it
9-
Bk: >ar T b E
*
b
r f— Pr-f • n
1 1 , , ,
1====4=1 i
1 -f-

i 3 1 ~%1
feT l b *
m •
4
f
f hi 9
£

~V1
1
£
I5ZE Ge* + fc>

Figure 16—Chromatic mediant harmony in the first section

of Lontano dalla Patria.

The second section enters directly at a faster tempo

and in the relative key, G minor. The section contains

an independent three-part structure, a b a , with its

own stylistic contrast of lyricism and virtuosity. The

first theme exemplifies virtuosity with sixteenth-note

 46

scales and arpeggios over a wide clarinet range. The

second thematic area, in B b , displays lyricism with

a melody indicated cantabile (Figure 17.).

Theme a

# i— i- f —^ r 1P ;
*
ft 9 1 I H»
Z-i-C ^ i
Lit) f
Q2^_ [4=H
=4= m= 4 =
p : ^

Ujf-J LUj J/
jti.
1T7

Theme b

C a. k-"!" a. b i (C-

Figure 17—Thematic contrast in the second section of

Lontano dalla Patria.
 47

The transitions to the different thematic areas of

the second section are accomplished through passing

diminished-seventh chords. This technique differs from

the chromatic mediant progressions in the other romanzas;

however, the diminished chord passages achieve the same

goal by approaching the dominant of the successive key.

The principal theme of the first section returns

in a highly ornamented virtuoso fashion. The original

motives are extended with rapid thirty-second note scales

and arpeggios without disturbing the recognizable triplet

figure. The pursuance of virtuosity continues through the

clarinet cadenza near the end of the romanza. The piece

concludes with a short restatement of lyrical material

from the piano introduction (Figure 18).

 48

^ a piaceire JL *>JL
b0 ,* • »f

h b
r*f *f~*t f i i at #

IT a I I. ur\ p o co

Iu n g he

jCri
EJ f
7
morehJo

Figure 18—Clarinet cadenza and closing material in

Lontano dalla Patria.
 CHAPTER IV

SUMMARY

Ernesto Cavallini contributed to the art of clarinet

playing, through his brilliant virtuosity, at a time when

other instruments held a higher rank in the hierarchy

of solo performance. His success as a performer influenced

many European clarinetists to achieve higher levels of

musical expression as well as technical virtuosity.

Cavallini was not an innovator of new styles or

procedures in performance or composition. He maintained

an operatic-influenced performance style throughout his

career and continually attempted to dazzle audiences

through the sheer power of his virtuosic playing. His

compositional style, although simple, was a personal

declaration of his intention to promote the clarinet on

a level of equality with other prominent solo instruments,

such as the piano and violin. However, his salon style

of composition proved an inadequate means of solo por-

trayal as the nineteenth century progressed, and most of

his music fell into obscurity.

The four romanzas not only demonstrate Cavallini's

zeal for virtuosity but also portray his fondness for

49
 50

lyrical expression. The individuality of each romanza

creates interesting performance possibilities in combina-

tions as well as single selections. Although the element

of virtuosity tends to dominate, the romanzas contain

sufficient lyrical passages for musical contrast. The

romanzas not only offer the clarinetist an interesting

alternative to the usual selection of major recital

pieces, but also present an historical perception of the

nineteenth-century virtuoso.
 APPENDIX I

MUSIC FOR CLARINET

BY

ERNESTO CAVALLINI

LOCATED IN THE

BIBLIOTECA DEL CONSERVATORIO DI MUSICA

"GIUSEPPE VERDI"

MILAN, ITALY

The entries are listed according to information found

in the card catalog of the Biblioteca del Conservatorio

di Musica. Most of the entries contain a date for publica-

tion and a dedication. Entries are for B b clarinet unless

specified otherwise.

The entries are listed by title, date, and dedication.

CLARINET SOLO

Six Capricci Op. 1 Cristoforo Balabio

Six Capricci Op. 2 1836 Antonio Urio
Six Capricci Op. 3 1840 Benedetto Carulli
Six Capriccios Op. 4 1840 M. Pompey Cavallini
Six Capricci Op. 5 1840 Prospero Bargigozzi
Six Capricci or Studies 1895 Benedetto Carulli
Thirty Capricci Op. 1-5 1904

51
 52

CLARINET SOLO cont'd

Thirty Capricci 1930 (rev. by Alamiro Giampiero)

Thirty Capricci 1974 (rev. by Arieglo Prisco)

Thirty Piccolo Studies by B. Carulli, Arr. by Cavallini

TWO CLARINETS

Six Grand Duets 1862 Saviero Mercadante

Six Grand Duets 1905 Saviero Mercadante
I \ «
Three Duos 1836
"a son frere Pompee"
Three Duos 1845
Edward Bertis
CLARINET AND PIANO

Adagio and Tarantella Don Jose Cruz

1949 (rev. by Alamiro Giampieri)

1966

Adagio Sentimentale 1870 Carlo Canti

Album II No. 6, Adagio Sentimentale, Una Lagrima sulla

tomba dell' immortale Rossini.

Barcarola 1860

La Calma, Romanza senza 1860 Gioachino Curti

parole

Canto Greco variato 1843

Un Carnevale di piu, Giulio Litta

Adagio e variazioni
Luigi Gassier
Cicalio I860
Joseph Galli
Elegie I860

Fantasie on L'Africana 1865

 53

CLARINET AND PIANO cont'd

Fantasia sopra un 1860

Canto populaire

L'Incudine, Romanza 1860 Antonio di Lupo Parra

allegorica

Una Lagrima sulla tomba dell' immortale Rossini. Adagio

Sentimentale. 1860

Lontano dalla Patria,

Paolo Serrao
Romanza
Anetta Anderson
Mazurka di Concerto 1860
Gaetano Rossi
Melodia Campestre 1860

Mie impressioni al Nord

La Neguita. Tango 1852 (composed with Francesco
Americano Ferrarie)

Passo Doppio di Concerto Alphonso Guercia

Un Pensiero, Romanza 1860 Benedetto Carulli

La Ronda 1860 Amalli Rossi

La Semaine Musicale. Seven Duos on opera themes (composed

with Pasquale Bona).

Serenata 1860 Giovanni Bimboni

Transcription du Bananier 1856

de Gottschalk

Monferrine Variee par 1860

J. N. Hummel

Ballible con Variazioni 1834 (composed with Giacoma

Panizza).

Passa a due. E*5 clarinet (composed with Giacoma Panizza)

Three Variations on the Russian Romance "Oh! dites lui!"

by the Princess L. Kotschoubey
1864 Antoine Romero
 54

CLARINET AND ORCHESTRA

Concerto in E b Guiseppi Cattaneo

Concerto in c minor Guiseppi Vanoni

CLARINET AND ORCHESTRA OR PIANO

Adagio, Tema e variazioni 1840 Alessandro Taveggia

con coda
/ \
Air v a n e sur un theme 1845 Joseph Piana
original

Andante e variazioni sopra un 1845 Francesco Corradini

theme del Mercadante

Fantasia 1840 Antonio Albesoni

Fantasia on La Sonnambula 1843

Fiori Rossiniani, Capriccio 1845

on motives from Rossini
operas

Remembranza Russe, Grand 1860 Contessa Sofia Franchesi

Fantasia (available only
for clarinet and piano)

Scherzo on motives of Don 1849 Tomaso Green

Pasquale
Souvenir de Linda de 1848 Aldolphe Laffond
Chamounix, Morceau de
Concert

Souvenir de Norma, Fantasia 1843 Conte Alberto Geva

Transcription of the opera 1860

Trovatore (available only
for clarinet and piano)

Variations on motives from 1840 Luigi Genorini

L'Elisir d'amore

Variations on a theme from 1840 Carlo Pizzi

La Straniera
 55

TWO CLARINETS AND PIANO

La Bacana, Grand Duet 1865 Antonio di Luppo Parra

Grand Duet on motives 1865
from L'Africana

CLARINET, FLUTE, AND PIANO

Reverie Russe, Grand Duo 1865 Aldolphe Leroy

Transcription of the opera
Faust, Grand Duo

Duo from the opera Norma

CLARINET AND OTHER INSTRUMENTAL COMBINATIONS

Canto Religiose for two clarinets with a chamber ensemble

of flute, oboe, clarinet, bassoon and two pianos
(transcription for two clarinets and piano also)
Gran Duchess Elena
di Russia
Canto Greco for clarinet, two violins, viola, cello and bass
1843

Un Carnivale di piu. Adagio e variazioni for clarinet

with a chamber ensemble of string quintet and flute
1847 Giulio Litta

Morceau de Salon apres Gounod et Chopin for clarinet, piano,

and organ

Transcription du Bananier de Gottschalk for clarinet and

string quartet 1856 Nicolas de Stieglitz

Trio for flute, clarinet, oboe, and piano

— Joseph Poniatowski
 56

ADDITIONAL WORKS FOUND IN LISTS BY HOFFMEISTER, PAZDIREK,

AND WESTON BUT NOT FOUND IN THE MILAN BIBLIOTECA DEL
CONSERVATORIO

Canzone Popolare Napolitana con Tarentella for E*3 clarinet

and piano

Le Carnivale di Venise Variazioni (Paganini) arranged by

Cavallini. According to the Pazdirek listing, the
arrangement is for clarinet, two violins, viola, cello,
bass, and two horns. According to the Hoffmeister
listing, the arrangement is for E^ clarinet and orchestra
or piano.

Concerto for flute, clarinet, and orchestra

Fantasia on II Trovatore for clarinet and piano

This may possibly be a later edition of the Transcrip-
tion of the opera Trovatore found in the Milan Biblio-
teca del Conservatorio.

Norma Concerto for clarinet and band

This may possibly be a later transcription of the
Souvenir de Norma Fantasia found in the Milan Biblio-
teca del Conservatorio.

Robert il diavolo, potpourri for clarinet and piano

Romance and Variations on a Venetian Melody for clarinet

and piano

Ultimo giorno di Pompei Fantasia for clarinet and orchestra

or piano
 APPENDIX II

TITLE PAGES AND SCORES

OF THE

FOUR ROMANZAS FOR CLARINET AND PIANO

BY

ERNESTO CAVALLINI

PUBLISHED BY

GIOVANNI CANTI, MILAN

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