The journey of recording the album “Schumann Conzertstück, Piatti Concerto No. 2” with the Royal Northern Sinfonia and conductor Martin Yates was an enriching experience that brought forth new perspectives on familiar compositions. Collaborating with such dedicated and enthusiastic musicians was a privilege, and the entire process became a celebration of musical connections and historical resonance.
Working with the Royal Northern Sinfonia (RNS) was a remarkable experience that unfolded with a shared recognition of the significance of this recording. There’s no denying the plethora of wonderful recordings of the Schumann Cello Concerto, and my decision to embark on this project stemmed from a desire to offer a unique interpretation. Dutton, the record label, played a pivotal role in recognizing the potential of this endeavor, providing unwavering support in bringing forth a different perspective on the Schumann Cello Concerto.
Martin Yates, the conductor, emerged as a key collaborator whose excitement matched my own in the pursuit of bringing to light a new edition and conceptualizing the performance. The collaboration with RNS was elevated by the incredible acoustics of their hall in Gateshead, adding a layer of richness to the recorded sound. Martin Yates’s support throughout the process was invaluable, creating an environment where artistic exploration flourished.
The discovery of a message from Clara Schumann to Alfredo Piatti on the last page of the leaves in Bergamo added a fascinating layer of historical context. Clara Schumann’s connection to Piatti through the sharing of Robert Schumann’s leaves underscored the intertwining of musical legacies. This connection resonated deeply with the decision to include both the Schumann and Piatti concertos on the same recording, emphasizing the historical significance and shared threads that bind these compositions together.
Taking on the Piatti Chair at the Royal Academy of Music, my recording of Piatti’s Second Cello Concerto alongside Schumann reflects a personal connection to this lesser-known composer. Alfredo Piatti, often celebrated within the cellist community, holds a unique place in the history of music. His virtuosity and close association with Liszt, illustrated by the anecdote of selling his cello for medical treatment, reveal the intricate web of relationships that characterized the musical landscape of his time.
Piatti’s role as a teacher at the Royal Academy of Music for over fifty years adds another layer of significance to the recording. Holding the Piatti Chair at the Academy is a profound honor, acknowledging the legacy of a musician whose contributions extended beyond performance into the realm of education. The endurance required to play Piatti’s works, especially his concerto, echoes the technical challenges inherent in his compositions. However, beneath the surface lies a wealth of musicality and beauty, distinguishing Piatti’s works from mere technical exercises.
While the existence of Piatti’s First Cello Concerto remains uncertain, the inclusion of his Concerto and Concertino in the recording serves as a testament to the breadth of his artistic output. The technical demands of Piatti’s compositions, akin to a musical marathon, are met with a profound sense of reward. Unlike certain technical studies that prioritize technique over musicality, Piatti’s caprices and compositions strike a delicate balance, offering both a formidable challenge and a deeply satisfying musical experience.
Conclusion
In conclusion, the recording of “Schumann Conzertstück, Piatti Concerto No. 2” stands as a testament to the interwoven tapestry of musical history. The collaboration with Royal Northern Sinfonia and Martin Yates provided a platform to explore and share a unique interpretation of the Schumann Cello Concerto. Additionally, the inclusion of Piatti’s works sheds light on a composer whose contributions, though less prominent in the public eye, remain invaluable to cellists and aficionados of classical music. The historical connections, from Clara Schumann’s message to Piatti’s enduring legacy, add layers of meaning to this recording, transforming it into a journey through time and musicality. As I reflect on this project, I am reminded of the profound interconnectedness that binds musicians, composers, and audiences in a shared appreciation for the beauty of classical music.
