Notational Aspects of Camillo Togni’s Early Piano Works (1937–1947): The Case of the Sonata op. 9 for Cello and Piano

Abstract

This article explores the notational innovations in Camillo Togni’s early piano works from 1937 to 1947, focusing on the Sonata Op. 9 for cello and piano, recently published by Edizioni Suvini Zerboni. The Sonata, a monumental work praised by Alfredo Casella, exemplifies Togni’s complex polyphony and atonal style, influenced by Bach’s counterpoint and Brahmsian structures. In this context, Togni developed a unique ‘synthetic’ notation to express dense polyphonic writing on two-three stave systems, avoiding traditional four or five staves. This notation uses continuous or semi-continuous beams to connect sequences of notes, functioning both as phrasing slurs and rhythmic articulators.The article examines two manuscript sources of the Sonata, preserved in the Fondo Camillo Togni of the Fondazione Cini: an autograph score in synthetic notation and a 'fair copy' in traditional notation. The editor's decisions to maintain Togni’s synthetic notation for the piano part and use the 'fair copy' for the cello part ensure fidelity to his innovative approach. The resulting edition challenges performers to engage deeply with Togni’s intricate musical language.