The Rossini anniversary of 2018 presented an opportunity to shed new light on these familiar works, but in a form that the composer himself would have recognised. This long-established mandolin quintet took a mix of old and newly commissioned arrangements and toured them across Italy to great success before making the present recording. The quintet takes its name from the mandolin virtuoso Giuseppe Anedda (1912-97) who popularised the instrument throughout his native Italy with his own ensemble and established for it a place in classical concert halls and modern works beyond the ‘early music revival’ of the 50s and 60s. He took part in pioneering recordings of Vivaldi and early performances of Stravinsky’s Agon.
They commissioned Michele Di Filippo to arrange the first four overtures on this album: L’Italiana in Algeri (1813), Il Viaggio a Reims (1825), La Cenerentola (1817) and La Scala di Seta (1812). The other four overtures are from Il Signor Bruschino (1813), Il Barbiere di Siviglia (1816), Tancredi (1813) and La Gazza Ladra (1817), for which the quintet performs from transcriptions made and published in the first half of the 20th century by Mario Macchioci and Enrico Marucelli. All the arrangements preserve the heady excitement of the famous ‘Rossini crescendo’ as well as the chamber-like dialogue between wind and strings in the original scores.
Once again I have found some fantastic videos from Japan. This time the Setouchi Mandolinenquintett plays music from the 18th century, but also some Irish music. Thous videos were made during the preparation for a trip to the Korea Mandolin Festival.
Mandolins: Miyatake Shiyougo, Wakiya Kazuyo
Mandola: 穏 香 Tominaga
Guitar: Miyatake Tizuko
Mandoloncello: Itsumi Umeda.
V · Roeser / Sonate Nr. 06 (first movement)
V · Roeser / Sonate Nr. 6 (3rd movement)
Leopold Mozart / Für Wolfgang – Suite Nr. VIII d-Moll (1762) in five movements, second movement: Fantasia
Leopold Mozart / Für Wolfgang, fifth movement, Murki (or french: Mourqui)
A more explicit definition can be found in the Grimm Bros.’ famous German dictionary:
MURKI, n. kurze muntere tanzweise, Murki n[euter]. short lively dancing tune,
bei der der basz durchgehend aus gebrochenen octaven besteht. whose bass part entirely consists of broken octavoes.
im ersten drittel des 18. jahrh. einem offenbar bäerlichen tanze aus Süddeutschland entlehnt, in the 1st third of the 18th cent. borrrowed from an obviously rustic dance,
häufig komponiert, composed frequently,
und noch lange nachher literarisch bezeugt: and for a long time after testified in literature:
Not in RISM; not in MGG/2. The very rare first French edition. Valentin Roeser (c. 1735 – c. 1782) was a clarinettist of German birth; he lived in Paris from c. 1754 and was appointed to the services of the Prince of Monaco before 1762. In 1769 he became a musician to the Duke of Orléans. He was a prolific composer and arranger and translated, in addition to Leopold’s method, other works by German theorists such as Marpurg into French and thus contributed to the spread of works by his compatriots. Barry S. Brook, who dates our edition to 1770, must be corrected on the basis of Devriès-Lesure, who note that the engraver quoted on the title-page, Ribart, worked only in 1769.