German premiere of the Sarabanda for violin and piano by Ottorino Respighi

Friday May 5th 2017, 7PM, Haus der Musik im Fruchtkasten, Schillerplatz 1, Stuttgart – Germany-

Duo Bernecoli Corazza – Emy Bernecoli, violin and Elia Andrea Corazza, piano.

The score is available in the critical and first edition through Schott Music at this link.

The Sarabanda for violin and piano

Official pages of the event: CIDIM and Istituto Italiano di Cultura di Stoccarda.




Our musical journey on Italian Colour begins with the Sonata in Re maggiore RV10 by Antonio Vivaldi as transcribed by Ottorino Respighi, a great Italian composer of the Twentieth century and discoverer of ancient music. The program continues with Antonio Vitali’s Ciaccona, a famous masterpiece for violin which has been played by the most important violinist through the ages. This piece is a sequence of variations based on a descending basso ostinato which preserves balance and virtuosity. By Ottorino Respighi we will then play the unedited Sarabanda (1897), a recently rediscovered juvenile composition which is characterized by ancient forms and harmonies. By the same composer, then, the Berceuse, an evoking pastoral lullaby, and the sweet Valse Caressante, a delicate salon composition, both taken from the Six pieces for Violin and Piano (1902). The following Preludio e Danza Siciliana (Sicilian Dance, 1928) by Alfredo Casella are an autograph transcription for violin and piano of the first part of the ballet “La Giara”. The piece is based on Italian folk melodies rendered with virtuoso technique, modern harmonies and lyrical expansion. Again two delicate pieces: A Coralline, a lovable dedication, and Sirventese, a court dance, by Riccardo Pick-Magiagalli, which both incorporate the passionate Italian operatic tradition into light salon compositions. The three-part composition Autumn Suite (2016) by Elia Andrea Corazza combines ancient form and modern melodies. The final Un Diavolo sentimentale (A sentimental devil, 1969) by Nino Rota, a well-known Italian composer of music for the cinema, is an eccentric and sparkling piece based on octatonic scales and augmented fourth, a dissonant interval which, since ancient ages, is called Diabolus in musica.



Antonio Vitali

Ottorino Respighi
Sarabanda (German premiere)
Berceuse e Valse Caressante dai Sei Pezzi per violino e pianoforte

Alfredo Casella
Preludio e Danza siciliana da “La Giara”

Riccardo Pick-Mangiagalli
A Coralline

Elia Andrea Corazza
Autumn Suite
Out of Sadness

Nino Rota
Un diavolo sentimentale



A Piece of Music Found, A Lost Opera Complete


Dan Turello wrote this article on my research at The Library of Congress, during my Kluge Fellowship. He describes my quest to reconstruct the entire score of Paisiello’s La Serva Padrona, which Ottorino Respighi orchestrated for Diaghilev’s Ballets Russes in 1920, but was not staged and considered lost.

    Short excerpt from the article by Dan Turello:

Sometimes a few missing pages can make it a challenge to reconstruct an entire work. This was exactly the case when current Kluge Fellow Elia Corazza discovered the autographed orchestration of La Serva Padrona, an 18th century opera written by Giovanni Paisiello and then adapted by Ottorino Respighi for Diaghilev’s Ballets Russes in 1920.

Corazza, a composer, conductor, and musicologist, with training in piano, composition and orchestral conducting, as well as a Ph.D. in musicology from the University of Bologna (Italy), became interested in La Serva Padrona as a part of his broader effort to rediscover some of Respighi’s lost works. Respighi became popular in Italy after the First World War, just as Fascism was taking hold in the country. During these years, Respighi transcribed various works of pre-romantic music created by Italian composers including Monteverdi, Paisiello, Cimarosa, and Rossini, that had long since been forgotten and seldom, if ever performed.

You can read the entire interview on The Library of Congress’ blog.

Review of La Serva padrona

Beautiful review written by Dr. Francesco Lora on Il Corriere musicale (in Italian) about the premiere of Paisiello-Respighi’s La Serva padrona.

Here is an English translation of the excerpt.

World premiere in Bologna of the intermezzi made by Diaghilev for the Ballets Russes. The musical reading of the young conductor Elia Corazza was outstanding.


Thanks to his enthusiasm on the project, to his work on every stage of the production, to his critical knowledge of the repertoire and to his demonstrated conducting talent, the young conductor premiered  Paisiello-Respighi’s chamber opera giving an outstanding musical reading: the Orchestra of the Teatro Comunale was committed as ever before, with an urging narrative rhythm and the music put in evidence in its shining and energetic liveliness.

You can read the full review here (in Italian)

Elia Andrea Corazza during a rehearsal of La Serva padrona with the Orchestra of the Teatro Comunale of Bologna
Elia Andrea Corazza during a rehearsal of La Serva padrona with the Orchestra of the Teatro Comunale of Bologna