Rebay COMPLETE MUSIC FOR CLARINET, FLUTE & GUITAR - ESTESO TRIO - IDAGIO
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Rebay
COMPLETE MUSIC
FOR CLARINET, FLUTE
& GUITAR
ESTESO TRIO
Marcello Fantoni guitar · Carlo Enrico Sandrini clarinet · Alessandra Alfonsi flute
Ferdinand Rebay 1880-1953
Complete Music for Clarinet, Flute and Guitar
Variations in the style of the greatest Trio in A for Flute, Clarinet and Guitar Small Spanish Rhapsodie for Trio 27. II. Var. Im Zeitmaß des
Austrian composers over the song “Mein FRWV IV 5/10 ensemble with Flute, Clarinet and Guitar Thema’s Ruhig und sehr
schönes Innsbruck am grünen Inn”. For Meiner lieben Gerta! Ostern 1941 FRWV IV 5/12/IV ausdrucksvoll 1’15
ensemble with Guitar, Flute, Clarinet 8. I. Satz Allegro moderato Für meine liebe Gerta! 28. III. Var. Innig bewegt, aber
and Voice FRWV IV 4/6* (Tempo di Minuetto) 7’21 20. Tempo di Marcia ruhiges Zeitmaß! 1’16
1. Thema Langsames 9. II. Satz Ruhig, mit Ausdruck 5’04 (non “Alla breve”) 1’30 29. IV. Var. Lebhaft bewegt 0’51
Marsch-Zeitmaß 0’50 10. III. Satz Presto (– prestissimo) 3’42 21. Allegretto grazioso 1’27 30. V. Var. Langsam
2. I. Var. (à la Mozart) 11. IV. Satz. Finale 22. Moderato (con moto) 1’05 (Trauermarsch-Charakter) 2’10
Graziös bewegt 1’07 (Rondo a la “perpetuum 23. Lento 1’50 31. VI. Var. a la Menuett 1’12
3. II. Var. (à la Haydn) mobile”) Allegretto con moto 24. Tempo di Bolero 2’10 32. VII. Var. Graziös bewegt
Menuett-Zeitmaß 1’13 (Gut bewegt, aber nicht (launig) 1’14
4. III. Var. (à la Beethoven) zu schnell) 4’56 Variations on a theme by the composer 33. VIII. Var. Etwas elegisch (Zeitmaß
Sehr langsam 2’23 himself for Trio ensemble with Flute, etwas langsamer als bei
5. IV. Var. (à la Schubert) Im Zeitmaß Variations on a Tirolean tune for Trio Clarinet (in A) and Guitar FRWV IV einer ruhigen Gavotte) 1’58
des Liedes „Die Forelle“ 1’51 ensemble with Flute, Clarinet and Guitar 5/13/IV 34. IX. Var. Ruhiges Walzer
6. V. Var. (à la Johann Strauß) FRWV IV 5/11/IV 25. Thema Im Volkston. Ruhig Zeitmaß 0’50
Walzer Zeitmaß 0’55 12. Thema Marschmäßig bewegt 0’48 und ausdrucksvoll 1’06 35. X. Var. Lebhaft bewegt
7. Wie in Erinnerung versunken 13. I. Var. Gut bewegt 0’51 26. I. Var. Ein wenig bewegter als das (Zeitmaß der Tarantella) 1’16
(durchwegs sehr leise zu singen 14. II. Var. Im selben Zeitmaß 0’47 Zeitmaß des Themas 1’11 36. XI. Var. (rubato) 4’09
und so leise als möglich 15. III. Var. Sehr lebhaft bewegt 1’30 37. XII. Var. Scherzo Sehr lebhaft 5’33
zu begleiten) 1’06 16. IV. Var. Ruhiges Zeitmaß 2’02
17. V. Var. Walzer-Zeitmaß 0’59
ESTESO TRIO
18. VI. Var. Langsam (rubato) 1’54
Marcello Fantoni guitar · Carlo Enrico Sandrini clarinet · Alessandra Alfonsi flute
19. VII. Var. Frisches
Marsch-Zeitmaß 1’48 *Eleonora Mosca voice
Ferdinand Rebay, born in Vienna on June 11, 1880, was an Austrian composer, In the following years he composed many works for both of these choirs. In 1920, pianist, conductor and piano teacher with Italian roots. His grandfather, Antonio Rebay was appointed Professor of Piano at the Staatsakademie für Musik und Maria Agostina, emigrated from Italy to Brno in the first half of the 18th century. darstellende Kunst in Vienna. Always a prolific composer, he continued to write Pognana, near the Lake of Como, Italy, has been documented as the original seat of music in particular for voice, composing two operas and about four hundred Lieder. the Rebay family. His father, Ferdinand Wilhelm Rebay, owned a music shop and While remaining a well-known composer, his style started to be overshadowed by was also a music editor, partner of Anton Robitschek Rebay & Robitschek Verlag the success of the arising Second Viennese School’s composers. Rebay wrote about in Vienna. Since very young, Rebay started to play violin and piano. His mother, a 600 pieces (296 of which are kept in The Abbey of Stift Heiligenkreuz Collection) for former pupil of Bruckner, was certainly little Ferdinand’s first piano teacher. solo guitar, guitar chamber music in various combinations with other instruments, In 1890, 10-year-old Ferdinand was sent to the Abbey of Stift Heiligenkreuz as lessons for beginners, solo songs, children’s songs and choral parts with guitar a choir boy for four years. Here he received, thanks to his teacher, Father Stephan accompaniment. Pfeiffer and the abbey’s organist, Hans Fink, a thorough musical education becoming He began to be interested in the guitar due to the influence of his niece, the a solo alto. In 1900 he graduated from the Kunstgewerbeschule des Museum für concert guitarist Gerta Hammerschmied (to whom he dedicated a significant number Kunst und Industrie in Vienna. At the same time, he took music lessons with Joseph of his guitar works) and of his friend Jacob Ortner, professor of guitar at the J. von Wöss and Eusebius Mandyczewski. He also studied horn, in the meanwhile Musikhochschule. achieving the first success as a composer of Lieder, choral works and scene music. The five works here recorded for Clarinet, Flute and Guitar trio, dedicated to his In 1901 he was admitted at the Konservatorium der Gesellschaft der Musikfreunde niece Gerta, are a clear example of Rebay’s style that can be definitely classified as in Vienna (today’s Universität Für Musik Und Darstellende Kunst Wien) where, from conservative, bearing in mind the musical revolutions that took place in the first 1901 to 1904, he studied composition with Robert Fuchs (1847-1927), one of the few half of the twentieth century. Employing Classical and Baroque forms as Menuett, composers praised by Brahms and teacher - among others - of Gustav Mahler, Jean Scherzo, Rondò, Variations, and even Suite, his compositions frequently incorporate Sibelius, Alexander Zemlinsky, Richard Strauss. elements borrowed from German and Austrian folklore with occasional touches of In the Konservatorium he also continued his piano studies with Josef Casimir impressionism. The deep love for Austrian folklore shown in his works can describe Hofmann (1876-1957), one of the greatest pianists of all time and especially noted for himself as a Nationalistic composer. His gratitude to the great old Masters is very his glittering performances of the music of Frédéric Chopin. clear in all his compositions. His works and style are influenced by Haydn, Mozart, While still a student he was awarded the Silberne Gesellschaftsmedaille, the Beethoven, Brahms and Schubert and denote a great compositional technique ‘Brahms Premium’, and the ‘Zusner’ Prizes. combined with a highly refined musical taste. He graduated with distinction in 1904 with his work Erlkönig for large orchestra Rebay’s guitar music, with its Brahmsian roots (really unique in the guitar which Fuchs hailed as the finest work to have been produced in his 29 years of repertoire) and sophisticated compositional technique, has therefore forged its own teaching at the Conservatory. At this time, Rebay’s list of works counted already highly significant place in the history of the instrument. hundreds of works for voice, piano solo, chamber and orchestral music. Ferdinand Rebay spent the last few years of his life poor and almost completely Rebay became the leader of the Wiener Chorverein and later, in 1915, he took forgotten. He died in Vienna on 6 December 1953 the same role with the Wiener Schubertbund remaining in these posts until 1920. © Marcello Fantoni
Ferdinand Rebay, nato a Vienna l’11 giugno 1880, fu un compositore, pianista, 1920. Negli anni successivi compose molte opere per entrambi i cori. Nel 1920 direttore d’orchestra e insegnante di pianoforte austriaco, di origine italiana. Suo Rebay fu nominato professore di pianoforte alla Staatsakademie für Musik und nonno, Antonio Maria Agostina, emigrò dall’Italia a Brno nella prima metà del XVIII darstellende Kunst di Vienna. Da sempre compositore prolifico, continuò a scrivere secolo. Pognana, vicino al lago di Como, in Italia, è stata documentata come la sede musica in particolare per voce, componendo due opere e circa quattrocento Lieder. originaria della famiglia Rebay. Suo padre, Ferdinand Wilhelm Rebay, fu proprietario Pur rimanendo un noto compositore, il suo stile cominciò ad essere messo in ombra di un negozio di musica ed era anche editore musicale, partner di Anton Robitschek dal successo dei compositori della nascente Seconda Scuola di Vienna. Rebay scrisse Rebay & Robitschek Verlag a Vienna. Fin da giovanissimo, Rebay iniziò a suonare circa 600 pezzi (296 dei quali sono conservati nella collezione The Abbey of Stift il violino e il pianoforte. Sua madre, ex allieva di Bruckner, fu certamente la prima Heiligenkreuz Collection) per chitarra solista, musica da camera per chitarra in varie insegnante di pianoforte del piccolo Ferdinand. combinazioni con altri strumenti, lezioni per principianti, canzoni soliste, canzoni per Nel 1890, Ferdinand, 10 anni, fu mandato nell’abbazia di Stift Heiligenkreuz bambini e parti corali con accompagnamento di chitarra. come cantore, per quattro anni. Qui ricevette, grazie al suo insegnante, padre Iniziò ad interessarsi alla chitarra grazie all’influenza di sua nipote, la concertista Stephan Pfeiffer e all’organista dell’abbazia, Hans Fink, un’accurata educazione chitarrista Gerta Hammerschmied (alla quale dedicò un numero significativo delle musicale che lo portò a diventare un contralto solista. Nel 1900 si diplomò sue opere chitarristiche) e del suo amico Jacob Ortner, professore di chitarra alla alla Kunstgewerbeschule des Museum für Kunst und Industrie di Vienna. Musikhochschule. Contemporaneamente prese lezioni di musica con Joseph J. von Wöss e Eusebius Le cinque opere qui registrate per trio clarinetto, flauto e chitarra, dedicate alla Mandyczewski. Studiò anche corno, ottenendo nel frattempo i primi successi come nipote Gerta, sono un chiaro esempio dello stile di Rebay che può essere sicuramente compositore di Lieder, opere corali e musica di scena. classificato come conservatore, tenendo conto delle rivoluzioni musicali avvenute nella Nel 1901 fu ammesso al Konservatorium der Gesellschaft der Musikfreunde di prima metà del XX secolo. Impiegando forme classiche e barocche come il minuetto, Vienna (oggi Universität Für Musik Und Darstellende Kunst Wien) dove, dal 1901 al lo scherzo, il rondò, le variazioni e persino la suite, le sue composizioni incorporano 1904, studiò composizione con Robert Fuchs (1847-1927), uno dei pochi compositori spesso elementi presi in prestito dal folclore tedesco e austriaco con qualche tocco di elogiati da Brahms e maestro - tra gli altri - di Gustav Mahler, Jean Sibelius, impressionismo. Il profondo amore per il folclore austriaco che si manifesta nelle sue Alexander Zemlinsky, Richard Strauss. opere, può farlo ascrivere alla corrente compositiva nazionalista. La sua riconoscenza In Conservatorio continuò anche gli studi pianistici con Josef Casimir Hofmann verso i grandi maestri antichi è molto chiara in tutte le sue composizioni. Le sue opere (1876-1957), uno dei più grandi pianisti di tutti i tempi, noto soprattutto per le sue e il suo stile sono influenzati da Haydn, Mozart, Beethoven, Brahms e Schubert e brillanti esecuzioni della musica di Frédéric Chopin. denotano una grande tecnica compositiva combinata con un gusto musicale molto Ancora studente, ricevette il premio Silberne Gesellschaftsmedaille, il “Premio raffinato. Brahms” e il premio “Zusner”. La musica per chitarra di Rebay, con le sue radici brahmsiane (davvero uniche nel Si è laureò con lode nel 1904 con l’opera per grande orchestra Erlkönig che repertorio chitarristico) e la sua sofisticata tecnica compositiva, ha quindi conquistato Fuchs salutò come la migliore opera prodotta nei suoi 29 anni di insegnamento al un posto di grande rilievo nella storia dello strumento. Conservatorio. In questo periodo, l’elenco delle opere di Rebay contava già centinaia Ferdinand Rebay trascorse gli ultimi anni della sua vita povero e quasi di opere per voce, pianoforte solo, musica da camera e orchestrale. completamente dimenticato. Rebay divenne il direttore del Wiener Chorverein e più tardi, nel 1915, assunse Morì a Vienna il 6 dicembre 1953 lo stesso ruolo con il Wiener Schubertbund rimanendo in questi incarichi fino al © Marcello Fantoni
Eduardo Fernández (2005), Timo Koronen (2005), Leo Brouwer (2006) and Pavel Steidel
(2006) at the Conservatory of Florence where, in 2007, he earned a master’s degree in
performance. His compositions include Perpetuum, omaggio a Egberto Gismonti (for
solo guitar, 2004), Omaggio a Michel Petrucciani, Omaggio a Manuel de Falla and
Sonata Semplice. He has a number of broadcasts and recordings to his credit, including
the works of Spanish composer Tomás Marco and of the Italian composer and guitarist
Luigi Moretti (1774-1856 ca.) both released on the Italian label Dynamic. In 2014 Tomás
Marco dedicated his chamber works Trio Concertante No.5 ‘Cartografias of Melodrama’
(for flute, viola and guitar) and Para un ritual del olvido (for clarinet and guitar) to
Marcello Fantoni. In 2015 he made the world premiere recording of guitar works by the
Sevillian composer Manuel Castillo (1930–2005) and, in 2017, of Rossini Variations
(reaching the 5th position in the ranking of the best sales of Naxos). Since 2017 he has
teached classical guitar at the “Giacomo Puccini” Music Conservatory in Gallarate (VA).
Carlo Enrico Sandrini, graduated in Clarinet at the “Giuseppe Verdi” Conservatory of
Como and in Composition at the “Giuseppe Verdi” Conservatory of Milan with full
honors. Since 2003 he has taught music in public and private schools, choral singing and
music education in primary schools and preparatory music in kindergarten. He’s currently
From left to right: Marcello Fantoni, Carlo Enrico Sandrini, Alessandra Alfonsi and Eleonora Mosca teaching clarinet at middle schools in Milano. He keeps harmony and compositional
rudiments group lessons at “Blau Studio” in Milan. He has collaborated with “Sacco
Hospital” of Milan taking collective music courses for the prevention of Alzheimer’s
Marcello Fantoni, musician, teacher, researcher and composer, has studied classical guitar disease. He has held several conferences on the jazz language at the A.L.D.A.I.
since the age of eight. Under the guidance of Lena Kokkaliari and with Paolo Paolini at Active as arranger, he works with independent labels for the Italian songwriting
the Conservatory of Milan he graduated summa cum laude in performance, as well as market. His works are published by the labels “Niegazowana”, “Magmatiq” and
studying composition. Later he studied musical analysis at the University of Cremona. “Zeromoneta”. He writes music for films and documentaries. His compositions were
He was awarded a Sergio Dragoni Foundation scholarship and in 1996 took advanced performed at festivals dedicated to contemporary music in Milan (Rebus) and Porvoo-
courses with Eliot Fisk at the Salzburg Mozarteum, with Leo Brouwer in Córdoba, and Finland (Avanti! Summer Sounds Festival 2016 performed by Avanti! Ensemble and
with Oscar Ghiglia at the Accademia Chigiana, Siena, where he won a scholarship and conducted by Anna Maria Helsing).
a diploma of merit. The Rome ARAM Association hailed him as an emerging talent, Since 2005 he has played in a permanent duo with the pianist Roberta Salaris.
inviting him to play during their concert season. He attended masterclasses held byAlessandra Alfonsi graduated from the Conservatory “L. D’Annunzio” in Pescara in Eleonora Mosca, singer. Born in Milano and graduated in Modern foreign languages and
2010, with a final mark of 9/10. When she was 16, she was selected to represent the literature at Università Statale of Milan with a thesis about music and poetry of English
Conservatory of Pescara as its best student, performing a duet with Maestro M. Marvulli. Renaissance. She studied lyrical and baroque singing, with a particular attention to
In 2008 she was a member of the “Orchestra Nazionale de iConservatori d’Italia”, English Renaissance music and german Lieder. Besides she studied Jazz, Pop and Music
with whom she worked performing all over Italy and together with some artists such Theatre singing styles. In the years she had collaborations with some Italian orchestras like
as M. Caballé, J. Pons, S. Licitra, F. Mastrangelo. She also collaborated with the Teatro “Carlo Coccia”, “Camerata dei laghi”, “Orchestra delle Groane”, “Orchestra Haydn” in
Marrucino’s Orchestra, in Chieti, with the Solisti Aquilani and with Pescara’s Symphony Legnano and with the guitar Ensemble “Sextha Consort”, wtih a repertoire that included
Orchestra. songs written in Portuguese language. With her versatile voice she sang different kind of
Alessandra Alfonsi performed during several festivals, such as the “Settimana roles and characters in the classical and Music theatre worlds: Zerlina, Bastiana, Agnese
Mozartiana”(Mozart Week) in Chieti and the “Settembre in musica” Festival in Ascoli del Maino, Amina, Maria, Eliza Doolittle, Maria Maddalena, Grizabella. Interested in
Piceno. Together with the “Flûte Ensemble del Conservatorio della Svizzera Italiana”, she the repertorire for voice and guitar, she released under the label “Eco Classic” the album
took part in important events in the LAC in Lugano. She performed as a solo flute with “Ombre amene” with the guitarist Andrea Massimo Fantozzi, which included songs by
the “String Orchestra del Conservatorio della Svizzera Italiana” conducted by Maestro Giuliani, Carulli and some Diabelli’s LIeder transcriptions for guitar. Since 1998 she is
Pavel Berman in the Brandenburg Concerto No.4 by J. S Bach and in the Concerto for director of the singing class in “MTS, Musical the school” of Milan, one of the three
Flute and Harp K299 by W. A. Mozart. most important Music Theatre accademies in Italy. In the years she addressed the musical
From 2011 to 2013 she attended a Specialization Course at the Conservatory of direction of Musical shows as “Crazy for you”, “Anything goes”, “Chapeau”, “Pippin”
Aulnay-sous-bois in Paris with Maestro P. Gallois, getting top marks, the so-called and, in 2019, “Hair”, produced by “Compagnia della Rancia”.
“Prix d’Excellence”. In 2014 she completed, with honours, her Second Level Specialist
2-year course in Music Disciplines at the Conservatory “L. D’Annunzio” in Pescara. In
2016 she completed her Master’s Degree in Music Pedagogy at the Conservatorio della
Svizzera Italiana (Conservatory of Italian Switzerland), being in the class of Maestro
A. Oliva. In 2018 she performed with the Orchestra “Camerata Dei Castelli” at the
Kammermusiksaal Berliner Philharmonikerin Berlin conducted by Maestro Andreas
Laake in music by Maestro Daniel Pacitti.
Special Thanks to Lena Kokkaliari and Rino Trasi for their great help
Recording: 28-29 September 2019, Officina Fuori Opera, Milan, Italy
Audio Engineer: Andrea Massimo Fantozzi
Editing Audio: Marcello Fantoni and Carlo Sandrini
Artists’ photos: Bruno Ruggerio (Fantoni), Roberta Salaria (Alfonsi & Sandrini),
Roberto Ranzani (Mosca)
Cover: Innsbruck (1930), by Lajos Gimes (1886-1944/45)
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