Caetani & Fano: Violin Sonatas

Roffredo Caetani (1871-1961) prince of Bassiano, last duke of Sermoneta, composer and patron of the arts, developed a marked musical talent from an early age. A decisive factor in this respect was certainly the influence of his father, a close friend of Franz Liszt, who in turn would be an exceptional godfather and, later, teacher to Roffredo. Caetani completed his Sonata for Violin and Piano in 1898, and the work was first performed by the great Turinese violinist Teresina Tua and pianist Francesco Bajardi. The Sonata's three movements are decidedly broad and there is a particular evocation of the Baroque in the Adagio and Finale, as in Ferruccio Busoni's Second Sonata for violin and piano in E minor, Op.36. The first movement begins with a brief, slow and expressive introduction, almost enigmatic, somewhat reminiscent of the great Sonatas of the classical period (such as Beethoven's Kreutzer Sonata), and then it gives way, in an almost impetuous manner, to the Allegro, full of themes following one on another, urged on by a pressing rhythm. In the Adagio, counterpoint is much more than a technique, it becomes an expressive tool. Written in ABA ternary form, the central part of which has a faster tempo (Più andante), the second movement consists of a combination of elegiac chants entrusted to the violin with chromatic counterpoint to the piano. The Finale of the Sonata is a three-voice fugue whose theme is developed from the very first notes of the movement and whose character is incisive and brilliant. Guido Alberto Fano (1875-1961) was an Italian composer, conductor and pianist of Jewish origin, a survivor of the Holocaust. He began his musical studies with Vittorio Orefice, later undertaking piano studies under Cesare Pollini. In 1894, he was invited by Giuseppe Martucci to be his piano and composition student at Bologna, where Fano graduated in 1897. Fano's Fantasia Sonata for violin and piano in D minor, composed in 1893, is one of the Paduan composer's first chamber works. It was later revised by the composer in 1941, during the dark period of his escape from Nazi persecution. The first movement - Contemplativo e sognante - is characterised by a plaintive thematic motif, emphasised by repeated crescendos and diminuendos in the middle of each bar, as if evoking a Jewish folk song. In the second movement, Andante sostenuto, baroque writing of an intimate and spiritual character is evoked. The piano is entrusted with an elaborate counterpoint with written flourishes that support and incorporate the violin line. The third movement, Misterioso e moderatamente mosso (added in the version of 1941) is nothing but a perpetual motion entrusted to the violin taking it's cue from the piano part of the Allegro molto (third movement version of 1893). The Finale, Allegro molto (added in the version of 1941), is a natural continuation, but it transfers the virtuosic character to the piano. The violin is then free to develop the cantabile and passionate theme set out in the first movement, reversing it's first three notes. - Recorded May 2024, Polla (Salerno), Italy - Bilingual booklet in English and Italian contains liner notes by Ludovica Del Bagno and a profile of the duo - Mauro Tortorelli plays a Giovanni Guidanti violin (Bologna, 1730) - The violin sonatas of Roffredo Caetani and Guido Alberto Fano, though lesser-known in the broader canon of chamber music, reflect the rich cultural and musical milieu of early 20th-century Italy. Both composers were deeply rooted in the Romantic tradition while also responding to the stylistic shifts of their time, and their violin sonatas reveal a blend of lyricism, structural clarity, and expressive depth. - Roffredo Caetani (1871-1961), a nobleman, composer, and pupil of Franz Liszt, brought a refined sensibility to his music. His Violin Sonata, composed in the early 20th century, is characterized by lush textures and a lively dialogue between violin and piano, offering glimpses of impressionistic color amid the Brahmsian density. - Guido Alberto Fano (1875-1961), a pianist, conductor, and close associate of Giuseppe Martucci, likewise embraced a Romantic idiom deeply influenced by the Germanic tradition. His Violin Sonata is notable for it's dramatic scope and contrapuntal rigor. Fano weaves complex motivic development with a keen sense of melodic invention, balancing virtuosity and lyricism. The piano part often assumes an orchestral role, supporting and sometimes challenging the violin in a vibrant interplay. - Played by the Gran Duo Italiano: Mauro Tortorelli and Angela Meluso, whose highly important and valuable discography for Brilliant Classics includes works by Saint-Saens, Santorsola, D'Ambrosio, Santoliquido, Sevcik, Auer, Milhaud, Castelnuovo-Tedesco and others.