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PASSETEMPS SENTIMENTAL OP.4 (published in 1852)
Listen to the beginning of "Souvenir d’Ems"

Chant réligieux; Souvenir d'Ems; Litania (Schubert/Piatti)

“In Munich, Piatti played with great success, he was re-called three times and finally Liszt came on to the stage and embraced him. Afterwards Liszt said “You must come to Paris, I am going there; you must give a concert and I will play for you.” Thus encouraged, Piatti went to Paris in 1844 and it was there that he composed his “Chant Réligieux” being at the time without an instrument, practically without funds, for he arrived in Paris with only £5 in his pocket, and, as he felt, almost without friends.”
“After playing at the Philharmonic Concert [with F.Mendelssohn on June 24th, 1844], Piatti played the same year at the second and third Matinées given by Döhler on July 1st and July 12th.
On July 1st he took part with Sivori amd Döhler in the performance of Beethoven’s Trio in C Minor. This was his first public performance of concerted chamber music. He also played his “Chant Réligieux”, which, as been mentioned, was composed at Paris in a moment of despondency.”
(MORTON LATHAM, Alfredo Piatti, W.E. HILL AND SONS, London, 1901, p.33-34; 48-49).

“During the year 1844 Piatti also went to Germany taking with him the Amati violoncello for which he was indebted to the generosity of Liszt. Among other places he visited Ems, and there wrote his “Souvenir d’Ems”. Piatti thought himself in love with a young lady, and they both on one occasion took part in an excursion on the river. At one spot where there was some rapids, through an error of the steersman, the boat was for a short time in some danger. When the anxiety was over the company asked each other what had been uppermost in their thoughts in the moment of peril. When Piatti’s turn to answer came he said, ‘I thought of my bass.’ Whether it was the effct of this somewhat ungallant answer or not cannot be said, but Piatti did not become engaged to the object of his affections. Perhaps it was as well, for his position at that time would not have justified him in marrying.”
(MORTON LATHAM, Alfredo Piatti, W.E. HILL AND SONS, London, 1901, p.38).

In my revision of the Passetemps Sentimentales op.4 I wanted to preserve the author’s original annotations for fingering and bowing by putting them above the notes in the cello part. Under the notes are some of my suggestions, among many possible solutions.

Christian Bellisario

Opera details:
Passetemps Sentimental op. 4
(Chant réligieux ; Souvenir d’Ems ; Litania de F. Schubert)
for cello and piano

Alfredo Piatti Cello Collection
Editor Christian Bellisario

Pizzicato Verlag Helvetia, PVH 818


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