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MENU EN FR DE MENU — TRACKLIST P. 4 ENGLISH P. 6 FRANÇAIS P. 12 DEUTSCH P. 18 2

MENU EN FR DE MENU — TRACKLIST P. 4 ENGLISH P. 6 FRANÇAIS P. 12 DEUTSCH P. 18 2 Recording: Basse-Bodeux (B), église Notre-Dame de l'Assomption, 29 June-2 July 2020 Artistic direction, recording and editing: Rainer Arndt English translations: Peter Lockwood Deutsche Übersetzungen: Silvia Berutti-Ronelt Cover illustration: Domenico Gabbiani (1652-1726), Ferdinand de Medicis and his musicians Firenze, Galleria dell'Accademia, © akg-images / Rabatti & Domingie Booklet cover: A tavolino © Denis Lorain Nos remerciements chaleureux à la famille Tilanus, Monique Bonnet et Jean Chancerelle pour leur soutien généreux. Nicolas Glady pour son expertise dans la jungle des papiers et des chiﬀ res. Xavier Carrère pour sa relecture alerte du livret et son enthousiasme. Michael Talbot pour la révélation des sonates de Francesco Scarlatti. Philippe Burin des Roziers ainsi que Sylvain Chen et l’Atelier du Sensible pour leur mise à disposition des salles de répétition. 3 MENU EN FR DE 3 ALESANDRO SCARLATTI 16601725 SONATE A QUATTRO — LES RÉCRÉATIONS Matthieu Camilleri: violin & viola (20-23 & 28-31) Sandrine Dupé: violin Clara Mühlethaler: viola & violin (20-23 & 28-31) Keiko Gomi: cello Étienne Galletier: theorbo (9, 20-23 & 28-31) & archlute (10) ensemblelesrecreations.com 4 Sonata 1a a quattro senza cembalo, fa minore Alessandro Scarlatti 1. Grave 1'26 (1660-1725) 2. Allegro 2'00 3. Largo 2'21 4. Alemanda 1'26 Sonata 2nda a quattro senza cembalo, do minore Alessandro Scarlatti 5. Fuga Andante 2'49 6. Grave 2'25 7. 3/4 [Allegro] 1'12 8. Minuet 1'16 9. Durezze e ligature 2'32 Giovanni Maria Trabaci (1575-1647) 10. Gagliarda del Principe di Venosa 1'29 Carlo Gesualdo (1566-1613) Sonata 3a a quattro senza cembalo, sol minore Alessandro Scarlatti 11. 4/4 [Fuga] 2'26 12. Grave 2'06 13. 3/4 [Allegro] 2'14 14. Minuet 1'18 Sonata 4a a quattro senza cembalo, re minore Alessandro Scarlatti 15. Largo 2'12 MENU EN FR DE 5 5 16. Grave 1'31 17. Allegro 0'46 18. Allegro 0'54 19. Minuet 1'10 Sonata IX, re maggiore Francesco Scarlatti 20. Grave – Presto – Largo – Presto – Largo 3'10 (1666-1741) 21. Larghetto 2'26 22. Largo 1'23 23. Presto 1'41 Sonate, la minore Alessandro Scarlatti / 24. Adagio* (A. Scarlatti, Piccoli Pezzi) 1'14 Francesco Scarlatti 25. Fuga in secundo tono* (A. Scarlatti) 1'44 26. Largo e come sta (F. Scarlatti, Sonata XI) 1'07 27. Baletto* (A. Scarlatti, Piccoli Pezzi) 1'50 Sonata IV, mi minore Francesco Scarlatti 28. Largo – Andante 1'13 29. Allegro 1'43 30. Largo 1'48 31. ¢ 1'02 32. Sonata k87, si minore* 5'11 Domenico Scarlatti (1685-1757) * Transcriptions of harpsichord works by Matthieu Camilleri 6 MENU FR DE 6 SCARLATTI, SONATE A QUATTRO  This programme was inspired by our fascination with the four Sonate a quattro senza cembalo by Alessandro Scarlatti; they were the only sonatas of this type to have been composed in Europe at the beginning of the 18th century. Such explicit exclusion of the harpsichord is surprising to say the least, given that it was always the foundation of the continuo for such instrumental ensembles during the 1700s. Situated halfway between the viol consort and the string quartet, these pieces can seem both archaic and forward-looking. Careful study reveals that they have their own identity and are far from being pastiches — possibly a last appearance of the 17th century sonata da chiesa? — or simple experiments. They display an extraordinarily rich and controlled musical style and are perfectly constructed on the formal level; Scarlatti seems to have poured all of his knowledge of harmony and chromaticism into these works. Very little is known about Alessandro’s musical training: having initially studied under Foggia and Sportonio, two minor Roman musicians of the time, how was our young immigrant from Palermo then able to develop such an individual style? He was most likely self-taught to a large extent, but nonetheless took inspiration from the Roman style of the period and showed himself to be a worthy successor of Carissimi and Stradella. This being said, his style also contained elements that foreshadowed the 18th century: he breathed new life into the cantata and the opera, preparing the way for Handel and even for Mozart; he was to continue his research into harmony throughout his life. This programme traces the path of this particular eclecticism. Given that the ﬁrst copyist of these works has been identiﬁed, these sonatas were most probably composed around 1705. This was a particularly productive period for Scarlatti, as can be seen from his letters to and from Ferdinando de’ Medici (1663-1713) 1. Ferdinando was 7 much more than a patron: pictured on the cover of this CD, he was a true connoisseur of the arts and was an artist himself, playing the viol, the harpsichord and also composing. He surrounded himself with the best musicians and collected stringed instruments by Stradivarius; his court was on the cutting edge of the latest musical discoveries, these including the ﬁrst pianofortes made by Cristofori and the ﬁrst appearance of twisted gut strings on violins in Italy. Older instruments were also still in use there such as the lirone; Ferdinando also stipulated that Perti should use the cornett in one of his operas. Alessandro stated in his letters that there was one particular period when he was extremely interested in strict counterpoint, this being a reference to the ten or so a tavolino madrigals that he had composed; in these letters he had twice expressly mentioned a certain Principe di Venosa: Gesualdo! The term a tavolino is a literal description of the Renaissance custom that singers who performed madrigals a cappella should be seated around a table, so without keyboard accompaniment. It is therefore highly signiﬁcant when we see the same term employed in the ﬁrst manuscript of these sonatas: Sonate senza cembalo al tavolino2. It could well be that these sonatas were intended as a type of instrumental madrigal, perhaps even having been composed to display the qualities of the collection of instruments by Stradivarius that Ferdinando had recently acquired. References to earlier musical practices are scattered throughout Scarlatti’s works; he seems to have wished to reassert the secular Italian tradition on which his own style was based. By giving a piece the title of Fuga in secundo tono (the Sonata in A minor), he immediately associated himself with the ecclesiastical modes, even though he was simultaneously moving away from them. Many similar examples exist, especially in his sacred works: one such is his Mass alla Palestrina. Can we really then say, given the above, that Scarlatti was simply composing ‘early music’ with these works? Alessandro Scarlatti was a musical colourist and therefore naturally inclined towards 8 harmonic experimentation; one of his contemporaries described him as the uomo più inteso di contrapunto3. Scarlatti was an exact contemporary of Corelli, his colleague in the Arcadian environment created by Queen Christina of Sweden, and it is fascinating to see how much this environment worked against the two men. This Arcadia was a circle formed around the exiled sovereign in which poets, playwrights and musicians all transmitted a nostalgic belief in an imaginary Antiquity, a type of classicism that was in reaction against the excesses of the end of the 17th century. Neither Scarlatti nor Corelli, however, could understand each other’s styles; their separate Arcadias were very diﬀerent4. Whilst Corelli revolutionised form and puriﬁed counterpoint, Scarlatti delved deeply into the study of harmony; Scarlatti’s homage to earlier masters was made through the prism of his own imagination and allowed him to develop a daringly unusual musical language. Given the predominance of counterpoint, these sonatas are very much in the style of the sonata da chiesa. Their solemnity is matched by the composer’s choice of minor keys: they all tend towards the Dorian mode and introduce us to a dark and introverted musical world that is dominated by ﬂats; the progression of the keys from F, C, G to D minor reveals a slow path towards the light. The order of movements is also innovatory. The ﬁrst sonata (F minor) is the only sonata that begins with a prelude; it acts as an introduction not only to the sonata but to the cycle as a whole. The three other sonatas launch straight into masterful fugues, placing the listener without any warning in the midst of one of the most elaborate musical structures possible. The slow movement that then follows is each time a miracle of harmonic invention. The second movement of the sonata in D minor begins with a canon on the tritone; the music then wanders, led by quavers, through surprisingly colourful harmonies; this is followed by unresolved harmonic tensions that recall the Durezze of the ﬁrst Neapolitan school — hence our inclusion of the Trabaci — but with a completely new harmonic vocabulary. The second movement of the sonata in C minor is particularly astonishing: the two violins form a duo, as do the viola and the cello. The two bicinium are each woven in turn around their respective 9 themes; they alternate and scarcely ever overlap, coming together only at the end of the piece uploads/s3/ scarlatti-sonate-a-quattro-ric422-digital-booklet 1 .pdf