Julia Nilsen-Savage - Giuseppe Clemente Dall'abaco: Cello Sonatas and Duos, the London Manuscript, Vol. I (2024)

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Julia Nilsen-Savage - Giuseppe Clemente Dall'abaco: Cello Sonatas and Duos, the London Manuscript, Vol. I (2024)

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Manuscript number Mus. Ms. 31528 of the British Library, London, is a collection of 46 undated works for violoncello. Of these at least 30 are autograph works from Giuseppe Dall’Abaco (a mix of solo sonatas with basso continuo, 2 virtuoso cello duos, as well as 1 ‘Duetto’ of debatable provenance) including his unpublished „Op.1“ (XII Sonate | Per il Violoncello, e Basso | Del Sig. Giuseppe Barone | Dall’Abaco). The very high quality script, along with the appearance of bass figures at critical moments, strongly suggests that this set of pieces was in preparation for publication. The manuscripts of the remaining 18 sonatas are not so carefully prepared, including scribbled revisions, and are in need of some final corrections. Furthermore, the bass line appears almost entirely without figures, leaving ambiguity as to which instrument(s) would have made up the continuo section. There is a further key difference between these two group of sonatas: whereas the Op.1 works start off relatively easy, and progress in order of difficulty, the other 18 sonatas are works of consistently astonishing virtuosity. They include sparkling passage work in extreme thumb positions akin to Boccherini, long sequences of double stops, and demand exceptional bow as well as left hand technique. All this suggests that these 18 virtuoso sonatas were written for Dall’Abaco’s own private use, as he made his living playing salon concerts, presenting himself as a dashing Italian virtuoso cellist to British society. Similar to cellist-composers like Salvatore Lanzetti, it is plausible that Giuseppe Dall’Abaco’s music fell into two categories: marketable pieces of only moderate difficulty for his students and hobby musicians, and the devilishly-complicated works intended as vehicles for his own virtuosity, to impress a noble audience. On this CD appear 3 Solo Sonatas with basso continuo from the ‘virtuosic’ set of 18, and the 2 Duo Sonatas for two cellos.

Though none of Giuseppe Clemente Dall’Abaco’s music was published in his lifetime, and though editions of his cello sonatas have only recently been edited for publication, nonetheless was something of his music for accompanied cello familiar to enthusiasts for C18th instrumental music – a version of one of his sonatas made its way into the repertoire, albeit known (due to a subsequent error of attribution) as ‘Sammartini’s Cello Sonata’.

Relatively little is known for sure about Dall’Abaco’s formative years. His father, Evaristo Felice Dall’Abaco (1675-1742), was Capellmeister at Munich, and a respected composer, whose chamber works were well-regarded by no less than J.S. Bach. The young Dall’Abaco received his primary musical education from his father, who possibly sent him to Venice to further his studies. Certain is that in 1729, aged 19, he was employed as cellist in the chapel orchestra of Prince Elector Clemens August I of Bavaria, in Bonn. Owing perhaps to accommodating terms of employment, or the precarious financial situation at court, this position came with a degree of freedom to travel. Like many virtuosi and composers of his time, Dall’Abaco sought success in London. Public concerts flourished in the 1700’s, a cultural phenomena which culminated in Haydn’s visits to the city at the end of the century. Foreign performers could reasonably hope for success in this environment, for their technical superiority was generally acknowledged. The welcome was not entirely uncritical, though, as captured in one Oxford don’s edgy description of ‘Handel and his lousie band of foreign fiddlers’.

Cellists enjoyed particular fame in this era, due in part to a conspicuous rise in the popularity of their instrument, which in the 1730’s was lent further luster by the decision of Frederick Louis, Prince of Wales, to take cello lessons. Of the star cellists it was the Italians who enjoyed the greatest success, not only as virtuosi but also as composers – Salvatore Lanzetti, Pasqualini, and Caporale (principal cellist in Handel’s opera orchestra) were all drawn to London.

The city’s concert-going public was sufficiently impressed by Dall’Abaco to warrant him holding a benefit concert in April 1736. His fame evidently extended beyond the capital – documents show that his music was performed in York – and the preeminent diarist of musical life in the 18th century, Charles Burney, lists ‘Abaco’ as one of those Italian virtuosos who had ‘brought the violoncello into favour, and made us nice judges of that instrument’. Dall’Abaco’s work as a composer was evidently motivated by his success as a soloist for, unlike his father who composed for various chamber ensembles, the vast majority of his surviving works (with two exceptions) were all written for cello.

It was perhaps his burgeoning reputation, or simply favour at court, which in 1738 led him to be promoted to the position of Cammermusikdirector. In November of that year his family life also changed, through his marriage to Therese Cosman.

However, his new family ties would also bring unwanted upheaval: in 1752 his brother-in-law was accused of stealing over 35,000 thalers from the royal safe. The scandal was sufficient to persuade Dall’Abaco to move his family to his father’s home city of Verona. The situation worsened when, during a winter stopover in Munich, Dall’Abaco himself was accused of plotting to poison his previous employer. After an 11 day inquest held in January 1753 (and documented in over 200 pages of material) he was eventually cleared of the charge.

Dall’Abaco established his family on a plot of land in Arbizzano, north of Verona. Any damage done by past controversies was evidently not lasting, for in 1766 the Munich Elector ennobled him with the hereditary title of ‘Barone’. A further honour followed in 1767, when the now Barone Dall’Abaco was admitted to the prestigious ‘Accademia Filarmonia’ of Verona.

Dall’Abaco lived on his estate until his death in 1805, aged 95. How he spent these years is not well-documented, but we might imagine that, amid the vineyards of Valpolicella, the violoncellist dabbled as a viticulturalist.