Esposito conducted concerts with the London Symphony
Orchestra on a visit by them to Ireland and performed his piano concerto with
them under the baton of Hamilton Harty. In 1897, Esposito conducted the Moscow
premiere of Modest Mussorgsky's opera Khovanshchina
with the Russian Private Opera at the Solodovnikov Theatre and, later that
year, conducted the world premiere of Nikolai Rimsky-Korsakov's opera Sadko again with the Russian Private
Opera at the Solodovnikov Theatre. After his retirement in 1928 he returned to
Italy, dying in Florence in 1929.
As a composer, Esposito’s works include two one Act operas, The Tinker and the Fairy and The Post Bag, a cantata for soli, chorus
and orchestra Deirdre, orchestral works
including an Irish Symphony, Op. 50
(1902), Poem for orchestra, Op. 44
(1899), an Irish Suite for orchestra, Op.
55 and a Neapolitan Suite for
orchestra, numerous solo piano works, songs and folk-song arrangements and
chamber works including a String Quartet in D, Op. 33 and a String Quartet in C
minor, Op. 60.
Of his chamber works
Esposito also wrote a Sonata in G for violin and piano, Op. 32, a Sonata in E
minor for violin and piano, Op. 46, a Sonata for violin and piano, Op. 67 and a
Sonata in D for cello and piano, Op. 43 all of which feature on a new release
from Champs Hill Records www.champshillrecords.co.uk played by Mia Cooper (violin) www.riam.ie/mia-cooper , William Butt (cello) www.williambutt.com/Welcome.html and Lance Coburn (piano) www.lancecoburn.com .
CHRCD066 |
Although his music is rooted in the late-nineteenth-century
romantic tradition, Esposito was influenced by Irish folk-song and dance,
something which occasionally seeps into his music.
Esposito’s Sonata for
violin and piano in G major, Op.32 was dedicated to Guido Papini
(1847-1912), who was also a professor at the Royal Irish Academy of Music,
teaching violin. An expansive melody opens the Moderato with the violin and piano weaving around each other and
reflecting the theme before intensifying and building to a fine climax before a
lovely quiet coda.
The piano opens the Lento
before the violin joins in a simple melody. The music tries to become more
intense but falls back, nevertheless the greater emotional content has its way,
subtly pushing forward until reaching a climax before quietening to a hushed
coda with the violin concluding on a high E so beautifully played by Mia
Cooper.
A lively dance like theme opens the Allegro vivace finale, with some terrific playing from both Mia
Cooper and Lance Coburn. The second subject is more lyrical and flowing before
the piano tentatively leads the music back to the lively opening theme with
more, fine playing as it leads to a frantic coda. There is never a dull moment
in this work, so well played by these artists.
The Sonata for violin
and piano in E minor, Op.46 gained a prize from La Société Nouvelle when
played in Paris, in 1907. The Allegro
moderato opens with a flourish from both players, before a rather intricate
melody is introduced, with many little motifs for both instruments. When the
second subject arrives it is more lyrical before Esposito develops all the
material. The second subject again appears and the music broadens to a
passionate coda. This is certainly a more complex construction than the earlier
violin sonata.
Pizzicato strumming from the violin, against a little melody
piano motif, opens the Andantino.
Soon the violin plays the theme against piano accompaniment leading to a more
flowing passage. As the music develops, the violin produces some strident cords
leading to a darkening of tone. However, the melodic theme returns. Staccato chords
from the piano lead to the return of strumming from the violin to end this
movement.
An attractive melody opens the final movement, marked Confuoco. Slowly the music builds
becoming faster before falling to a slower section, quite romantic in feel.
This leads to a restatement of the opening theme that develops before the slower
second subject re-appears leading to a sparkling coda. Both artists seem to be
really inside this fine music.
Esposito’s Sonata for
violin and piano in A major, Op.67 is a late work, dating from 1920/21 and dedicated to the Irish conductor/composer
Hamilton Harty (later Sir Hamilton Harty). Unlike the first two violin sonatas,
this work is in four movements. The Affettuosamente
opens with a lilting melody, quite wistfully romantic in nature; this eventually
giving way to a faster theme built on the opening three note motif to form a
rhythmic, dramatic section that hurtles forward. After a climax the music becomes
slower and tentative before a more passionate version of the opening theme
appears leading to a calm coda. This is rather a sprawling first movement but,
nevertheless, is full of interesting ideas.
The Allegretto
moderato opens as a gentle waltz but soon becomes enlivened as the violin
and piano develop the theme. There are some lovely ideas here with some unusual
piano writing against which the violin moves around before ending gently.
The Andante cantabile
is more conventional, though, as it develops, it often has a bittersweet feel
as it becomes more earnest. With the Allegretto
grazioso the violin introduces an attractive theme with piano accompaniment
before the theme is given to the piano. The second subject is introduced with a
five note motif before the music develops quite passionately leading to the
coda.
These are first rate performances from Mia Cooper and Lance Coburn.
In 1899, Esposito’s Sonata
for cello and piano, Op.43 also won a prize, this time from the London Incorporated
Society of Musicians. A deep, rich motif on the cello opens the Allegro moderato, repeated by the piano,
leading to a rich melody. A faster, rhythmic second subject appears with
William Butt producing some deep glowing cello sounds. After a re-appearance of
the opening motif, a quiet passage with a brief cello solo leads to a romantic
section full of stirring piano writing and a lovely cello part, before leading
to the coda that quietly creeps to an end.
For the first time on this disc a definite Celtic lilt in the form of a Scotch snap is introduced
by the cello as the Lento opens. This
unusual movement moves between the rhythmic Scottish snap and a longer melody.
There is a central melody that is allowed to flow with some beautiful cello
playing from Butt and a lovely piano accompaniment. The Celtic melody slowly
re-appears, deep on the cello, before rising with pizzicato notes to reveal the
snap motif more fully and rhythmically before falling to end quietly.
The Allegro moderato
has a confident swaying melody for cello and piano that is developed and
becomes more passionate. There is a short central quiet section for piano
before the drama returns, eventually leading to a quiet coda.
It is a pity that there are not more recordings of
Esposito’s attractive music. Míċeál O'Rourke has recorded Esposito’s piano
works for Chandos but on the evidence of these sonatas it would be good to hear
some of his orchestral works.
This excellent disc, well recorded in the Music Room, Champs
Hill, West Sussex, England has excellent notes by Malcolm MacDonald. With
performances that couldn’t be bettered this new release is well worth
investigating.
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