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Les Galanteries 10

Mandolin music from 18th-century Paris

Sonata per mandolino e basso I. Allegro II. Andante III. Menuet

2’34 3’42 1’34

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Salvador Castro de Gistau 1770–after 1814 Minuetto afandangado: Andante con variazioni

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8’25

Pietro Denis early 18th century–after 1777 Air de Julie

12 13 14

3’21 15 16

Paolo Altieri 1745–1820 7 8 9

1’41 1’36 0’43

1’44 2’28 1’44

Pietro Denis Air de serrurier Air de déserteur

1’46 2’37

Nathalie Pierson soprano · Juan Carlos Muñoz mandolin · Manuel Muñoz baroque guitar

0’58

Aleixo Botelho de Ferreira 1753–?

Nathalie Pierson soprano · Juan Carlos Muñoz mandolin · Manuel Muñoz baroque guitar

Tre sonate per due mandolini I. Allegretto II. Andantino III. Allegretto

Sonata in G minor I. Allegro II. Andante III. Presto Mari Fe Pavón mandolin · Juan Carlos Muñoz baroque mandola

Nathalie Pierson soprano · Mari Fe Pavón mandolin · Alla Tolkacheva baroque mandola

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1’36

Anonymous

Manuel Muñoz romantic guitar

Giovanni Cifolelli 1745–1810 Ariette

Abbé Joseph Carpentier early 18th century–after 1790 Ariette

Nathalie Pierson soprano · Juan Carlos Muñoz mandolin · Manuel Muñoz baroque guitar

Juan Carlos Muñoz cremonese mandolin · Manuel Muñoz romantic guitar

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1’49

Nathalie Pierson soprano · Juan Carlos Muñoz mandolin · Manuel Muñoz baroque guitar

Giuseppe Zaneboni 1735–1790 1 2 3

Wilhelm Cramer 1746–1799 Petit air

17 18 19

Sonata per mandolino solo e basso I. Allegro moderato II. Andante III. Rondo allegro

3’45 1’38 2’01

Juan Carlos Muñoz mandolin · Jean-Daniel Haro viola da gamba

Juan Carlos Muñoz, Mari Fe Pavón mandolins 2

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Galanteries or galant pleasures

Cristoforo Signorelli 1731–1815 20 21 22 23 24

Sonata per mandolino e basso I. Allegro II. Allegro giga III. Allegro ma non tanto IV. Andante V. Minuetto Mari Fe Pavón 6-course baroque mandolin · Manuel Muñoz baroque guitar

Artemandoline Juan Carlos Muñoz baroque mandolin A. Woll after A.Vinaccia, 1760; cremonese mandolin A. Woll after M. Scolari, 1790 (1–3) Mari Fe Pavón baroque mandolin A. Woll after A. Vinaccia, 1760; 6-course baroque mandolin A. Woll after F. Presbler, 1769 Manuel Muñoz baroque guitar F.P. Dietrich after J. Tielke, 1705; romantic guitar A. Benito after Petit Jean l’Ainé, 1800 Jean-Daniel Haro viola da gamba D. Rubio after G. Barbey, 18th century

1’26 1’55 2’15 1’08 1’47

A craze seems to have kindled a fascination for a number of instruments prominent during the second half of the 18th century. Plucked string instruments such as the guitar, the mandolin and the cittern were much in vogue during this period; indeed, the drawings and watercolours of Louis Carrogis, known as Carmontelle, of Lancret, Huet and Lavreince, bear witness to this aristocratic passion for instruments of divertissement or diversion, mostly intended as accompaniment for popular airs or the playing of sonatas in private salons. A plentiful source of manuscripts of the period testify to this enthusiasm.

The mandolin found great success with the nobility and the capitals’ middle classes from 1750 onwards. Many noblemen had their own mandolin teachers: the Duke of Chartres, the Duke of Orléans, Baron Bagge, the Marquis of Choiseuil, to name but a few. Mandolin teachers of the time included Denis, Barrois, Fridzeri, Merchi, Leone, Sodi, Veginy and Riggieri, among others, and numerous compositions were played all over Europe – in Paris, London, Lisbon, Madrid, Vienna, St Petersburg, Karlsbad and Brussels, for example.

In this way, the purely instrumental music of the mandolin attained a high level of perfection in the 18th century. It was played not only at court and in the aristocratic salons, but also among the middle classes in pursuit of culture. This was the age of style galant, and the refined and intellectual atmosphere of the salons and private residences gave a new artistic direction to the music of the time, revolutionising the taste and sensibilities of a much wider audience.

Alla Tolkacheva baroque mandola A. Woll after G.B. Fabricatore, 1792 Nathalie Pierson soprano

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Giuseppe Zaneboni (1735–1790) We know little of him, save that he lived and was married in Liège. Any other information dates from Russian journals of the time, Annales de l’histoire de la musique russe – we know, for example, that Zaneboni gave a series of public and private concerts in St Petersburg and Moscow.

On 15 April 1781 one could read in the St Petersburg Gazette: ‘After the performance of the play Les petits comédiens du bois de Boulogne, taken from the Barber of Seville by Beaumarchais, admission will be granted to a concert by Zaneboni. Here is the announcement: “Monsieur Zaneboni will play a selection of compositions, including a Rondo’”. On 7 January and 25

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February 1782, Zaneboni gave a concert in Moscow, and this is the announcement which appeared on 5 January in the Gazette: ‘Monsieur Zaneboni has the honour of announcing that he will give a concert on Friday 7 January after the comedy in the Salle des Mascarades at the residence of M. Maddox.’ Airs were played here, along with works composed for mandolin by Zaneboni. We also know that he stayed in Russia during the performances of Paisiello’s Barber of Seville in 1782, from which we deduce that he played the part for mandolin. Nowadays we possess only three sonatas by Zaneboni, located in a library in Schwerin. According to the programmes of the concerts given in Russia, it can be assumed that he composed other works for mandolin: a concerto, airs with variations, a rondo, and songs for soprano accompanied by mandolin.

Salvador de Castro de Gistau (1770–after 1814) Castro studied guitar, harmony and composition in Madrid – as a guitarist, he created much enthusiasm among music aficionados. Many Spanish musicians left Spain to settle in Paris at this time, and during his stay in the French capital Castro made friendships with musicians who hailed from every background.

Castro played a real part in the success of the guitar in France; in a Mercure de France, of 1809, Monsieur de Bouffers described him thus: ‘Castro plays with much skill and delicacy’. He settled in Paris for good, and enjoyed much popularity among the nobility – something which encouraged him to found his Journal de musique étrangère (Journal of foreign music). Given his intention of publishing diverse works by Spanish, Italian and French composers, it is a significant fact that the first compositions of Fernando Sor were published in this same journal.

Giovanni Cifolelli (1745–1810) Cifolelli was born in Italy and settled in France around 1764. Formerly a composer for the Elector Palatine, two of his comic operas were given at the Théâtre-Italien: L’Indienne in 1770, a comic opera in one act with lyrics by Framery, and Perrin et Lucette in 1774.

He composed a few airs for song and mandolin, also setting down a manual for the mandolin that was engraved in Paris but which today remains lost. In 1777 he gave a concert at the Maastricht theatre with his daughter Colette-Marie. The following year, his father, his daughter and his two sons gave a notable concert in Amsterdam: ‘Colette sang, one of the brothers played the

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mandolin and the youngest, aged seven years, accompanied his sister in song. The family sang airs from the Probité villageoise, a short unpublished opera by Cifolelli.’ Cifolelli composed a few further operas in The Netherlands: Céphalide and Les Autres mariages Samnites were performed in Brussels on 30 January 1777.

Pietro Denis (early 18th century–after 1777) Born in Provence, Denis was a music tutor to the ladies of Saint-Cyr around 1780 as well as a mandolin teacher in Paris. He published several works on theory and practice which included the following titles: Méthode pour apprendre facilement et en un peu de temps la musique et l’art de chanter (A method of learning music and the art of singing with ease and in a short time); Méthode pour apprendre la mandoline (A method of learning the mandolin); Quatre recueils de petits airs pour la mandoline (Four collections of short airs for the mandolin); 6 Sonates pour mandoline et basse continue (6 Sonatas for mandolin and bass continuo). He also translated Gradus ad Parnassum by Fux, and the Traité des Agréments by Tartini.

Paolo Altieri (1745–1820) A Neapolitan composer who from 1760 lived in Noto, a small town in southern Sicily. He was named ‘maestro di cappella’ of all the parishes in the town. His collected works number 449 and are located in the public library at Noto. His music consists of sacred, vocal and instrumental works – for the mandolin, he composed six sonatas (for two mandolins) and a concerto.

Wilhelm Cramer (1746–1799) A famous violinist and conductor in London, Wilhelm Cramer was of German origin. He was part of a large family that was well known in the 18th and 19th centuries. Wilhelm Cramer was the father of the celebrated Johann Baptist Cramer (1771–1858).

Abbé Joseph Carpentier (early 18th century–after 1790) The canon of Saint-Louis-du-Louvre in Paris, he was the author of several works and systems for the German guitar and cittern, and composed several recueils (collections) of ariettas for mandolin and voice (Les Galanteries lyriques).

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Aleixo Botelho de Ferreira (1753–?)

The Sonata by Aleixo Botelho de Ferreira is currently located in the National Library of Portugal in Lisbon. It is a typical example of music written for mandolin and bass.

Cristoforo Signorelli (1731–1815) Not much is known of the life of Signorelli. However, it is known for certain that he lived in Naples, and that alongside Carlo Antonio de Rosa Marchese di Villarosa (1762–1847) he worked on the creation of a memoir entitled Memorie dei compositori di musica del Regno di Napoli.

Signorelli composed sonatas for the mandola (a mandolin with six double strings), one of which, the Sonata in G major, features on this disc. Signorelli also composed a number of concertos for mandolin and orchestra. All his manuscripts are currently to be found at the Diocesan Library of the Diocese of Münster, as part of the Santini collection.

Juan Carlos Muñoz Translation: Mari Prackauskas

Juan Carlos Muñoz (baroque mandolin and cremonese mandolino) Juan Carlos Muñoz studied with Sylvain Dagosto in France. He is a graduate of the Conservatoire d’Esch/Alzette and the Hochschule für Musik in Cologne, where he studied mandolin and baroque mandolin with Marga Wilden-Hüsgen.

The co-founder of Il Forum Musicale, Duo Calace and the Luxembourg Mandolin Quintet, Juan Carlos has toured with these ensembles to countries such as the USA, Canada, Japan, Spain, Germany, The Netherlands, Belgium, Austria, Greece and France. In the last few years he has devoted his time to composing, with several of his works having been published in Germany, and he regularly gives masterclasses throughout Europe (Spain, Portugal, France, Belgium, Germany) as well as in Japan. He is also a jury panel member for various international competitions.

Juan Carlos teaches mandolin and chamber music at the Conservatoire d’Esch/Alzette and at the Hochschule für Musik Saar (University of Music of Saarbrücken).

Mari Fe Pavón (baroque mandolin) Mari Fe Pavón graduated in mandolin and bandurria from the Conservatoire d’Alcázar of S. Juan, where she studied under de Pedro Chamorro, Caridad Simón and Manuel Muñoz (guitar).

She continued her studies at the Conservatoire of Esch/Alzette and the Hochschule für Musik in Cologne, taking mandolin and baroque mandolin lessons with Marga Wilden-Hüsgen. She then furthered her skills under the

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french guitarist Michel Sadanowsky in Paris, and was a member of the Trio de Guitares de Paris.

She is often requested to play for the Luxembourg Philharmonic Orchestra, and is a regular jury panel member in international competitions (Patras, Greece), also giving masterclasses in Spain, Greece, Belgium, Luxembourg, France and Germany, among other countries. She is the co-founder along with Juan Carlos Muñoz of Duo Muñoz-Pavón, the European orchestra Il Forum Musicale (as a soloist) and the Stage international in Alsace. Concert engagements and tours have taken her to countries such as the USA, Canada, Japan, Spain, Germany, The Netherlands, Belgium, Austria, Greece and France. She teaches mandolin, chamber music and guitar in Luxembourg.

Manuel Muñoz (baroque guitar) Manuel Muñoz obtained his diplomas in guitar and plectrum instruments (bandurria/mandolin) with de Pedro Chamorro, José María López and Antonio J. García Mengual. He is a member of several plucked strings ensembles: Trio Chamorro, the Roberto Grandío Orchestra, Duo Chamorro-Muñoz, Nacional Ensamble, Il Forum Musicale and the Luxembourg Mandolin Quintet.

He has performed in the USA, Japan, Luxembourg, Spain, Morocco, Germany, Switzerland, Mexico, Cuba and the UK. For several years now he has been concentrating on the baroque and renaissance guitar in the baroque music duo España Galante (guitar & harpsichord) with Ruth López.

He currently teaches at the Conservatorio de Música of Ciudad Real (Spain).

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Jean-Daniel Haro (viola da gamba) After studies at the Conservatoire of Metz (France), where he obtained a first prize for recorder and sight reading with Christian Billet, Jean-Daniel Haro studied the viola de gamba with Jay Bernfeld at the Conservatoire of St Cloud, Paris, where he obtained a first prize in Early Music. He graduated from Metz University in Musicology.

Haro currently plays with several ensembles and gives concerts throughout Europe: with Fuoco e Cenere at the Festival d’Ambronay; Il Nuove Musiche at the Festival of Flanders; Trio Haro in the French Basque region; at the Concertgebouw in Amsterdam; and in Bruges, Ghent and Courtrai, among other locations. He taught the viola da gamba at the Nancy Conservatoire from 2008 to 2009, and is currently a secondary school teacher of music in Metz and Bouzonville, France.

Nathalie Pierson (soprano) In addition to musical analysis and writing, Nathalie Pierson studied the piano and then lyric art, obtaining a DEM in Baroque singing in the class of Monique Zanetti at the Metz CRR. Her repertoire includes Baroque music, French melodies, German lieder, oratorios and in particular contemporary music (composers include Stockhausen, Scelsi, Crumb, Kaja Saariaho, Jean-Claude Risset, François Narboni and Michel Decoust, among others).

After having performed theatre, opera, operetta and melodrama with the Theater du Lierre (under Farid Paya) and the Imperial Theatre of Compiegne (with Pierre Jourdan), also studying with George Aperghis, she sang in various French festivals, such as Le

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Souffle de l’Equinoxe in Poitiers and Môm’en Zic in Thionville, as well as abroad (countries include, among others, Luxembourg, Germany and Poland). She sang in Nielsen’s Aladdin ou la lampe merveilleuse with the National Orchestra of Lorraine, under the direction of Aurélien Azan Zielinski, and performed the role of Lubin in Pierné’s Les enfants à Bethléem, under the direction of Jacques Mercier.

Nathalie is currently a professor of singing at the Forbach Music Academy (in Germany).

Alla Tolkacheva (baroque mandola) Alla Tolkacheva studied music with Larissa Demtchenko at the Académie de Musique in Samara (Russia), where she obtained her graduate diploma in domra studies with distinction. She then specialised at the Conservatoire de Musique Esch-surAlzette (Luxembourg) with mandolin teacher Juan Carlos Muñoz, and there she gained her graduate diploma and concert diploma in neapolitan and baroque mandolin.

In addition to Second Prize in the Russian National Domra Competition, she has been awarded several first prizes in international competitions with the famous domra ensemble Classic Domra (with which she has toured Japan, Germany, Spain, Denmark, Switzerland, Italy and France). She is regularly invited to perform with the Samara Symphony Orchestra, and in 1999 she appeared with Tanztheater der Komische Oper Berlin for the Lionel Hoche ballet Purple Dreams. In 2002 she won Second Prize in the Osaka International Chamber Music Competition, and in 2008 she won First prize and the People’s Choice Award at the international ‘Yasuo Kuwahara’ competition for mandolin solo (Schweinfurt, Germany).

Alla currently teaches mandolin at the Pétange School of Music as well as voice and music training at the Conservatoire de Musique Esch-sur-Alzette and the UGDA School of Music (Luxembourg).

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Artemandoline With their ensemble Artemandoline, formed in 2001, Juan Carlos Muñoz and Mari Fe Pavón returned to original documents in order to establish the true pedigree of the mandolin family. Their findings have resulted in new standards of musical freshness and rigour; searching for early instruments, working on the manuscripts, hunting down early treatises, exploring the iconography: these are the means by which, for more than ten years now, the musicians of Artemandoline have sought to do fuller justice to the works of Scarlatti, Vivaldi, Weiss and their contemporaries. The success of this approach based on a return to the sources, which constitutes the most important development in the 20th century’s history of the interpretation of ‘serious’ music, has been made possible by the cooperation of many individuals – musicians, but also concert organisers, recording producers, publishers, musicologists and instrument makers. To ensure that music composed in the past does not sound like mere ‘early music’ in the present, the performers must endeavour to be

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sufficiently free, spontaneous, anticipative and receptive in their intimate act of creation and the newness it engenders.

Acclaimed by the public and critics alike, Artemandoline’s historically-informed performances (which have received many awards) have created new waves in the development of both the perception and interpretation of 17th- and 18th-century works. The ensemble’s musicians dedicate their time and their talent towards the revival of the mandolin through their conservatory teaching and masterclasses, their concerts and their publications. Artemandoline is one of the pioneers in this domain, in which it has forged an international reputation, finding its style and proving its instrumental quality in just a few years.

The musicians all perform on period instruments: baroque mandolin, renaissance and baroque guitar, baroque mandola and mandolone, renaissance lute, treble lute, mandolins from Brescia and Cremona. They are regularly invited to appear at early music festivals in France and abroad, including the Early Music Festival Stockholm, Festival de Musique Ancienne du Marais, Festival du Périgord Vert, Tage Alter Musik Regensburg (Germany), Early Music Day Alden-Biesen (Belgium), Musique en Catalogne Romane, Festival de l’Épine; Monza e Brianza, Gaudete Early Festival (Piedmont) and Castello Reale di Sarre (Aosta), all in Italy; Narol and Wrocław in Poland; the Baroque Days at the Philharmonie in Luxembourg; the Bach Chamber Days in Riga (Latvia); and Festival Musique d’Ensemble à Pommiers. Other musical engagements have taken them to countries including Spain, Japan, Switzerland and Algeria.

Artemandoline is in residence at the Romanesque church of Mont-Saint-Martin (Longwy, Meurthe-et-Moselle, France).

Total time: 55’04 Recording: August 2012, Église romane de Mont-Saint-Martin, Longwy, France Sound engineer: Arno Op Den Camp, www.kerani-music.com This recording has been sponsored by the ‘Trans’Art’ Association and the city of Mont-Saint-Martin in France Cover photo: Christie’s Images & 2013 Brilliant Classics

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