Mauro Squillante, Davor Kirkjus, Leonardo Massa, Raffaele Vrenna - Gervasio, Barbella, Cocchi: The manuscripts for mandolin of Gimo collection (2023) [Hi-Res]

Tracklist

CD1
1.01. Sonata a mandolino e basso (ms. Gimo 141)
1.02. Sonata per Camera di Mandolino e Basso (mss. Gimo 142-143)
1.03. Sonata per Camera di mandolino e Basso (ms. Gimo 144)
1.04. Sonata Per Camera di mandolino, e Basso. (mss. Gimo 145-146)
1.05. Duetto a due mandolini (mss. Gimo 147-148)
1.06. Sinfonia a due mandolini, e Basso (ms. Gimo 149)
1.07. Trio a due mandolini e Basso (ms. Gimo 150)

CD2
2.01. Sonata a due mandolini (ms. Gimo 12)
2.02. Duetto a due mandolini (ms. Gimo 13)
2.03. Sonata a due mandolini (ms. Gimo 14)
2.04. Sonata a Due mandolini (mss. Gimo 15-16-17)
2.05. Sonata a due mandolini e basso (mss. Gimo 18-19)
2.06. Sinfonia a due mandolini, e Basso (ms. Gimo 76)
2.07. Trio. A due mandolini e Basso (ms. Gimo 359)

"The CDs contained in this box set were conceived and produced as part of the project ""Il mandolino a Napoli nel Settecento”, coordinated by the University of Bologna in collaboration with the University of Uppsala and the Neapolitan Mandolin Academy (www.mandolinonapoli700.com). The objective of the project was the recording on period instruments of the 19 compositions for mandolin by Neapolitan composers of the eighteenth century, whose manuscripts are collected in the Gimo collection and preserved in the ""Carolina Rediviva"" Library of the University of Uppsala. The two CDs include the works by Giovanni Battista Gervasio (CD1), and Emanuele Barbella, Gioacchino Còcchi and an anonymous (CD2). The production aims to offer the listener a new interpretation of this repertoire based on an interpretative concept sensitive to the quality of sound, phrasing and aesthetic and compositional concepts of the time, contributing to a more extensive rediscovery of the Neapolitan and southern Italian instrumental repertoire of the eighteenth century. This CD box was born thanks to the fruitful collaboration between the University of Bologna and the Museum of San Colombano – Tagliavini Collection, that hosted most of the recordings and made available the precious instruments of its collection."

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