Scaramuccia - 1717: Memories of a Journey to Italy (2021) [Hi-Res]

Tracklist

01. Sonata in B-Flat Major for Pisendel: I. Adaggio
02. Sonata in B-Flat Major for Pisendel: II. Allegro
03. Sonata in B-Flat Major for Pisendel: III. Adagio
04. Sonata in B-Flat Major for Pisendel: IV. Allegro
05. Sonata in D Major: I. Largo
06. Sonata in D Major: II. Allegro
07. Sonata in D Major: III. Larghetto
08. Sonata in D Major: IV. Tempo Giusto
09. Sonata in A Major La Montanari: I. Preludio, Adagio
10. Sonata in A Major La Montanari: II. Allemanda, Allegro
11. Sonata in A Major La Montanari: III. Largo
12. Sonata in A Major La Montanari: IV. Giga, Vivace affettuoso
13. Sonata in A Major La Montanari: V. Minuè
14. Sonata in E Minor: I. Largo
15. Sonata in E Minor: II. (Without Indication)
16. Sonata in E Minor: III. (Without Indication) - Var. I - III (Lupianez) - [Da Capo]
17. Sonata in E Major: I. Largo
18. Sonata in E Major: II. Allegro ma non tanto
19. Sonata in E Major: III. Largo
20. Sonata in E Major: IV. Allegro assai
21. Sonata in G Major for Pisendel, RV 25: I. Allegro - [Gavotta. Allegro] - [Menuetto]
22. Sonata in G Major for Pisendel, RV 25: II. Grave
23. Sonata in G Major for Pisendel, RV 25: III Giga. [Allegro] - [Gavotta. Allegro] - [Menuetto con varizioni]: Var. I (Vivaldi) - Menuetto da Capo (Vintém) - Var. II (Lupiáñez) - Menuetto da capo



Imagine that you have the opportunity to fill your suitcase with the best music of your time. What would you take and what would you leave? Remember you do not have room for everything and you have to choose! This is more or less what happened to Pisendel (the concertmaster of the Dresden orchestra and one of the greatest virtuosos of his era) during his trip to Italy in 1717. For almost a year the young Pisendel toured Italy and met the greatest masters of his time, and throughout his sojourn, he collected the best compositions he could find and filled his suitcase with them. Incidentally, he was forced to use a smaller type of paper, taking up less space in his suitcase and allowing him to transport more musical treasures to Dresden.

But there is more than just music behind these pieces: they tell of of a personal and intimate journey. In the Suonata à Solo fatto per Maestro Pisendel Del Vivaldi, Vivaldi left empty space for Pisendel to complete the sonata with a movement of his own. In a mysterious sonata by Valentini, an autograph dedicated not to Pisendel but to Montanari (who was Pisendel’s teacher). How this valuable and personal score ended up in Pisendel’s hands is a mystery.

In addition, we have the exciting presentation of two world premiere recordings: a sonata by Pisendel that contains modifications by Montanari, and a sonata by Giuseppe Maria Fanfani that has not been performed since the eighteenth century.

“Pisendel’s journey through Italy is a story that deserves and has yet to be told” (Prof. Michael Talbot)

1717. Memories of a Journey to Italy: Scaramuccia on Pisendel footsteps: Scaramuccia, an international Early Music ensemble based in The Netherlands, looks at Pisendel’s fascinating travel to Italy in their second album: 1717. Memories of a Journey to Italy.

Johann Georg Pisendel was the concertmaster of the Dresden orchestra and one of the greatest virtuosi of the 18th century. In 1717, soon after starting to work at the court, the young Pisendel joined the Elector Prince tour through Italy and met the greatest masters of his time. Throughout his sojourn, he collected the best compositions he could find and filled his suitcase with them. These manuscripts, written by great masters such as Vivaldi, Albinoni and Valentini, – which whom he had the privilege of learning with and befriend during that trip – became part of his music collection, the so-called Schrank II. This archive, one of the most important and unique in Europe, has miraculously survived several bombings throughout history. In 1896, after more than a hundred years of oblivion, it was discovered and transferred to the SLUB (Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek), where it is preserved today.

This production has been acclaimed by reviewers all over the world: "La connaissance indéniable que Javier Lupiáñeza de ce répertoire lui permet une liberté et une autorité remarquables dans son approche : agile, créatif, inspiré, il fait magnifiquement goûter les milles saveurs de ces partitions qui, vues sur leurs deux pentagrammes, cachent souvent leurs mystères. Ses complices de Scaramuccia – Inés Salinas au violoncelle et Patrícia Vintém au clavecin – l’accompagnent avec énergie, fantaisie et finesse." Olivier Fourés, Diapason, March 2021 “Fascinating CD. […] “They are technically outstanding and balanced with rare sensitivity”. Brian Robins, Early Music Review “Fresh and vivid performances in a natural lifelike sound quality.” Pizzicato, 11 Nov. 2018 “Javier Lupiáñez’s enthusiastic violin playing in the Largo, Allegro and Tempo Giusto is first class.” Michael Schwartz, The Whole Note. In 2019 the album received a nomination for the ICMA awards as best baroque instrumental music recording.

This album is the first of a large project called “The Cabinet II Project”, in which Scaramuccia delves on the legacy of the Schrank II. It was launched with the ensemble’s own recording label: Snakewood Editions. The second album of the series, “Pisendel. Neue Sonaten”, has been released on 1 December 2020.

Javier Lupiañez, violin, direction
Inés Salinas, violoncello
Patrícia Vintém, harpsichord

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