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CONCERTI NAPOLETANI PER MANDOLINO ARTEMANDOLINE CONCERTI NAPOLETANI PER MANDOLINO Giovanni Paisiello (1740–1816) Carlo Cecere (1706–1761) Concerto per mandolino in mi bemolle maggiore Concerto per mandolino in la maggiore Concerto for mandolin in E-flat major Concerto for mandolin in A major Konzert für Mandoline Es-Dur Konzert für Mandoline A-Dur 1 I. Allegro maestoso 4.59 10 I. Allegro ma non presto 3.49 2 II. Larghetto grazioso 6.00 11 II. Largo 3.02 3 III. Allegretto 4.45 12 III. Grazioso 2.28 Giuseppe Giuliano (18th century) Giovanni Paisiello Concerto per mandolino in si bemolle maggiore Concerto per mandolino in do maggiore Concerto for mandolin in B-flat major Concerto for mandolin in C major Konzert für Mandoline B-Dur Konzert für Mandoline C-Dur 4 I. Maestoso 4.01 13 I. Tempo giusto 6.49 5 II. Lento non troppo 2.23 14 II. Larghetto alla siciliana 3.50 6 III. Allegro 3.04 15 III. Allegro 5.56 Domenico Caudioso (18th century) World premiere recordings on period instruments Concerto per mandolino in sol maggiore Weltersteinspielungen auf historischen Instrumenten Concerto for mandolin in G major Konzert für Mandoline G-Dur Recording: 14–17 August 2017, Eglise de Mont St Martin (Longwy), France 7 I. Allegro 5.07 Sound and balance engineer, editing & mastering: Arno Op Den Camp Kerani Music Studio: kerani-music.com 8 II. Largo 4.29 Artwork: Christine Schweitzer 9 III. Allegro 3.42 Cover painting: Henry Nelson O´Neil (1817–1880): L´innamorata (1857) Booklet photos: g Sarah Tehranian (Muñoz, p. 4) g Nadia Vaïsse (Pavón, Tolkacheva, p. 4) · g Ensemble Artemandoline (p. 17) g Odile Armborst (p. 18) Total time: 64.48 2 ARTEMANDOLINE soloists / Solisten: Juan Carlos Muñoz, baroque mandolins / Barockmandolinen (4–6, 10–12) Mari Fe Pavón, baroque mandolins / Barockmandolinen (1–3, 7–9) Alla Tolkacheva, baroque mandolins / Barockmandolinen (13–15) Amandine Solano & Sue-Ying Koang, violins / Violinen Ellie Nimeroski, viola / Bratsche Yasunori Imamura, theorbo / Theorbe Manuel Muñoz, baroque guitar / Barockgitarre Oleguer Aymamí, cello / Violoncello Jean-Daniel Haro, double-bass / Kontrabass Gregori Ferrer, harpsichord / Cembalo We want to thank the town of Mont St Martin and the association “Trans’Arts” for their support and for their help. / Wir danken der Stadt Mont-Saint-Martin sowie “Trans’Arts” für ihre Unterstützung und Hilfe. Artemandoline is supported by : The Ministry of Culture of Luxembourg the Fonds Culturel National (FOCUNA) and by the Fondation Indépendance by BIL For more information about the artists / Für mehr Informationen über die Künstler: www.artemandoline.com P & g 2018 Sony Music Entertainment Germany GmbH www.sonyclassical.com 3 Juan Carlos Muñoz Mari Fe Pavón Alla Tolkacheva 4 NEAPOLITAN MANDOLIN CONCERTOS Music has always been omnipresent in Naples. In the of the Two Sicilies, an area covering the whole of southern city’s opera houses, theatres and conservatories, it has Italy. It was the third largest city in Europe. The French found expression in a multitude of styles and genres, while scholar Charles de Brosses, who spent several months in also playing an important role in Naples’s innumerable Italy in 1739–40, described Naples as “the capital of the salons and in the palazzi where the local clergy foregathered world of music”. It was Charles III of Spain who built the with music-loving patrons and other champions of the sumptuous Teatro di San Carlo in 1737, an opera in the arts. Vocal and instrumental music was integral to most shape of a horseshoe with boxes ranged over several tiers. of the ceremonies and events in public life in every social In its day it was the largest theatre in Europe. stratum. Moreover, the outstanding reputation of the The city’s fundamental importance in the history of vocal city’s conservatories, most of which had been established music has tended to ob scure its no less dazzling tradition in as orphanages in the 16th century, attracted only the most the field of instrumental music. Comic operas undoubtedly gifted students, laying the foundations for Naples’s excep- proliferated, and the reputation of the region’s castratos tional reputation at this time. was then at its height, confirming the superiority of Naples It is enough to list the names of composers of the eminence in the world of singing. And yet it is clear from the latest of Alessandro and Domenico Scarlatti, Nicola Porpora, Johann musicological research that Naples played a crucial role in Adolph Hasse, Leonardo Vinci, Francesco Durante, Domenico the field of instrumental music and that the city can surely Cimarosa and Tommaso Traetta, to name only the most be spoken of in the same breath as other centres such as famous among them, to gain an idea of the magnificence of Florence, Rome and Venice that are more frequently associated the musical legacy handed down in the course of the next with this repertory. two centuries. Music and art in general made an essential The instrumental works that were written in and around contribution to Naples’s international prestige. Naples were nothing if not original, based, as they were, Vienna’s population during the Age of Baroque was on pronounced rhythmic patterns and on bold harmonic 70,000, whereas Naples’s was almost four times as many. and melodic strategies. These were the ingredients that This was no provincial town but the capital of the Kingdom defined the “Neapolitan colour” that was integral to the 5 Teatro San Carlo (Woodcut by Giuseppe Barberis) “Neapolitan style”, a style immediately recognizable as such. when the entire metropolis was rotting away under the Naples was an experimental laboratory that produced a impact of grinding poverty. Legion were the artists who long line of exceptional musicians whose compositions left Naples and moved to other parts of Europe, most no- were to create the myth of a “Neapolitan school”. tably London and Paris. Mandolin virtuosos such as Even so, the political upheavals that stemmed from the Gabriele Leone, Giovanni Battista Gervasio and Giuseppe rivalry between Spain and the Habsburg Empire gave rise Giuliano had no choice but to seek their fame and fortune to what can only be described as a brain drain at a time abroad. 6 What could be more natural than to associate the city of The composers who are included in the present album Naples with the mandolin, an instrument that was par- sought to enchant their listeners by seducing and enter- ticularly popular with “noble virtuosos”? The finest in- taining them. Their works are constructed along clear-cut struments were built by the instrument makers who were harmonic lines that conceal within them appreciable or- then in fashion: Antonio Vinaccia, Antonio Galeota, Donato namental details, exploiting rich harmonic patterns that Filano and Giovanni Battista Fabricatore. underscore a remarkable degree of harmonic invention. But A glance at the concertos featured in the present release nor should we overlook the ingredients that add a certain reveals that all are typical of the taste and style of the period. spice to these pieces: ternary forms, triplets alternating All reflect the characteristic qualities of a “Neapolitan with binary values, contrastive melodies and Neapolitan mandolin school” with its unique language and idiomatic sixths. All, in short, are the quintessence of “Neapolitan techniques. And so we have selected five pieces, each of excellence”. which demonstrates an unusual and extremely interesting In terms of their structure and nature, these concertos aspect of the instrumental culture in Italy. not only confirm the remarkable quality of these works but Giovanni Paisiello, Giuliano, “Caudioso” and Carlo also indicate that the mandolin players themselves were Cecere were all born in Naples. We know that Cecere exceptionally talented, their technical skill presupposing made a name for himself with a whole series of operas a virtuosity that is perfectly suited to music in thrall to a and instrumental works, while Giuliano wrote prolifically powerful passion and ready to explode with the force of a for the mandolin, most notably concertos, duets and trios. Mount Vesuvius. Conversely, we know nothing about the life and works of This recording affords an historical insight into the musical “Caudioso”. Indeed, one eminent French musicologist has and instrumental heritage of the mandolin, a heritage argued that the name that appears on the manuscript which, even if it is not well known, is none the less of score is a copyist’s error and that the concerto in question great interest and value. Listeners will discover miniature is in fact the work of Domenico Cimarosa. The best known jewels that will introduce a wider audience to a number of the four is Paisiello, whose fame was based essentially of representatives of a kind of Neapolitan instrumental on his operas, in a number of which he also used the man- music that is never less than exquisitely refined. dolin. This was famously the case with his comic opera Il barbiere di Siviglia. © Juan Carlos Muñoz & Sébastien Paci Translation: texthouse 7 Johann Baptist Homann: Neapel, 1727 8 CONCERTI NAPOLETANI PER MANDOLINO In Neapel war Musik immer allgegenwärtig. Im Opernhaus, Gelehrte Charles de Brosses, der sich 1739/40 in Italien in den Theatern, in den Konservatorien – überall erklang aufhielt, nennt Neapel die „Hauptstadt der Musikwelt“. sie in den verschiedensten Stilrichtungen und Gattungen. Der spätere spanische König Karl III. ließ das prunkvolle Sie spielte eine wichtige Rolle in den zahllosen Salons und in Teatro San Carlo erbauen, ein Opernhaus in Hufeisenform den Palästen, wo sich der Klerus, die Mäzene, die Musik- mit insgesamt sechs Rängen, das 1737 eröffnet wurde lieb haber und Förderer der Künste begegneten. In allen und seinerzeit das größte Theater Europas war. Gesellschaftsschichten gehörte die Instrumental- und Die grundlegende Bedeutung der Stadt in der Geschichte Vokal musik zu den öffentlichen Festen und Ereignissen.

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