Carlo Giorgio Garofalo: Concerto ottocentesco (1927)
Carlo Giorgio Garofalo:
born 5 August 1886 in Rome
died 6 April 1962 in Rome
First performance:
1942 by Remy Principe
CD recording:
Sergei Stadler 1999
Carlo Giorgio Garofalo is a Roman composer and contemporary of Respighi, Pizzetti, Malipiero, Zandonai and Casella. Trained as an organist, he composed mainly sacred music that was performed
in Roman basilicas. He later found his life's work at the organ of the Great Synagogue of Rome. His instrumental compositions, however, are little known. Other contemporaries dominated the
orchestra halls of Italy, although conductors such as Arturo Toscanini and Arthur Nikitsch held his music in high esteem, especially his Romantic Symphony (1915). Times of war, envy of colleagues
(Respighi is said to have feared for Garofalo's reputation as the most important composer of his time in Italy), fate and time left his works to oblivion.
His Violin Concerto was written in 1927 and was not premiered until 1942 by Remy Principe, a member of the Quartetto italiano. His pupil was the great violinist Gioconda De Vito, who was also
to play the concerto, but Principe no longer knew where to find the sheet music of Garofalo's Violin Concerto.
Whether or not the name of the concerto, "Concerto Ottocentesco", really originated with Garofalo himself, it does apply to the form of this concerto. One could say that it is oriented
towards the concertos of the 19th century, especially by Brahms and Bruch. But one must not forget that this reference is not unbroken, since Garofalo was certainly aware of the efforts of
neo-classicism and its view that music "is an objective art detached from the individual, which leaves the listener with a clear consciousness" (Jean Cocteau). In this sense, Stravinsky, for
example, avoided expressive music and wanted to compose nothing but music. In Italy, too, this neo-classical composing spread in the 1920s with Casella, Malipiero and others. The fact that a
romantic violin concerto in 19th century form and style could also be meant to be neoclassical should be borne in mind when listening to Garofalo's Violin Concerto, even if the violin part is
demanding - as in the days of the so-called great symphonic violin concertos.
Listen here:
Movement 1
Movement 2
Movement 3
Listening guide:
I. Allegro moderato
Over a slightly grooving bass at the beginning, the solo violin immediately brings an elegant and cantabile theme. After several virtuosic attempts, the violin leaves this melodious main theme to
the orchestra for an interlude, until the violin joins in again to work out motif units of this melodious theme and at the same time demonstrate its fine virtuoso skills.
A second theme follows, again introduced by the violin, also a very vocal and seductive melody. This Italianate melody, seconded by a horn melody, unfolds in oboe and horn and further wind solos,
accompanied by solo violin figures.
An energetic intervention of orchestra and violin dramatises the musical events and leads to the development of the main theme in the orchestra. The violin complements and transforms elements of
the theme into violin virtuosity. The second theme also reappears in the orchestra after a long preparation in violinistic runs, first tenderly in the wind sound, then again in the full sound of
the orchestra. The violin supports the thematic development with varied runs and figures until the climax of the movement, where the main theme reappears in the recapitulation in the full
orchestra. The violin joins in passionately, playing to the full extent of its abilities and leading to the second theme, which appears in the singing brilliance of the violin. Now, too, the
energetic interjection intervenes and opens the way to the great violin cadenza, which must now appear.
As if enchanted, the second melodious theme appears at the end of the cadenza in the violin's highest register, quietly accompanied by the orchestra - almost like the first theme after the great
cadenza in Brahms' Violin Concerto - before an almost operatic ending concludes this first movement in Italian style.
II. Andante
Again, a striking rhythmic accompanying motif opens the movement, before the solo violin with its singing immediately spills out into the expanse of a timelessly beautiful melody. After a slowly building passionate climax has subsided, the oboe and clarinets, and finally the horn, take over the melodic action. The violin shares the flowing song with them. Everything flows, in the orchestra and in the figurations and melodies of the solo violin. A wind choir begins, to which the violin plays its accompanying sound figures. Slowly the violin returns to its vocal theme, beautifully played sonorously in a low register, accompanied by horn and harps. A short cadenza in double-stopping leads to the quiet fading of this neo-classical romantic mood.
III. Molto sostenuto - Allegro quasi presto
In the last movement, too, a striking rhythm starts the movement, to which the solo violin immediately presents preliminary dance exercises, then quasi-presto the dance itself, until the orchestra joins in the dance with full force. But it remains the violin that leads the dance and shines with pirouettes and elegant movements, accompanied by the orchestra until, after an extensive transition, the violin again presents the dance theme quasi presto. The woodwind group responds with a new fine, quiet and downwardly sloping further theme, which is immediately followed by the violin. Harps and flutes enchant the mood, but the violin pushes back with verve to the dance-like momentum. The dance-like quality takes the lead again in the violin and the orchestra. The orchestra stomps along resolutely. Another intermediate theme in the violin, accompanied pizzicato by the orchestra, leads into new dance realms.... But then a few dark timpani rhythms, once again full movement, but then the mood darkens, a few darker notes sound as if the dance is not to be trusted. But the final spurt of the solo violin and the pathetic ending reject misgivings, for it is all about music and play, and nothing but music and nothing but play.