Artemandoline - Il giardino delle delizie

Juan Carlos Muñoz, baroque mandolin, Mari Fe Pavón, baroque mandolin, Manuel Muñoz, baroque guitar, Alla Tolkacheva, baroque mandoline, Jean-Daniel Haro, viola da gamba, Anne Galowich, harpsichord

Friday, 4 March at 20:30
Venue: Sursock Museum Auditorium

Book NowTicket prices: $60
Sponsored byBanque Libano-Francaise

Giuseppe Antonino Brescianello (1690-1758)
Sinfonia N. V
Allegro- Adagio- Allegro

Domenico Scarlatti (1685-1757)
Sonata K90
Grave- Allegro- Siciliana- Allegro

Nicola Matteis (1670-1714)
Ciaccona

Antonio Vivaldi (1678-1741)
Concerto in re minore RV 541
Allegro- Grave- Allegro

Interval

Evaristo Felice dall’Abaco (1675-1742)
Concerto a più instrumenti op.5
Allegro- Aria allegro- Largo e cantabile- Allegro ma non presto- Presto assai

Giuseppe Paolucci (1727- 1776)
Sonata VI per due mandolini e basso
Allegro- Cantabile- Allegro

Gabriele Leone (1735- 1786)
Sonata VI, book 2
Cantabile- Larghetto- Allegro
Antonio Vivaldi (1678-1741)
Concerto in sol maggiore RV532
Allegro- Andante – Allegro

With their ensemble Artemandoline, formed in 2001, Juan Carlos Muñoz and Mari Fe Pavón chose to go back to the original documents in order to the establish the true pedigree of this incomparable family of instruments. They have made a major contribution to launching a movement to encourage musical freshness and rigour. A better understanding of the compositions, closer study of the early treatises, the playing styles, the musical environment of the glorious era of the mandolin, leads to better appreciation of Baroque music, which itself became over time a mode of thought and action. Searching for early mandolins, 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 history of the interpretation of ‘serious’ music in the course of the twentieth century, has been made possible by the cooperation of many protagonists – 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 manage to be sufficiently free, spontaneous, anticipative and astonished in their intimate act of creation and the newness it engenders. Juan Carlos Muñoz and Mari Fe Pavón spend their lives searching out and reviving forgotten masterpieces of the mandolin repertory. They are not content with simply presenting their finds like ‘musical archaeologists’, but endeavour to transmit them to the wider public by means of the essential act of communication between interpreters, composers, and listeners. Labels K617 www.cd-baroque.com Jade Milan Music www.jade-music.net www.artemandoline.com Very quickly awarded prizes by the critics and enthusiastically acclaimed by the public, Artemandoline’s performances always create new impulsions in the development of both the perception and the interpretation of the works of the seventeenth and eighteenth centuries. Its musicians dedicate their time and their talents to the revival of the mandolin on the musical scene, participating in the current expansion of interest in it all over the world 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. In a few short years, the ensemble has found its style, proved its instrumental quality, and thereby constituted a veritable identity. Soon after its formation, it took its place among the foremost ensembles in the realm of historical performance practice on plucked strings. Audiences and critics alike were immediately filled with enthusiasm for its lively musical style. The musicians who make up the ensemble play on period instruments: Baroque mandolins, Renaissance and Baroque guitar, Baroque mandola and mandolone, Renaissance lute, treble lutes, mandolins from Brescia and Cremona.

«Concert in the Italian style»

Throughout this programme you will hear some aspects of the Italian style which made its mark on composers of the time, and inundated the XVIII century European courts. This music highlights the alternating between slow and fast movements whose character and tempi are pushed to the extreme, allowing for a great freedom of interpretation of the phrasing and ornamentation, all in the service of artistic expression, the credo of this Italian style.

«… finally what really attracts us to the music of this period is just how expressive, bizarre, free, unrestrained  and extravagant it is. How richly inventive it is. How it is set to music, altered, and worked upon by the composer, and how we can be of service to it to bring out the best in it. …»