sign in sign up
<<
Home , Adam Falckenhagen, Antonio Vivaldi, Chaconne, Jacob Reuven, Lautenwerck, Raffaele Calace

Delicate Delights

BEST LOVED classical and Delicate Delights Best loved classical mandolin and lute music

1 (1675–1750) 6 Isaac ALBÉNIZ (1860–1909) in the Italian Style, 4:10 Suite española No. 1, Op. 47 – 6:23 BWV 971 ‘’ – No. 5. Asturias (arr. for mandolin I. Allegro (arr. for mandolin and guitar) and guitar) Dorina Frati, Mandolin Jacob Reuven, Mandolin Piera Dadomo, Guitar (CDS514) Eyal Leber, Guitar (8.573566)

2 (1678–1741) 7 Tom G. FEBONIO (b. 1950) Mandolin Concerto in C major, 2:52 Water Ballads, Op. 47 – II. Sprite 2:29 RV 425 – I. Allegro Daniel Ahlert, Mandolin Paul O'Dette, Mandolin Birgit Schwab, Guitar (8.559686) The Parley of Instruments • Peter Holman (8.552101-02) 8 Johann HOFFMANN Mandolin Concerto in – 4:24 3 Johann HOFFMANN (1770–1814) III. Rondo Mandolin in D minor – 3:24 Elfriede Kunschak, Mandolin III. Allegro Pro Musica Daniel Ahlert, Mandolin Vinzenz Hladky (CD3X-3022) Birgit Schwab, Archlute (8.557716) 9 Silvius Leopold WEISS (1686–1750) 4 (1770–1827) Lute Sonata No. 14 in – 4:07 Mandolin Sonatina in C major, 3:02 VI. WoO 44 Daniel Ahlert, Mandolin Elfriede Kunschak, Mandolin Birgit Schwab, lute (8.557716) Maria Hinterleitner, (CD3X-3022) 10 Antonio VIVALDI Concerto for 2 in G major, 3:12 5 Johann Sebastian BACH RV 532 – II. Andante Lute Suite in G minor, BWV 995 – 3:57 Silvia Tenchini and Dorina Frati, Mandolin III. Mauro and Claudio Terroni Mandolin Orchestra Konrad Ragossnig, Lute (CD3X-3022) Dorina Frati, Conductor (CDS7787)

8.578183 2 11 Johann Sebastian BACH 16 Ermenegildo CAROSIO (1886–1928) Lute Partita in E major, BWV 1006a – 3:29 Flirtation Rag 4:18 III. en Rondeau Center Boys’ Rag Band (8.557999) Yasunori Imamura, Lute (8.573936-37) 17 Ludwig van BEETHOVEN 12 (1688–1758) Mandolin Sonatina in C minor, 3:48 Lute Concerto in D minor 6:38 WoO 43a (performed on mandolin (arr. R. Chiesa) – I. (Allegretto moderato) and ) Konrad Ragossnig, Lute Alon Sariel, Mandolin South West German Chamber Orchestra Michael Tsalka, Fortepiano (9.70289) Paul Angerer (CD3X-3022) 18 Johann Nepomuk HUMMEL (1778–1837) 13 Raffaele CALACE (1863–1934) Mandolin Concerto in G major, S28 – 5:03 Mandolin Concerto No. 1, 6:24 II. Andante con Variazioni Op. 113 – III. Rondo Edith Bauer-Slais, Mandolin Alison Stephens, Mandolin Vienna Pro Musica Orchestra Steven Devine, (8.570434) Vinzenz Hladky (3037100102)

14 Johann Sebastian BACH 19 Johann Sebastian BACH Lute Partita in E minor, BWV 996 – 1:33 Concerto for 2 in D minor, 3:49 V. Bourrée BWV 1043 – I. Vivace Yasunori Imamura, Lute (8.573936-37) (arr. for 2 mandolins and mandolin orchestra) Dorina Frati and Silvia Tenchini, Mandolins 15 Johann HOFFMANN Mauro and Claudio Terroni Mandolin Orchestra Mandolin Sonata in G major – 4:15 Dorina Frati, Conductor (CDS7787) III. Rondo Daniel Ahlert, Mandolin Birgit Schwab, Archlute (8.557716)

Total Timing: 78:47

3 8.578183 Delicate Delights Best loved classical mandolin and lute music

The mandolin and the lute are both plucked mandolin a significant part in hisSerenade and chordophones, stringed instruments of great Stravinsky brought it into Agon. antiquity. Each is distinctive in its characteristic The mandolin has become popular shape, the body having a flat soundboard and a worldwide in the realm of folk music from Éire to vaulted symmetrical shell as the main components. the US (where it is played in blue grass, country, The name ‘mandolin’ refers to an and other styles) and from South America to instrument which historically has been known Japan, as well as throughout Europe. by various names in different countries (such as Whereas the mandolin is still an instrument the German mandore, the French mandoline, in active use in many present day musical settings, the Italian mandolino, the Spanish bandolín, the European lute has come to be regarded as etc.). In terms of tuning, following evolution over a historical instrument whose general popularity centuries, the mandolin settled on four courses expired in the late . The lute’s (i.e. four sets of two strings, the ‘courses’ being origins extend far back into antiquity being tuned in pairs), the instrument becoming known of Arabic origin under its name of oud or d, as the ‘Neapolitan’ mandolin. It is tuned to an instrument which in contemporary Arabic, the same pitch and intervals as the and Turkish, Persian, Armenian, and Azerbaijani ultimately players favoured steel strings always culture is still a principal musical element. The d played with a plectrum. is believed to have evolved to become a five Though for many, the contemporary course instrument in the 8th–9th century, and mandolin represents images of romanticism this still remains the customary stringing among and the light music of Mediterranean cafés, today’s leading performers. As an instrument the instrument can claim a distinguished without frets it is ideal for the microtonal nature heritage with many great adding of Middle Eastern music. to its repertoire. Mozart, for example, The European or western lute has passed used the mandolin for the through various evolutions since the instrument of the serenade in Don Giovanni (1787), was introduced by the Moors and the Crusaders Beethoven wrote some pieces for it with piano into Europe during medieval times. At first it was accompaniment, while Verdi included it in played with a plectrum, favouring a melodic Otello (1887). Mahler featured the instrument style. But during the second half of the 15th in his Seventh and Eighth Symphonies and Das century players began to pluck with the fingertips Lied von der Erde, while Schoenberg gave the of the right hand which encouraged the creation

8.578183 4 of a contrapuntal approach to its music. revived the glories of both the Elizabethan lute In the 16th century, the development of and the Baroque lute and made the printing press enabled lute music (written in enjoyable and relevant worldwide. tablature) and instruction books to be published. The early printed books stemmed from various 1 J.S. Bach: Concerto in the Italian Style, countries including France, , BWV 971 ‘Italian Concerto’ – I. Allegro and England, most of them catering for the six The Italian Concerto was published as part course lute. The highest art of the Elizabethan of the second volume of Bach’s Clavierübung lute in England was the music of in 1735. Bach had previously arranged a (1563–1626) and his contemporaries in number of Italian orchestral by publications which became popular throughout Vivaldi and others for keyboard though this European courts. remains his only original concerto for solo In the 17th and 18th centuries, further keyboard. The Italian Concerto is in three courses were added to the lute’s basses and by movements and in this work Bach simulates the time of J.S. Bach the instrument had become orchestral playing divided between the a formidable array of complex stringing and tutti (full orchestra) and the solo instrument tunings, some critics complaining that the performing with the orchestra. Baroque lute cost more to keep than a horse and practitioners spent most of their life tuning. 2 Vivaldi: Mandolin Concerto in C major, Despite this, much superb music was produced, RV 425 – I. Allegro the pinnacle being the lute works of Sylvius Antonio Vivaldi, , violinist Leopold Weiss (1686–1750) and J.S. Bach. and priest, born in , was the The advent of the harpsichord, and the most influential Italian composer of his existence of the lute-harpsichord (a keyboard generation. His music was neglected instrument strung with gut which sounded like for many decades after his death but re- a lute), steadily displaced the lute as the most discovered in the 20th century and works popular means of music making. In the early such as The Four Seasons now rank 20th century the lute became the subject of great worldwide among the most frequently research and pioneers such as Arnold Dolmetsch performed and recorded . (1858–1940) built and searched for the Vivaldi’s prolific output comprised compositions of the past to perform. The coming over 500 concertos. Furthermore Vivaldi of virtuoso lute players such as Julian Bream, contributed a huge quantity of vocal music Nigel North, Paul O’Dette, Lutz Kirchhof, with Masses, , motets, solo , Hopkinson Smith, Christopher Wilson, etc., and over 20 . Mandolin Concerto

5 8.578183 in C major is brimming over with vitality 5 J.S. Bach: Lute Suite in G minor, and melodic inventiveness while allowing BWV 995 – III. Courante the mandolinist scope for expressiveness In April 1723, following the death of and virtuosity. Johann Kuhnau (1660–1722), Kantor at the Thomasschule in Leipzig, Bach was 3 Hoffmann: Mandolin Sonata in D minor – appointed as his successor. During this III. Allegro time, Bach is believed to have been in Little is known of Hoffmann’s life, except contact with two esteemed lute players, that he resided in Vienna, and his various (1687–1750) and compositions were entirely for mandolin Johann Kropffgans (1708–c. 1770). combined with other instruments in various Of all Bach’s compositions only seven ensemble figurations from duets to concertos. works (BWV 995–1000 and 1006a) are In this final movement of theSonata listed as being for lute. Out of these it is in D minor the mandolin is accompanied not certain that each composition was by the archlute. Beginning with a intended for the lute. What is known straightforward statement of the theme, is that three works (BWV 995, 997, the piece evolves as a showcase for the and 1000) are extant in 18th-century mandolinist’s instrumental brilliance. tablature copies. The Suite in G minor, BWV 995 is 4 Beethoven: Mandolin Sonatina in C major, an arrangement of Suite No. 5 in C WoO 44 minor, BWV 1011. On the copy Beethoven wrote his handful of pieces (at the Bibliothèque royal de Belgique, for mandolin and keyboard on his tour ) is the heading Pièces pour la Luth of Prague and Berlin in 1796. They may à Monsieur Schouster par J.S. Bach, while have been intended for his Viennese friend inside are the words Suite pour la Luth par Wenzel Krumpholz (1750–1817), an J.S. Bach. eminent mandolinist who often performed The third movement, Courante, is in for Beethoven. the French style with strong statements and The Sonatina in C major, WoO 44 its own lively dotted rhythms. reveals a jocular aspect of the great Beethoven with light interplay between 6 Albéniz: Suite española No. 1, Op. 47 – mandolin and harpsichord and an No. 5. Asturias abundance of vivacious melodic lines rich Isaac Albéniz, born in Camprodón in in gentle wit. northern , spent much of his childhood

8.578183 6 in Barcelona, the capital of Catalonia. Yet, began to compose. His works are mostly though Catalan by birth, his celebration tonal and structured along Classical or of the great cities of Andalusia remains a Romantic lines. perennial evocation of Iberian Romanticism. The composer commented: ‘The Water Albéniz composed mainly for piano, writing Ballads were written in the winter of 2009 nothing directly for the guitar, but ever since and are dedicated to Birgit and Daniel. Tárrega first transcribed some of his pieces, I did not intend a suite or a programme Albéniz’s music has remained at the very when I began composing, but about heart of the guitar repertoire. midway through the process I realised that In his autobiography Andrés the work was taking its own course, which Segovia relates how around 1918 ‘I was I then followed to conclusion.’ retranscribing Leyenda by Albéniz…’ Under the title of Asturias (Leyenda) this is 8 Hoffmann: Mandolin Concerto in D major – acknowledged as one of the most idiomatic III. Rondo of all the various guitar arrangements of The delicate voice of the mandolin is Albéniz's piano music. contrasted here against the larger forces of In ternary form, it begins as an an orchestra. The mandolin begins with a arpeggiated episode with percussive solo entry before the orchestra intervenes flamenco-like chords. This is contrasted and Hoffman continues to balance the against a more subdued middle section fine shriller voice of the plucked instrument evoking both the singer and the dance. with the supporting power of sonorous After the full reprise of the first section, a bowed strings. short nostalgic coda echoes into silence. The transcription here presents a sweet 9 Weiss: Lute Sonata No. 14 in G minor – blend of mandolin and guitar sonorities VI. Chaconne providing some pleasant surprises within Silvius Leopold Weiss, born in Breslau, the context of one of Albéniz’s best loved capital of Silesia, (now Wrocław, Poland), evocations of Spain. is acknowledged as the greatest Baroque lutenist of his epoch. Taught by his father, 7 Febonio: Water Ballads, Op. 47 – II. Sprite he studied the lute from an early age and Tom Febonio, born in Salem, eventually entered the service of aristocrats Massachusetts, began his musical career in Germany and Italy as a court musician. at the age of 16 playing electric bass in In 1718 he was appointed to the Dresden a rock band. Following this phase he court where he joined the famous orchestra

7 8.578183 of the Elector of Saxony and King of into the slow movement, which became Poland. Weiss remained in this post until the culminating point of the concerto. his death in 1750. Henceforth the adagio was to be less a Weiss composed over 600 pieces structural abstraction than a great lyrical for solo lute organised into suites or outpouring: in it the soloist gives himself Sonaten. Weiss was also a renowned up to his own feeling with a force that the teacher, and among his pupils were the orchestra is no longer able to restrain’. youthful as well as the This beautifully inspired Andante renowned lutenists Adam Falckenhagen exemplifies Vivaldi’s lyrical gift and his and Johann Kropfgans. supreme ability to express poignant Weiss a close colleague of Johann emotion within the concerto form. Sebastian Bach and J.F. Reichardt (1805) documents a meeting of the two great 11 J.S. Bach: Lute Partita in E major, musicians: ‘Anyone who knows the difficulty BWV 1006a – III. Gavotte en Rondeau on the lute of harmonic twists and The Partita in E major, BWV 1006a must be amazed, even incredulous, when has been regarded as one of the most those who were present and heard with technically challenging of the lute works. their own ears assure us that the great The instrumentation of the autograph Dresden lutenist Weiss competed in copy, now in Tokyo, is not explicitly stated. improvisation and elaborated themes Wolfgang Schmieder, author of the Bach with Sebastian Bach, who was also a great catalogue, the Bach-Werke-Verzeichnis master of the keyboard and the organ.’ (BWV), even wondered if it was intended This Chaconne, the last movement for , though it could be for keyboard, of Lute Sonata No. 14 in G minor, is Baroque lute or even lute-harpsichord. performed by mandolin and Baroque lute, In the Staatsbibliothek Berlin-Dahlem with fresh tonal colours entirely appropriate are two 18th-century copies and an to the music. autograph copy in a violin version. Bach twice orchestrated the Prelude as part 10 Vivaldi: Concerto for 2 Mandolins of Cantatas, BWV 120a and BWV 29. in G major, RV 532 – II. Andante In the 18th century, composers were The French musicologist and Vivaldi scholar accustomed to making arrangements Marc Pincherle observed that the composer of specific pieces for a wide range of ‘was the first to bring the pathos of the instruments. For that reason it is not most impassioned Venetian surprising that this suite is appropriate

8.578183 8 for the expressive qualities of the lute. 13 Calace: Mandolin Concerto No. 1, The Gavotte en Rondeau, presents Op. 113 – III. Rondo straightforward dance rhythms and strong Raffaele Calace and his brother Niccolo melodic lines. (1898–1914) were born in , the sons of Antonio Calace, a stringed 12 Fasch: Lute Concerto in D minor instrument maker. Both Raffaele and (arr. R. Chiesa) – I. (Allegretto moderato) Niccolo became virtuosi mandolinists Johann Friedrich Fasch, German composer and also continued their father’s role Kapellmeister, is acknowledged as one as luthier, as well as publishing music. of the most significant contemporaries of Raffaele studied composition at the Regio Bach. He began his musical studies as Conservatorio di Musica in Naples and a boy soprano and later studied at the graduated with distinction. University of Leipzig. In 1711 the Duke In 1924 he travelled to the Far East Moritz Wilhelm of Saxe-Zeitz recognised to play in Japan, appearing at his compositional talent and commissioned the royal court of Emperor Hirohito who him to write operas for the Naumberg conferred on him the Order of the Rising Peter-Paul festivals. Sun. On returning to Italy Calace also Fasch travelled around Europe and performed for Mussolini who presented studied in Darmstadt before taking up him with a signed photograph. posts as violinist in Bayreuth (1714) and Raffaele wrote nearly 200 pieces for ultimately court Kapellmeister in Zerbst the mandolin including two concertos, a where he stayed for the rest of his life. mandolin tutor, and many solo pieces. During his 36 years in Zerbst, Fasch wrote The work is performed by Alison many church cantatas and his fame quickly Stephens (1970–2010), the eminent English spread. None of his music was published mandolinist who was the first graduate on in his lifetime but his output includes much the instrument at the Trinity College of Music, sacred vocal music and 64 concertos, as London and gave the first performance well as 16 symphonies, 18 trio , of a mandolin concerto at the Barbican and four operas (now lost). in 1987. She also played for opera and The Lute Concerto in D minor is a ballet companies and was the performer brilliant example of his bold, assertive in the filmCaptain Corelli’s Mandolin. Her style and his mastery of the Baroque premature death from cancer at the age of concerto form. 40 came as a great shock to all those who knew and loved her music.

9 8.578183 The Mandolin Concerto No.1, Op. the manuscript some time after the original 113 was dedicated to the mandolin virtuoso copy was written, has led to speculation Laurant Fantauzzi (1870–1941). Alison that Bach may have intended the work for Stephens commented: As far as we can the lute-harpsichord. gather Calace never intended the concertos For an understanding of what the to be orchestrated. He appeared to use lute-harpsichord was like we must rely the label ‘Concerto’ to signify a substantial on descriptions by historians of Bach’s three-movement work rather than the time. In an annotation to Adlung’s Musica traditional format of soloist and orchestra. mechanica organoedi, Johann Friedrich Indeed, the piano writing in these works is Agricola describes a lute-harpsichord far more than an accompaniment. Calace belonging to Bach: ‘The editor of these makes great use of the instrument’s natural notes remembers having seen and heard a strengths, characteristics and colours. Both Lautenclavicymbel in Leipzig around 1740, instruments play equal parts and constantly designed by Mr Johann Sebastian Bach interact, each frequently alternating and made by Mr Zacharias Hildebrand. between melody, accompaniment and This was smaller in size than a normal countermelody. harpsichord but in all other aspects was similar … It is true that in its usual setting 14 J.S. Bach: Lute Partita in E minor, … it sounded more like a than a BWV 996 – V. Bourrée lute. But if one drew the lute-stop (such as is In June 1708, Bach was appointed found on a harpsichord) together with the chamber musician and organist at the court cornet stop … one could almost deceive of Wilhelm Ernst, Duke of Saxe-Weimar professional lutenists.’ (1707–17). Suite in E minor, BWV 996, is The Bourrée, earthy and sparse, dated within this period, shortly after 1712. presents in a two-part contrapuntal texture Two years later he was promoted from court a catchy melody instant in its appeal. organist to Kapellmeister, which obliged him to ‘perform new works monthly’. 15 Hoffmann: Mandolin Sonata in G major – The Suite in E minor, BWV 996 III. Rondo can be found in two copies, one in the This skittish and witty Rondo, with the handwriting of mandolin ably supported by the archlute, (1684–1748) and the other in the hand of combines the melodic elements of the Heinrich Nikolaus Gerber (1702–1775). Baroque with the structural qualities of The words ‘aufs ’, added to of the early 19th century.

8.578183 10 16 Carosio: Flirtation Rag songs, orchestral works, chamber music, Ermenegildo Carosio, born in Alessandria piano pieces, and a great number of in 1886, composed songs and dance concertos. In his day Hummel became one music for piano and small ensembles, and of the most acclaimed composers but that an operetta, as well as pieces for mandolin esteem failed to stand the test of time and and for guitar, achieving great fame before his music is rarely performed today. his death in 1928. The Mandolin Concerto displays the The essence of ragtime, the rhythmic dignity of the Viennese school of the early energy and melodic inventiveness, and its 19th century. The piece was written for brilliant evocation of the dance hall, are Barthol Bartolazzi (1772–1846), maestro well represented in this slightly raunchy rag di mandolino, in 1799, who after a highly with its provocative title. successful career as a recitalist in Europe settled in Brazil. The manuscript for the 17 Beethoven: Mandolin Sonatina in C minor, Concerto is in the British Museum, London. WoO 43a The Sonatina in C minor, WoO 43a, is 19 Bach: Concerto for 2 Violins in D minor, marked Adagio, each phrase repeated, as BWV 1043 – I. Vivace (arr. for 2 mandolins it goes on, with a section in C major, before and mandolin orchestra) the final coda. The piece contains a nostalgic This concerto is believed to have been element as well as a strength and assurance written while Bach was at Cöthen around characteristic of all Beethoven’s works. 1720 and was later arranged as Concerto in C minor, BWV 1062, for two keyboards. 18 Hummel: Mandolin Concerto in G major, Thus, this transcription for two mandolins S28 – II. Andante con variazioni and mandolin orchestra is entirely Johann Nepomuk Hummel, Austrian appropriate and the lyrical grandeur of composer and virtuoso pianist, was a pupil this concerto is beautifully created by the of Mozart in Vienna and later studied with plucked string instrumentation for both Albrechtsberger, Salieri and Haydn. His soloists and orchestra. immense output comprised operas, ballets and pantomimes, Masses and cantatas, Graham Wade © Naxos Rights US, Inc.

For more ‘Best Loved’ albums, please visit www.naxos.com/series/best_loved.htm

11 8.578183 DORINA FRATI © Tiziana Arici NAXOS Delicate Delights BEST LOVED classical mandolin and lute music 8.578183 2 81837 2020 © 47313 1985, 1993, 2003, 7 2006, 2007, 2012, 2015, 2017, 2018, 2019 & ℗ Naxos Rights US, Inc. Made in Germany www.naxos.com Includes comprehensive booklet notes in English 3:49 3:29 1:33 4:18 5:03 6:24 6:38 4:15 3:48

(1778–1837)

(1886–1928) (1688–1758)

(1863–1934) Johann Sebastian BACH Concerto for 2 Violins in D minor, Johann Sebastian BACH Johann Sebastian BWV 1006a – Lute Partita in E major, Johann Friedrich FASCH Raffaele CALACE Johann Sebastian BACH BWV 996 – Lute Partita in E minor, Johann Nepomuk HUMMEL Johann HOFFMANN Ermenegildo CAROSIO Ludwig van BEETHOVEN Flirtation Rag Mandolin Concerto in G major, S28 – Mandolin Concerto in G major, Mandolin Concerto No. 1, Op. 113 – Lute Concerto in D minor (arr. R. Chiesa) – Lute Concerto (arr. in D minor BWV 1043 – I. Vivace for 2 mandolins and mandolin orchestra) (arr. III. Gavotte en Rondeau III. Gavotte en Rondeau Bourrée V. Mandolin Sonata in G major – III. Rondo Mandolin Sonatina in C minor, WoO 43a WoO Mandolin Sonatina in C minor, II. Andante con Variazioni III. Rondo I. (Allegretto moderato) I. (Allegretto moderato) (performed on mandolin and fortepiano)

18 19 11 12 13 14 15 16 17

Delights 4:10 2:52 3:24 3:02 3:57 4:24 3:12 2:29 6:23 4:07 Total Timing: 78:47 Total

Delicate

(1770–1827) (1675–1750)

BEST LOVED classical mandolin and lute music BEST LOVED classical (1770–1814) (1686–1750) (1678–1741) (b. 1950) (1860–1909) Mandolin Concerto in C major, RV 425 – 425 RV Mandolin Concerto major, in C Mandolin Sonata in D minor – III. Allegro 44 WoO Mandolin Sonatina in C major, BWV 995 – Lute Suite in G minor, Concerto BWV 971 in the Italian Style, ‘Italian Concerto’ – I. Allegro for mandolin and guitar) (arr. I. Allegro III. Courante Antonio VIVALDI Antonio VIVALDI Johann HOFFMANN Ludwig van BEETHOVEN Johann Sebastian BACH Johann Sebastian BACH Johann Sebastian Isaac ALBÉNIZ G. FEBONIO Tom Johann HOFFMANN Mandolin Concerto in D major – III. Rondo Silvius Leopold WEISS Antonio VIVALDI Concerto for 2 Mandolins in G major, 532 – II. Andante RV Water Ballads, Op. 47 – II. Sprite Ballads, Water Suite española No. 1, Op. 47 – No. 5. Asturias (arr. for mandolin and guitar) for No. 5. Asturias (arr. Lute Sonata No. 14 in G minor – VI. Chaconne 1985, 1993, 2003, 2006, 2007, 2012, 2015, 2017, 2018, 2019 & © 2020 Naxos Rights US, Inc. ℗ 1985, 1993, 2003, 2006, 2007, 2012, 2015, 2017, 2018, 2019

The distinctive sound of the mandolin conjures images of Mediterranean romance, and can claim claim and can romance, Mediterranean of images conjures the mandolin of sound distinctive The in virtuoso heritage a distinguished composers by great for it written music lyrical expressively and sound. The gentler in its in its origins and is more ancient The lute Vivaldi and Beethoven. such as in the 18th century saw its pinnacle instrument colleague Leopold Bach and his close in the music of with the and compositions Recent arrangements Baroque period. lutenist of the the greatest Weiss, today. delightful spell still cast their these instruments reveal how Albéniz and Febonio music of

6 7 8 9 2 3 4 5 1 10

NAXOS Delicate Delights BEST LOVED classical mandolin and lute music 8.578183