In the Studio: Giovanni Salviucci. A short life with a long reach.
October 16, 2018
Naxos recording sessions of chamber music by Giovanni Salviucci (1907–1937) took place at the Teatro degli Atti, Rimini, Italy at the beginning of October. Salviucci was born in the same decade as Goffredo Petrassi (1904–2003) and Luigi Dallapiccola (1904–1975). The day after Salviucci’s death from tubercular meningitis at the age of 29, Petrassi wrote to Alfredo Casella, Salviucci’s teacher and mentor: era il migliore di noi tutti (he was the best of us all).
and Ida Parpagliolo
Salviucci studied privately with Ernesto Boezi, a noted Palestrina scholar, organist and director of the Cappella Giulia at St Peter’s Basilica in the Vatican; his teaching was based almost entirely on the study of 16th-century vocal polyphony. He later became a pupil of Ottorino Respighi at the Conservatorio di Santa Cecilia in Rome, while Casella introduced him to contemporary and neo-classical trends. Salviucci married the composer Ida Parpagliolo (1904–1994), with whom he had three children. Giovanna, the youngest, was born nine months before her father’s death and became the well-known musician, folk singer-songwriter and ethnomusical researcher Giovanna Marini, who is still active today.
After Respighi, Salviucci was the most frequently performed composer at the Conservatorio di Santa Cecilia and the Teatro Augusteo in Rome, while his works for full orchestra, notably the three masterpieces Sinfonia italiana, Introduzione, Passacaglia e Finale and Alcesti (for chorus and orchestra), were also given at the Venice Biennale and abroad by illustrious conductors including Carlo Maria Giulini, Mario Rossi, Fernando Previtali and Gian Andrea Gavazzeni.
The works on the Naxos recording, performed by the Überbrettl Ensemble conducted by Pierpaolo Maurizzi, include the complete published chamber music as well as the unpublished String Quartet (1932). With the exception of the Serenade for 9 instruments (1937), one of Salviucci’s most forward-looking compositions, all the works, including the angular, harmonically daring, neo-classical Chamber Symphony for 17 instruments (1933), are receiving either their first commercial or stereo recording. It is anticipated that the album will be released in September 2019.
Pierpaolo Maurizzi and the Überbrettl Ensemble