Nardini, Pietro: Flute Chamber Music

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Five Trios for Flute, Violin and B.c.
Sonata D Major for Flute and B.c.

musica solare:
Darja Großheide, transverse flute
Gabriele Nußberger, violin
Ulrike Schaar, cello
Willi Kronenberg, harpsichord

One of the most remarkable musicians of the second half of the eighteenth century was Pietro Nardini, who was born in Livorno in 1722. He is today unfortunately almost completely unknown to a wider public, although he was considered by his contemporaries to be the most consummate living violinist. It is all the more remarkable that he did not achieved this reputation by means of virtuoso finger acrobatics, but through the tonal beauty of his playing: Leopold Mozart expressly emphasized that Nardini (whom he had heard in 1763) “did not play at all difficult” (i.e., he did not rely on technical effects), but that “in the beauty, purity, consistency of the tone, and in cantabile taste nothing more beautiful can be heard.” The opinion of Wolfgang Amadeus Mozart’s father, who himself had published a violin method in 1756, undoubtedly has to be accorded a certain weight. On the other hand, the report by the Swabian music aesthetician Christian Friedrich Daniel Schubart remains more anecdotal: “The tenderness of his performance is impossible to describe: every comma [i.e., every little section] seems to be a declaration of love ... One has seen ice-cold princes and ladies-in-waiting weep when he played an Adagio. While playing, he himself often shed tears on the violin.” The sideswipe at aristocratic society contained in these words is understandable: Württemberg’s Duke Carl Eugen had Schubart imprisoned for ten years for alleged seditious ideas. This was the same Carl Eugen, by the way, whom Nardini served from 1762 to 1765 as a violinist in Stuttgart, before he returned to his native country and worked from 1770 until his death in 1793 as concertmaster in Florence.
Nardini’s main instrument was the violin, which he had learn to play already at the age of twelve in Padua from the famous Guiseppe Tartini, who was at that time considered to be Europe’s best violin teacher, and whose playing had attracted attention with intricately difficult effects – double stops, series of trills, etc. After six years of study, Nardini returned to his hometown of Livorno, where in the next two decades he attained a distinguished reputation as a virtuoso and teacher. Starting in 1760 there followed several years of travels that led him to Vienna, Dresden, Brunswick, and also to Stuttgart, and during which his reputation grew, also as a result of the publication of sonatas for violin and basso continuo, which were printed in London and Amsterdam. That his compositional ambition focused exclusively on chamber music and indeed mostly on works for violin corresponded to his conception of himself as a performing instrumentalist – a constraint that is very significant, in as much as until well into the eighteenth century it was expected that every composer take into consideration the various categories: instrumental music, keyboard music, church music, etc.
This CD presents Nardini less as a violin composer than as a flute composer in that it represents the complete recording of his five surviving trio sonatas for flute, violin, and continuo as well as of the two flute sonatas, which are preserved in manuscript copies in the library of the Genoa Conservatory.

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