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Artemandoline - Domenico Scarlatti: Mandolin Sonatas (2013)

Posted By: Designol

Date: 14 Apr 2024 14:00:13

In Domenico Scarlatti’s vast output of 555 keyboard sonatas, there are a small number of works that are especially interesting to musicologists because of characteristics such as figured bass, three‐ or four‐movement structure, and distinctive melodic lines that are particularly appropriate for a highpitched solo instrument. Some experts believe that these works were written for the violin; on this recording, after meticulous research and the discovery of an important new manuscript at the Bibliothèque de l’Arsenal in Paris, the members of Artemandoline propose the fascinating theory that the sonatas may have been composed for the mandolin. Featuring works ranging from the smaller‐scale K77 to the ambitious and technically demanding K88 – which is extremely well suited to the mandolin thanks to its four‐part chords and dynamic nuances – this disc offers a radical reinterpretation of this captivating music.

Formed in 2001, the ensemble Artemandoline has worked tirelessly over the years towards the revival of the mandolin, giving new prominence to and widening the repertoire of this beautiful and unfairly neglected instrument. Artemandoline is acclaimed by audiences and critics alike for its rigorous and scrupulously researched, yet fresh, spontaneous and exciting performances. This is the ensemble’s first recording for Brilliant Classics; a second disc of mandolin music from 18th‐century Paris will follow later in 2013.

My, but this new period plucked instrument group has been busy! This is the second disc reviewed this issue, the other being a compendium of works for mandolin entitled Les Galanteries . Here, however, they are tackling one of the well-known sets of pieces originally written for keyboard by Domenico Scarlatti, basing their work on a manuscript from the Bibliothèque de l’Arsenal in Paris. In this collection one finds the Sonata in D Minor (K 89) in a version arranged for mandolin and keyboard, rediscovered by scholar-performer Didier Le Roux. I confess not to have been able to collate the original source, but I would take an educated guess that it probably represents some sort of popular arrangement for the plucked instrument. To be sure, Scarlatti does on occasion (as with the works presented here) provide figures for the bass line, but whether or not this meant that it was to indicate a continuo, with the upper line performed on some sort of other treble instrument, is open to interpretation. Artemandoline takes the position that these could be for mandolin and continuo, based upon the theory that in the G-Minor Sonata (K 88) the technical considerations, including rapidly changing dynamics, chords, and short note values, favor a plucked instrument over, say, a violin, which seems to have been the main alternative proposed for these so-called continuo sonatas. They do, however, retreat rather gracefully from the entire issue by concluding that “we merely wish to effect new possibilities of interpretation for these works.” There is merit to this sort of strategy; propose something extraordinary, provide what might be consider largely circumstantial proof, and then sidestep the issue. It relieves them of providing the burden of absolute proof and yet opens the audience’s mind to a possibility that could appear reasonable in some fashion for the original versions.

As for the music itself, these works have been recorded on the keyboard multiple times. Since this is an alternate attempt at interpretation, the comparisons are not relevant, and therefore one must view the pieces as they exist on this recording alone. The results are just fine. Mari Fe Pavón’s playing is crisp and clear, and the forward tone of the continuo as performed by gambist Jean-Daniel Haro and harpsichordist Jean-Christophe Leclère makes the duo an equal partner. I find the recording quality overly vibrant, which perhaps is necessary for the texture, but makes for a brighter sound than one might expect. It is especially effective in the second movement of the G-Major Sonata (K 91) which comes out as a rather lively dance. Here the ornamental trills are nice touches on the mandolin. It also gives a sense of definition, as in the gigue of the E-Minor Sonata (K 81). The third movement gavotte of the G-Minor Sonata seems particularly Spanish sounding, replete with appoggiatura twists that characterize Iberian dance music. The following minuet moves right along, with some rather nice textural contrasts provided by the mandolin and continuo that features the guitar.

In short, the disc is well played and quite entertaining. Although it is not a world-shaking event, the quality of the performances does make one take notice of a rather unusual combination of sounds. Plucked instruments may not be everyone’s cup of tea, and of course purists who are thoroughly familiar with the Scarlatti sonatas in their keyboard guise might find this disc difficult to accept. The bright sound that presents the instruments in a clear and detailed environment might also be a bit grating, but personally I find that, whether or not I actually agree with the premise put forward by Artemandoline, the disc itself has much to offer. It would especially be suitable for aficionados of plucked instruments, and others who wish to have a well-done but singular version in their collections.

Review by Bertil van Boer, Fanfare

Domenico Scarlatti at Allmusic
Domenico Scarlatti at Wiki

Artemandoline Website

Artemandoline:
Mari Fé Pavón, baroque mandolin
Manuel Muñoz, baroque guitar
Jean-Daniel Haro, viola da gamba
Jean-Christophe Leclère, harpsichord

Tracklist:

1. Sonata in G major, K.91 - I. Grave (01:24)
02. Sonata in G major, K.91 - II. Allegro (03:37)
03. Sonata in G major, K.91 - III. Grave (01:15)
04. Sonata in G major, K.91 - IV. Allegro (01:21)

05. Sonata in E minor, K.81 - I. Grave (01:41)
06. Sonata in E minor, K.81 - II. Allegro (03:05)
07. Sonata in E minor, K.81 - III. Grave (01:19)
08. Sonata in E minor, K.81 - IV. Allegro (01:31)

09. Sonata in G minor, K.88 - I. Grave (02:08)
10. Sonata in G minor, K.88 - II. Allegro moderato (02:31)
11. Sonata in G minor, K.88 - III. Allegro (01:29)
12. Sonata in G minor, K.88 - IV. Minuetto (01:54)

13. Sonata in D minor, K.90 - I. Grave (03:32)
14. Sonata in D minor, K.90 - II. Allegro (04:27)
15. Sonata in D minor, K.90 - III. Siciliana (00:53)
16. Sonata in D minor, K.90 - IV. Allegro (02:02)

17. Sonata in D minor, K.77 - I. Moderato cantabile (03:10)
18. Sonata in D minor, K.77 - II. Minuetto (02:18)

19. Sonata in D minor, K.89 - I. Allegro (03:28)
20. Sonata in D minor, K.89 - II. Grave (02:08)
21. Sonata in D minor, K.89 - III. Allegro (01:48)

EAC log

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 20. July 2015, 23:04

Artemandoline / Domenico Scarlatti - Mandolin Sonatas

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TOC of the extracted CD

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Range status and errors

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Test CRC B65DACA1
Copy CRC B65DACA1
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All tracks accurately ripped

End of status report

==== Log checksum CEAB3EA07B6E3A54B9E17D0578A0B5E19339D14EA25C3EB426B111F817529E8C ====

DR log

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2016-04-24 14:11:06

––––––––––––––––––––––––––––––––––––––––
Analyzed: Artemandoline / Domenico Scarlatti - Mandolin Sonatas
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR14 -1.16 dB -18.79 dB 1:25 01-Sonata in G major, K.91 - I. Grave
DR10 -0.91 dB -13.01 dB 3:37 02-Sonata in G major, K.91 - II. Allegro
DR15 -0.91 dB -19.02 dB 1:15 03-Sonata in G major, K.91 - III. Grave
DR10 -0.91 dB -12.99 dB 1:22 04-Sonata in G major, K.91 - IV. Allegro
DR14 -0.81 dB -19.27 dB 1:41 05-Sonata in E minor, K.81 - I. Grave
DR12 0.00 dB -14.48 dB 3:05 06-Sonata in E minor, K.81 - II. Allegro
DR14 -1.26 dB -19.17 dB 1:20 07-Sonata in E minor, K.81 - III. Grave
DR11 0.00 dB -14.05 dB 1:31 08-Sonata in E minor, K.81 - IV. Allegro
DR14 0.00 dB -16.28 dB 2:08 09-Sonata in G minor, K.88 - I. Grave
DR12 0.00 dB -14.72 dB 2:31 10-Sonata in G minor, K.88 - II. Allegro moderato
DR14 0.00 dB -16.36 dB 1:29 11-Sonata in G minor, K.88 - III. Allegro
DR13 0.00 dB -16.12 dB 1:54 12-Sonata in G minor, K.88 - IV. Minuetto
DR17 -0.41 dB -22.13 dB 3:32 13-Sonata in D minor, K.90 - I. Grave
DR12 0.00 dB -14.58 dB 4:28 14-Sonata in D minor, K.90 - II. Allegro
DR14 0.00 dB -15.94 dB 0:54 15-Sonata in D minor, K.90 - III. Siciliana
DR14 -0.21 dB -18.63 dB 2:03 16-Sonata in D minor, K.90 - IV. Allegro
DR15 0.00 dB -17.91 dB 3:10 17-Sonata in D minor, K.77 - I. Moderato cantabile
DR10 0.00 dB -13.39 dB 2:19 18-Sonata in D minor, K.77 - II. Minuetto
DR13 0.00 dB -15.22 dB 3:28 19-Sonata in D minor, K.89 - I. Allegro
DR15 -0.85 dB -19.86 dB 2:08 20-Sonata in D minor, K.89 - II. Grave
DR11 0.00 dB -13.10 dB 1:48 21-Sonata in D minor, K.89 - III. Allegro
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 21
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 730 kbps
Codec: FLAC
================================================================================

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