Casanova for Cello and Wind Orchestra
Johan de MEIJ (b.1953)
The composition Casanova
is a musical portrait of Giacomo Casanova, who lived from 1725-1798. This
illustrious character, represented by the violoncello, is given shape by means
of eight musical scenes which concentrate on some of the most striking episodes
from Casanova’s adventurous life: his arrest, captivity and escape from the
infamous Piombi prison in Venice.
Two
of my long-time dreams came true in this composition. First, I wanted to write a
musical tribute to one of my favourite composers, the great Italian opera
composer Giacomo Puccini. Second, for many years I have intended to compose a
substantial work for violoncello and winds.
Casanova
was commissioned by the Dutch Music Foundation “Fonds voor de Scheppende
Toonkunst” at the request of the symphonic band “Sint Michaël”
of Thorn, and it is dedicated to the band conductor Heinz Friesen. Soloist
Roeland Dujine gave the official world premiere performance on 2 April 2000 at
the Vredenburg Concert Hall in Utrecht, The Netherlands. In August 1999, Casanova
was awarded the First Prize at the Corciano International Composition Contest in
Italy.
Background
information about Casanova
I
have always wondered why Puccini never considered writing an opera based on the
adventurous life of his fellow countryman, for it appears that Puccini’s
favourite themes, such as love, passion, intrigue and treason, are to be found
everywhere in Casanova’s memoirs.
Many striking similarities are found between Puccini’s and Casanova’s private lives: Puccini’s life consisted of a succession of romances and passionate love affairs, even if they did not really match the extravagant adventures of our charming Venetian hero. However, it would be totally unfair to describe Casanova as merely an incorrigible womaniser. His voluminous memoirs, entitled “History of My Life”, clearly demonstrate that he was quite an intelligent and versatile personality, a welcome guest of the Italian aristocracy as well as several European courts. He held several career positions and had many different avocations: at various times he was a diplomat, a faith healer, director of the first French Lottery and even probably a spy. He spent the last years of his life writing his memoirs and – thanks to his incredible memory – he was able to remember even the smallest details. In-depth study and diligent investigations in the archives of J. Rives Childs, the Casanova authority par excellence, have revealed that – except for some chronological mistakes – Casanova had given a truthful and clear report of his thrilling adventures and of the tempestuous era in which he lived.
Short
musical explanation of the eight scenes
I. Prologo -
II Tema di Messer Grande
(Prologue – the Messer Grande
theme)
Three powerful minor chords with the brass (B-flat, A-flat and E-minor) build
the “Messer Grande theme”. Chief of Police Messer Grande was
at the service of the Venetian Inquisition and was responsible for Casanova’s
arrest. This arrest was due to some intrigues and vague accusations about our
hero’s so called “wicked and libertine way of life”. There is a great
similarity between Messer Grande and Scarpia, the cruel chief of police
in Puccini’s opera “Tosca”, so the musical thematically similarities are
not a mere coincidence. Just like Scarpia or Javert (a character from “Les
Misérables”), Messer Grande is the bad guy and his musical
theme immediately supplies the necessary dramatic tension. The Messer Grande
theme changes into the Passion theme with the minor ninth chords that are so
typical for Puccini.
II.
Cadenza – Atto di Presentazione
(Cadenza – Casanova presents himself)
Casanova comes to the fore in a solo cadenza for violoncello, constantly being
surrounded by varying instrumental combinations. The ardent and seducing sound
of his voice becomes more and more passionate…
III.
La Vita a Corte
(Court Life)
This depicts a scene at court. The frivolous setting consists of a magnificent
ballroom, complete with chandeliers, sumptuous costumes, an abundance of food
and drink and, of course, pretty women galore. The violoncello introduces the
Casanova theme, which is soon taken over by the complete orchestra.
IV.
L’Arresto di Casanova (Casanova’s arrest)
The
music comes to an orchestral climax at which the violoncello is overwhelmed by
the complete orchestra: the arrest is a fact and Casanova is transferred to
“II Piombi”, the infamous prison of the Doge Palace. Casanova’s despair
and indignation is expressed by the violoncello, which descends gradually to its
lowest register, while being surrounded by some dark Messer Grande chords
by the trombones. The heavy cell door is softly, but irrevocably, closed.
V.
Reminiscenze
(Reveries)
For quite some time Casanova lies apathetically on his straw mattress in a
pitifully cramped cell. During that first night of captivity he is overwhelmed
by gloomy thoughts. A pale ray of daybreak light shines through the prison bars.
Casanova reflects on his adventurous life, while we hear some street sounds
(masked dancers and a mandolin serenade) in the background. At the same time, he
tries to find a trick that will enable him to escape as quickly as possible from
this hell. The lamentations of the monk Marino Balbi, imprisoned in the adjacent
cell (bassoon solo) attract Casanova’s attention. Both men furtively come into
contact, and with Balbi’s help an ingenious escape scenario is elaborated.
VI.
L’Evasione dai Piombi
(Escape from the Piombi prison)
The roof of the prison is covered with lead plates (which explains its
nickname). Several percussion effects suggest the destructive activities that
will allow our friends to escape from the Piombi via the roof of the prison. The
exciting escape is portrayed by nervous sixteenth note passages for the
violoncello surrounded by recurrent themes, and finally giving way to the
Passion theme.
VII.
M.M. e C.C. (M.M.
and C.C.)
This scene is set in a monastery on the nearby isle of Murano. Here Casanova
has, for some time, a love affair with two of the nuns. Being tactful, Casanova
only mentions his mistresses’ initials in his memoirs. A sugary tune
accompanied by harmonium-like chords played by the clarinets leads to a climax
that turns into the Finale in a very fluent way.
VIII.
Finale e Stretto: II Trionfo dell’ Amore
(Love’s triumph)
We hear the Passion theme once more, but this time in a triumphant E major key.
After a short, melancholic reminiscence of M.M and C.C. by the soloist, a presto
vivace leads to the thrilling conclusion.
Johan de Meij - Amsterdam