Scarlatti: Mandolin Sonatas Pizzicar Galante

• Domenico Scarlatti (1685 - 1757): Keyboard Sonata in G Major, Kk. 91:
• 1 Keyboard Sonata in G Major, Kk. 91: I. Grave (Arr. for mandolin and continuo) 02:42
• 2 Keyboard Sonata in G Major, Kk. 91: II. Allegro (Arr. for mandolin and continuo) 03:04
• 3 Keyboard Sonata in G Major, Kk. 91: III. Grave (Arr. for mandolin and continuo) 01:21
• 4 Keyboard Sonata in G Major, Kk. 91: IV. Allegro (Arr. for mandolin and continuo) 01:50
• Keyboard Sonata in D Minor, Kk. 77:
• 5 Keyboard Sonata in D Minor, Kk. 77: I. Moderato e cantabile (Arr. for mandolin and continuo) 03:36
• 6 Keyboard Sonata in D Minor, Kk. 77: II. Minuet (Arr. for mandolin and continuo) 01:38
• Keyboard Sonata in G Minor, Kk. 88:
• 7 Keyboard Sonata in G Minor, Kk. 88: I. Grave (Arr. for mandolin and continuo) 02:08
• 8 Keyboard Sonata in G Minor, Kk. 88: II. Andante moderato (Arr. for mandolin and continuo) 02:05
• 9 Keyboard Sonata in G Minor, Kk. 88: III. Allegro (Arr. for mandolin and continuo) 01:23
• 10 Keyboard Sonata in G Minor, Kk. 88: IV. Minuet (Arr. for mandolin and continuo) 01:06
• Keyboard Sonata in D Minor, Kk. 89:
• 11 Keyboard Sonata in D Minor, Kk. 89: I. Allegro (Arr. for mandolin and continuo) 03:25
• 12 Keyboard Sonata in D Minor, Kk. 89: II. Grave (Arr. for mandolin and continuo) 02:06
• 13 Keyboard Sonata in D Minor, Kk. 89: III. Allegro (Arr. for mandolin and continuo) 01:46
• Keyboard Sonata in F Major, Kk. 78:
• 14 Keyboard Sonata in F Major, Kk. 78: I. Gigha (Allegro) [Arr. for mandolin and continuo] 01:30
• 15 Keyboard Sonata in F Major, Kk. 78: II. Minuet (Arr. for mandolin and continuo) 00:45
• Keyboard Sonata in G Minor, Kk. 35:
• 16 Keyboard Sonata in G Minor, Kk. 35: Allegro (Arr. for mandolin and continuo) 02:57
• Keyboard Sonata in C Minor, Kk. 73:
• 17 Keyboard Sonata in C Minor, Kk. 73: I. Allegro (Arr. for mandolin and continuo) 02:26
• 18 Keyboard Sonata in C Minor, Kk. 73: II. Minuetto (Arr. for mandolin and continuo) 03:01
• Keyboard Sonata in E Minor, Kk. 81:
• 19 Keyboard Sonata in E Minor, Kk. 81: I. Grave (Arr. for mandolin and continuo) 01:37
• 20 Keyboard Sonata in E Minor, Kk. 81: II. Allegro (Arr. for mandolin and continuo) 03:06
• 21 Keyboard Sonata in E Minor, Kk. 81: III. Grave (Arr. for mandolin and continuo) 01:20
• 22 Keyboard Sonata in E Minor, Kk. 81: IV. Allegro (Arr. for mandolin and continuo) 01:35
• Keyboard Sonata in D Minor, Kk. 90:
• 23 Keyboard Sonata in D Minor, Kk. 90: I. Grave (Arr. for mandolin and continuo) 02:28
• 24 Keyboard Sonata in D Minor, Kk. 90: II. Allegro (Arr. for mandolin and continuo) 04:16
• 25 Keyboard Sonata in D Minor, Kk. 90: III. Allegro (Arr. for mandolin and continuo) 00:55
• 26 Keyboard Sonata in D Minor, Kk. 90: IV. Allegro (Arr. for mandolin and continuo) 01:09
• Keyboard Sonata in F Major, Kk. 85:
• 27 Keyboard Sonata in F Major, Kk. 85: Allegro (Arr. for mandolin and continuo) 01:48
• 28 Keyboard Sonata in A Minor, Kk. 61: Allegro (Arr. for mandolin and continuo) 03:08
• Total Runtime 01:00:11

Info for Scarlatti: Mandolin Sonatas

Scarlatti and the mandolin: this album provides a fascinating and unusual encounter between one of the most important composers of the baroque period and an instrument that originated in Naples and enjoyed great popularity throughout Europe, especially in Paris and in other European capitals during the 18th century. The Pizzicar Galante ensemble, founded in Paris in 2012 by mandolinist Anna Schivazappa and harpsichordist Fabio Antonio Falcone, reveals hidden aspects of these musical gems from the Italian Baroque. Drawing inspiration from a mysterious 18th-century French manuscript containing the first movement of Scarlatti’s Sonata K 89, preceded by the indication ‘Sonatina per mandolino e cimbalo’, the musicians deliver a fresh and original interpretation of these works. The music is full of contrasts, rich in virtuoso passages, surprises and effects but also full of sweetness and humour, combined with a certain meditative melancholy. Specialized in the Italian repertoire for mandolin and basso continuo, Pizzicar Galante gives voice to different instrumental timbres. Among these, the charming, crystal-clear sound of an original 18th-century Neapolitan mandolin: an absolute rarity that makes this recording truly unique.

Pizzicar Galante:
Anna Schivazappa, baroque mandolin
Fabio Antonio Falcone, harpsichord
Ronald Martin Alonso, viola da gamba
Daniel de Morais, theorbo

The Ensemble Pizzicar Galante
Despite its recent foundation, the ensemble Pizzicar Galante has already established itself as one of the most dynamic period ensembles specializing in galant music for mandolin and basso continuo and is regularly invited to festivals all over Europe and abroad. The name of the ensemble comes from the Italian ‘Pizzicare’, which evokes the transparent, sparkling sound of the plucked strings. Described as ‘excellent soloists forming a very solid duo, characterized by a thorough performance resulting from intense and in-depth studies’ (‘Critica Classica’, 2014), the core members Anna Schivazappa (baroque mandolins) and Fabio Antonio Falcone (harpsichord) are curious and passionate musicians who enthusiastically work together since 2012. For specific projects, the ensemble expands to include a variable number of musicians coming from some of Europe’s leading music institutions, including gamba player Ronald Martin Alonso and theorbist Daniel de Morais. The scholarly background of the musicians ensures knowledge of historical performance practice, combined with a special commitment to the rediscovery of forgotten repertoires and composers. Sensitive to the necessity of conveying music as a living dialogue to their audiences, the members of the ensemble share a common energy which echoes in their lithe and vibrant playing. Pizzicar Galante’s first album, including the world premiere recording of Roberto Valentini’s complete mandolin sonatas, will be released in August 2016 by Brilliant Classics.

Anna Schivazappa
falls in love since her earliest age with the gentle, but at the same time brilliant, tone of the mandolin, which she studied at the masterclasses on early music in Urbino and at the Conservatory of Music of Padua (Italy), where she obtained her diploma with distinction. Laureate of many musical competitions, she performes regularly as a soloist as well as a chamber musician in Italy, France and Germany. Besides her concert activity, she is also interested in musicological research, notably on the works for mandolin and harpsichord published during the 18th century, and holds a Master’s degree in musicology and performance of baroque music from the university of Paris-Sorbonne.

Fabio Antonio Falcone
graduated at the Conser- vatorium van Amsterdam, where he studied in the class of Bob van Asperen. He performed in several countries as Italy, Netherlands, Switzerland, Germany, Spain, Montenegro, Argentina, Russia, and as continuo player, he collaborated with several baroque ensembles and orchestras as the Philarmonic String Special Orchestra, Sweelinck Baroque Orchestra, I Piccoli Olandesi, Ensemble Odyssee Baroque Orchestra, Ensemble Stile Galante. Part of his activity is dedicated to the research and editing of unknown keyboard repertoire, with special interest on 16th-century Italian keyboard repertoire.

Ronald Martin Alonso discovered early music in Cuba with the Ensemble Ars Longa. In 2004, he moved to France to continue his education in viola da gamba and graduated “cum laude” from the conservatories of Strasbourg and Paris. He participated in master classes with Jordi Savall, Christophe Coin and Marianne Müller. Ronald performs regularly with several ensembles (among them: Sagittarius, Les Paladins, Il Festino, Capella Mediterranea, Fuoco e Cenere, Les Traversées Baroques, Stravaganza…) and participates in the most important festivals in Europe, Middle East, Latin America and in the US. Since 2010, he has been artist-in-residence at the Saint Michel l’Observatoire Priory, and he has recorded for Ambronay Éditions, Editions Hortus, K617, Musica Ficta et Aparté.

Daniel de Morais
Born in Brazil, Daniel de Morais began his musical studies at a very young age, pursuing a brilliant career as a classical guitarist. He then undertook the study of the instruments of the lute family, and participated in the most important early music festivals in Brazil, performing under the direction of Nicolau de Figueiredo. He collaborates regularly with several ensembles and performs under the direction of Leonardo Muzzi, Gabriel Garrido, Serge Saita, Lorenzo Alpert, Blaise Plumetaz and Alfonso Fedi. Daniel de Morais is a co-founder of Mnemusik, an ensemble which specialises in the interpretation of 17th century music.