Music for MandolinMusic by Barbella, Hummel, Mozart, Beethoven and Calace

STEREO CD-SAR 53 DIGITALRECORDING

Alison Stephens, Sue Mossop — Mandolins

Poppy Holden—Soprano

Richard Burnett—Fortepiano

Music for MandolinMusic by Barbella, Hummel, Mozart, Beethoven and Calace

2 7

Alison StephensMandolin by Luigi Embergher

Sue Mossop(Barbella, Calace)

Mandolin by Pasquale Pecoraro

Poppy Holden(Mozart)Soprano

Richard Burnett(Hummel, Beethoven)

Fortepiano by Michael Rosenberger, Vienna c. 1800

Recorded at Finchcocks, Goudhurst, Kent — March 1991Recorded and Produced by Gef Lucena (Amon Ra)

and David Wilkins (Valley Recordings)Photography: David Wilkins

© 1991 Amon Ra Records, England

AMON RA RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S.GLOS. GL9 1BX, ENGLAND

Fax: 01454 299 858E-mail: Saydiscrecords@aol.com

www.saydisc.com

Calace, born in Naples in l863 into afamily of stringed instrument makers.Calace was one of the finest mandolinvirtuosos and composers to have lived.He received his musical education at theNaples Conservatoire where he receivedawards for composition. Later, he and hisbrother, Niccolo, established a mandolinworkshop and music publishers. Calace'soutput includes c. 170 pieces formandolin and piano, two concerti andseveral duos. He wrote three suites fortwo mandolins, the third of which isfeatured here. This suite, op.98, wasprobably written around the turn of thiscentury. Like the violins the mandolintechnique had been highly developedsince the classical era incorporatingmany new 'tricks', and devices.

Calace is generally considered to bethe father of modern mandolin playingand his music forms the centrepiece ofthe standard repertoire.

Alison Stephens

Finchcocks is both a museum ofhistorical instruments and a music centreof international repute. Founded bypianist Richard Burnett and first openedto the public in 1977, the beautiful 18th.century mansion houses his magnificentcollection of keyboard instruments.Finchcocks is one of the few museums inthe world where a large proportion of theinstruments are in full playing order.

36

inspiration to write for the mandolin. Themost likely explanation is that he wasintroduced to the instrument during histrip to Paris.

His second song for mandolin andvoice entitled Contentment was probablywritten at a slightly later date in Prague.It was during his stay in Prague thatMozart became an intimate friend ofKucharz, a mandolin virtuoso for whomhe wrote the famous mandolin serenadein Don Giovanni in 1787.

In around 1786, Mozart beganteaching a boy prodigy, Johann NepomukHummel. Hummel later studiedcomposition and counterpoint withAlbrectsberger, Haydn and Salieri.

Hummel's Grande Sonata per ilclavicembalo con mandoline o violinoobbligato was written in 1810 anddedicated to Signore Fr. Mora deMalfatti, who was Beethoven's physician.His family was held in high repute inViennese music circles and were skilfulperformers on mandolin and guitar. Thesonata was probably intended for theNeapolitan mandolin. Hummel's otherwork for mandolin was a concerto of1799 written for Bortolazzi who played

the Cremonese mandolin. Thisinstrument had single gut strings tuned asthe Neapolitan mandolin and played witha cherry bark plectrum.

People often find it hard to believethat an immortal genius like Beethovenfound the mandolin a worthy enoughinstrument for which to write fourbeautiful pieces. However as has alreadybeen mentioned, at the end of theeighteenth century the mandolin wasvery much a fashionable instrument andBeethoven was brought into daily contactwith the instrument. Indeed, one of hisbest friends, Wenzel Krumpholz was amandolin virtuoso.

In 1796, at the request of PrinceLichnowsky, Beethoven visited Prague,where he met the Count Clam Gallas andthe Countess-to-be, Josephine Clary, apupil of Kucharz (for whom Mozartwrote the serenade in Don Giovanni). Forher he composed the Sonatina in C,Variations in D and the Adagio in Eb.The Sonatina In C minor was probablycomposed for his dear friend WenzelKrumpholz.

The last of the five composersfeatured in this recording is Raffaele

Two mandolins: Duetto IV (from six duos pour deux violons ou deux mandolines avec une basse ad libitum): Emmanuelle Barbella

1 1st movement [2'58"]2 A Charming Shepherdess in the country [3'45"]3 The God Bacchus infuses mirth in a German Woman and [2'56"]

induces her to digest her wine by dancing

Mandolin and fortepiano: L.V. Beethoven4 Sonatina in C min [3'38"]5 Sonatina in C [2'53"] 6 Adagio in E [6'24"]7 Theme and Variations in D [9'38"]

Mandolin and voice: W.A. Mozart8 Komm, liebe Zither, komm (Come, dearest mandolin) [1'48"]9 Zufriedene (Contentment) [3'54"]

Mandolin and fortepiano: Grande Sonata per il clavicembalo con mandolins o violins obbligato: Johann Nepomuk Hummel

10 Allegro con spirito [9'19"] 11 Andante moderato siziliano [4'03"]12 Rondo [4'44"]

Two mandolins: Suite No.3 op.98: Raffaele Calace13 Adagio [4'11"]14 Marziale allegretto [2'51"]15 Minuetto [3'49"] 16 Scherzoso [3'34"]

Total duration 70'28"

4 5

Up until the mid-eighteenth century,the term mandolin (or mandolino)usually referred to a small instrument,similar in shape to a lute. It had a sickleshaped peg box and a carved rosette inthe sound hole. There were up to sixcourses of either single or double gutstrings, and by the mid-eighteenthcentury, the tuning had become fairlystandardised to g", d", a', e', b, g ( thelowest g being a fourth below middle c)This instrument was played either withthe fingers or more commonly with aplectrum. It is now generally referred toas a Milanese or Lombardian mandolin.

However in the early part of theeighteenth century a new and verydifferent instrument was developed inNaples, known as the Neapolitanmandolin. The earliest surviving exampleis dated 1744 and is a tenor instrument(the mandola) made by GaetanoVinaccia. The earliest survivingmandolin is dated 1753, but it is welldocumented that this instrument hadbecome popular in Naples prior to thisdate. The instruments commonly hadcanted tables made from fir or pine(canting was a technique developed in c.

1740 in which the table was bent over ared hot poker just behind the bridge, thisallowed for a higher tension and thus theuse of metal strings) with the backconstructed from between 11 and 35sycamore, rosewood or maple ribs (theribs were often fluted). The hardwoodfingerboard was often decorated withivory and lay flush with the soundboard(the fingerboard was later developed tolie above the sound board thus allowingfor a fingerboard extension over thesound hole) and the frets were metal orivory. The sound hole was open and thestrings were fixed to hitch-pins at thebase and not secured onto the bridge ason the Milanese variety. The eight stringswere usually metal and were arranged infour pairs. The tuning was in fifths likethe violin (Milanese was in fourths)which was a great advantage for theNeapolitan mandolin as violinists couldturn their hand to it easily with somesuccess and composers knew easily howto write for it.

Of all the European centres ofmandolin activity in the latter half of theeighteenth century by far the mostimportant and thriving was Paris, where

the instrument was to enjoy greatpopularity.

It was in Paris that EmmanuelleBarbella wrote his Six duos pour deuxviolons ou deux mandolines avec uneBasse ad libitum. Barbella was born in1718 and died in 1777, his background isnot really known except that he was ofItalian extraction. He began learning theviolin at the age of six and a half andcontinued his studies in Naples.

The title page mentioned earlier canbe taken literally, as the works areequally successful on either violins ormandolins and are musically completewithout the bass part. The duets arededicated to "Monsieur le Baron deWurmser (Capitaine Aide Major auRegiment d'Alsace)".

It was said of Barbella, "he seems toknow music well, and to have a good dealof fancy in his compositions with atincture of not disagreeable madness."This madness can be seen in the titles hegives the movements

Duetto IV featured here has no titlefor the lst movement. The second isentitled A Charming Shepherdess in thecountry, the third, The God Bacchus

infuses mirth in a German woman andinduces her to digest her wine bydancing.

Whilst the mandolin was enjoyinggreat popularity in Paris, it had a moremodest place in music-making in theHapsburg Empire. However, in 1780,when the popularity of the mandolin inFrance was waning, it was strengtheningin Central Europe.

Mozart was twenty four when hewrote the song Komm, liebe Zither, komm(Come, dearest mandolin, come)—Zitherbeing the old German poetical name formandolin. It was written in Salzburg soonafter he returned from a trip to Pariswhere his mother had died in his arms.During the emotional years to follow hewrote many and varied compositions.The translation of the song is as follows:

Come, dearest mandolin, come,Then, shall my only solace be,Thy silver strings my soul will thrillWith joy and love and ecstasy

As the mandolin had not yet gainedenormous popularity, it is slightlypuzzling as to where Mozart got the

4 5

Up until the mid-eighteenth century,the term mandolin (or mandolino)usually referred to a small instrument,similar in shape to a lute. It had a sickleshaped peg box and a carved rosette inthe sound hole. There were up to sixcourses of either single or double gutstrings, and by the mid-eighteenthcentury, the tuning had become fairlystandardised to g", d", a', e', b, g ( thelowest g being a fourth below middle c)This instrument was played either withthe fingers or more commonly with aplectrum. It is now generally referred toas a Milanese or Lombardian mandolin.

However in the early part of theeighteenth century a new and verydifferent instrument was developed inNaples, known as the Neapolitanmandolin. The earliest surviving exampleis dated 1744 and is a tenor instrument(the mandola) made by GaetanoVinaccia. The earliest survivingmandolin is dated 1753, but it is welldocumented that this instrument hadbecome popular in Naples prior to thisdate. The instruments commonly hadcanted tables made from fir or pine(canting was a technique developed in c.

1740 in which the table was bent over ared hot poker just behind the bridge, thisallowed for a higher tension and thus theuse of metal strings) with the backconstructed from between 11 and 35sycamore, rosewood or maple ribs (theribs were often fluted). The hardwoodfingerboard was often decorated withivory and lay flush with the soundboard(the fingerboard was later developed tolie above the sound board thus allowingfor a fingerboard extension over thesound hole) and the frets were metal orivory. The sound hole was open and thestrings were fixed to hitch-pins at thebase and not secured onto the bridge ason the Milanese variety. The eight stringswere usually metal and were arranged infour pairs. The tuning was in fifths likethe violin (Milanese was in fourths)which was a great advantage for theNeapolitan mandolin as violinists couldturn their hand to it easily with somesuccess and composers knew easily howto write for it.

Of all the European centres ofmandolin activity in the latter half of theeighteenth century by far the mostimportant and thriving was Paris, where

the instrument was to enjoy greatpopularity.

It was in Paris that EmmanuelleBarbella wrote his Six duos pour deuxviolons ou deux mandolines avec uneBasse ad libitum. Barbella was born in1718 and died in 1777, his background isnot really known except that he was ofItalian extraction. He began learning theviolin at the age of six and a half andcontinued his studies in Naples.

The title page mentioned earlier canbe taken literally, as the works areequally successful on either violins ormandolins and are musically completewithout the bass part. The duets arededicated to "Monsieur le Baron deWurmser (Capitaine Aide Major auRegiment d'Alsace)".

It was said of Barbella, "he seems toknow music well, and to have a good dealof fancy in his compositions with atincture of not disagreeable madness."This madness can be seen in the titles hegives the movements

Duetto IV featured here has no titlefor the lst movement. The second isentitled A Charming Shepherdess in thecountry, the third, The God Bacchus

infuses mirth in a German woman andinduces her to digest her wine bydancing.

Whilst the mandolin was enjoyinggreat popularity in Paris, it had a moremodest place in music-making in theHapsburg Empire. However, in 1780,when the popularity of the mandolin inFrance was waning, it was strengtheningin Central Europe.

Mozart was twenty four when hewrote the song Komm, liebe Zither, komm(Come, dearest mandolin, come)—Zitherbeing the old German poetical name formandolin. It was written in Salzburg soonafter he returned from a trip to Pariswhere his mother had died in his arms.During the emotional years to follow hewrote many and varied compositions.The translation of the song is as follows:

Come, dearest mandolin, come,Then, shall my only solace be,Thy silver strings my soul will thrillWith joy and love and ecstasy

As the mandolin had not yet gainedenormous popularity, it is slightlypuzzling as to where Mozart got the

36

inspiration to write for the mandolin. Themost likely explanation is that he wasintroduced to the instrument during histrip to Paris.

His second song for mandolin andvoice entitled Contentment was probablywritten at a slightly later date in Prague.It was during his stay in Prague thatMozart became an intimate friend ofKucharz, a mandolin virtuoso for whomhe wrote the famous mandolin serenadein Don Giovanni in 1787.

In around 1786, Mozart beganteaching a boy prodigy, Johann NepomukHummel. Hummel later studiedcomposition and counterpoint withAlbrectsberger, Haydn and Salieri.

Hummel's Grande Sonata per ilclavicembalo con mandoline o violinoobbligato was written in 1810 anddedicated to Signore Fr. Mora deMalfatti, who was Beethoven's physician.His family was held in high repute inViennese music circles and were skilfulperformers on mandolin and guitar. Thesonata was probably intended for theNeapolitan mandolin. Hummel's otherwork for mandolin was a concerto of1799 written for Bortolazzi who played

the Cremonese mandolin. Thisinstrument had single gut strings tuned asthe Neapolitan mandolin and played witha cherry bark plectrum.

People often find it hard to believethat an immortal genius like Beethovenfound the mandolin a worthy enoughinstrument for which to write fourbeautiful pieces. However as has alreadybeen mentioned, at the end of theeighteenth century the mandolin wasvery much a fashionable instrument andBeethoven was brought into daily contactwith the instrument. Indeed, one of hisbest friends, Wenzel Krumpholz was amandolin virtuoso.

In 1796, at the request of PrinceLichnowsky, Beethoven visited Prague,where he met the Count Clam Gallas andthe Countess-to-be, Josephine Clary, apupil of Kucharz (for whom Mozartwrote the serenade in Don Giovanni). Forher he composed the Sonatina in C,Variations in D and the Adagio in Eb.The Sonatina In C minor was probablycomposed for his dear friend WenzelKrumpholz.

The last of the five composersfeatured in this recording is Raffaele

Two mandolins: Duetto IV (from six duos pour deux violons ou deux mandolines avec une basse ad libitum): Emmanuelle Barbella

1 1st movement [2'58"]2 A Charming Shepherdess in the country [3'45"]3 The God Bacchus infuses mirth in a German Woman and [2'56"]

induces her to digest her wine by dancing

Mandolin and fortepiano: L.V. Beethoven4 Sonatina in C min [3'38"]5 Sonatina in C [2'53"] 6 Adagio in E [6'24"]7 Theme and Variations in D [9'38"]

Mandolin and voice: W.A. Mozart8 Komm, liebe Zither, komm (Come, dearest mandolin) [1'48"]9 Zufriedene (Contentment) [3'54"]

Mandolin and fortepiano: Grande Sonata per il clavicembalo con mandolins o violins obbligato: Johann Nepomuk Hummel

10 Allegro con spirito [9'19"] 11 Andante moderato siziliano [4'03"]12 Rondo [4'44"]

Two mandolins: Suite No.3 op.98: Raffaele Calace13 Adagio [4'11"]14 Marziale allegretto [2'51"]15 Minuetto [3'49"] 16 Scherzoso [3'34"]

Total duration 70'28"

2 7

Alison StephensMandolin by Luigi Embergher

Sue Mossop(Barbella, Calace)

Mandolin by Pasquale Pecoraro

Poppy Holden(Mozart)Soprano

Richard Burnett(Hummel, Beethoven)

Fortepiano by Michael Rosenberger, Vienna c. 1800

Recorded at Finchcocks, Goudhurst, Kent — March 1991Recorded and Produced by Gef Lucena (Amon Ra)

and David Wilkins (Valley Recordings)Photography: David Wilkins

© 1991 Amon Ra Records, England

AMON RA RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S.GLOS. GL9 1BX, ENGLAND

Fax: 01454 299 858E-mail: Saydiscrecords@aol.com

www.saydisc.com

Calace, born in Naples in l863 into afamily of stringed instrument makers.Calace was one of the finest mandolinvirtuosos and composers to have lived.He received his musical education at theNaples Conservatoire where he receivedawards for composition. Later, he and hisbrother, Niccolo, established a mandolinworkshop and music publishers. Calace'soutput includes c. 170 pieces formandolin and piano, two concerti andseveral duos. He wrote three suites fortwo mandolins, the third of which isfeatured here. This suite, op.98, wasprobably written around the turn of thiscentury. Like the violins the mandolintechnique had been highly developedsince the classical era incorporatingmany new 'tricks', and devices.

Calace is generally considered to bethe father of modern mandolin playingand his music forms the centrepiece ofthe standard repertoire.

Alison Stephens

Finchcocks is both a museum ofhistorical instruments and a music centreof international repute. Founded bypianist Richard Burnett and first openedto the public in 1977, the beautiful 18th.century mansion houses his magnificentcollection of keyboard instruments.Finchcocks is one of the few museums inthe world where a large proportion of theinstruments are in full playing order.

Music for MandolinMusic by Barbella, Hummel, Mozart, Beethoven and Calace

STEREO CD-SAR 53 DIGITALRECORDING

Alison Stephens, Sue Mossop — Mandolins

Poppy Holden—Soprano

Richard Burnett—Fortepiano

Music for MandolinMusic by Barbella, Hummel, Mozart, Beethoven and Calace

AMON RA is a trade mark of © SAYDISC RECORDS, THE BARTON, INGLESTONE COMMON,

BADMINTON, S.GLOS. GL9 1BX, ENGLAND. Fax: +(0)1454 299 858 E-Mail: Saydiscrecords@ aol.com Website: www.saydisc.com

Made in Great Britain

STEREO CD-SAR 53

CD

-SA

R 53

Two mandolins: Duetto IV (from six duos pour deux violons ou deux mandolines avec une basse ad libitum): Emmanuelle Barbella

1 1st movement [2'58"]2 A Charming Shepherdess in the country [3'45"]3 The God Bacchus infuses mirth in a [2'56"]

German Woman and induces her to digest her wine by dancingMandolin and fortepiano: L.V. Beethoven

4 Sonatina in C min [3'38"]5 Sonatina in C [2'53"] 6 Adagio in E [6'24"]7 Theme and Variations in D [9'38"]

Mandolin and voice: W.A. Mozart8 Komm, liebe Zither, komm

(Come, dearest mandolin) [1'48"]

9 Zufriedene (Contentment) [3'54"]Mandolin and fortepiano: Grande Sonata per il clavicembalo con mandolins o violins obbligato:Johann Nepomuk Hummel

10 Allegro con spirito [9'19"] 11 Andante moderato siziliano [4'03"]12 Rondo [4'44"]

Two mandolins: Suite No.3 op.98: Raffaele Calace

13 Adagio [4'11"]14 Marziale allegretto [2'51"]15 Minuetto [3'49"] 16 Scherzoso [3'34"]

Total duration 70'28"

Music for MandolinM

usic for Mandolin—

Alison Stephens

CD

-SA

R 53

Music for M

andolin—A

lison Stephens

TM

Alison Stephens, Sue Mossop — Mandolins

Poppy Holden—Soprano

Richard Burnett—Fortepiano