
Originally Posted by
Aonzo, Carlo. 1997. Niccolo Paganini (1782-1840): Complete Works for Mandolin and French Guitar. Arion, ARN 68420.
# # #The only recording I know of to feature a period mandolino Genovese (6 wire courses, octave-guitar tuning e to e").
The Broadside Band. 1980/1983/1992. Airs Populaires Anglais du XVIIe Siecle. Harmonia Mundi, HMA 1901039.
# # #Lots of 4-course mandore (I know, not quite mandolin) and one tune with mandolino for good measure...and piles of good, olde-fashioned Elizabethan fun.
Duetto Giocondo. 2000. Baroque Music for Mandolin and Lute. Koch/Schwann, 3-6594-2.
# # #Caterina can really play. #Here on a modern German barockmandoline, which isn't quite like anyhting ever built in the baroque era, but it does ape the 6-course baroque tuning.
Duo Caprciccioso. 1997. Domenico Scarlatti (1685-1757): Sei Sonate per Mandolino e Chitarra.
# # #Of course, Scarlatti only offered an unspecified basso
continuo, but 5-course guitar works just fine in the accompaniment. Gertrud plays a modern German barockmandoline.
Ensemble Baschenis. 1998. The Early Mandolin. Ducale, CDL 025.
Ensemble Baschenis. 2004. The Early Mandolin, vol. 2. Ducale, CDL 036.
# # #These are some of my favorites. #Capucci and Frati serve up a tasty offering on 6-course mandolini, 4-string mandolino Cremonese, and early mandolino Napoletano (nomenclature may vary without warning).
Europa Galante. 2002. Antonio Vivaldi (1678-1741): Concerti per Mandolini/Concerti con Molti Strumenti. Virgin/Veritas, 7243 5 45527 2 4.
# # #6-course mandolini played nicely by Giovanni Scaramuzzino and Sonia Maurer. #The non-mandolin concerti come off best here. #I love the playing all 'round, but director Biondi seems to me to have trouble balancing the abrupt sound of plucked gut with the bowed ensemble. #A few fewer players might have served him better.
Frati, Dorina. 1997. Giuseppe Gaetano Boni (ca. 1650-1732): Opera II-Divertimenti per Camera. Tactus, TC 650201.
# # #A fun set of sonatas originally published for a great many potential alternative soloists, of which "mandola" was one suggestion (orignally an interchangeable term with "mandolino" back when such things were tuned in fourths). #Frati plays them all with verve, using a 6-course mandolino on some and a 4-string mandolino Cremonese on others (she uses more modern terms for these instruments in the liner notes).
Galfetti, Duilio. 2000. Mandolin & Fortepiano. Arts Music, 47610-2.
# # #Beethoven on early Napoletano, Hummel on Cremonese, and Hoffman on 6-course mandolino. #Definitely worth a listen. #Hoffman is one of those mandolin specialist composers of whom only mandolinists have heard: too bad.
Il Giardino Armonico. 1993. Antonio Vivaldi (1678-1741): Concerti per Liuto e Mandolino. Teldec, 4509-91182-2.
# # #This is still my favorite recording of these tired old
warhorses. #Duilio Galfetti is the principal mandolinist here, playing a delicious 6-course instrument by Gabrielli. #I even forgive him for using a quill on it.
The King's Consort. 1998. Antonio Vivaldi ((1678-1741): Juditha Triumphans. Hyperion, CDA6781/2.
# # #Vivaldi's only oratorio, and it included an aria with 6-course mandolino obligato. #In general, a very fine recording, but the aria in question, "Transit aetas", is taken far too slowly for my taste here; it almost comes off as lethargic.
Lichtenberg, Caterina. 1997. Musikinstrumente des Ferdinandeums 4. Tiroler Landesmuseum Ferdinandeum Innsbruck.
# # #Caterina can still really play. #Here she plays on an original 1775 Napoletano type by German luthier Psenner. #Oddly, she strung it in gut for this disc.
McFarlane, Ronn. 1990. The Scottish Lute. Dorian, DOR-90129.
# # #Alright, there's no mandolin here at all, but there's a heap of 4-course mandore to play the music of the ca. 1615 tablature book of John Skene. #Close enough, eh?
Musica Alta Ripa. 2000. Johann Adolf Hasse (1699-1783): Cantatas and Chamber Music. MDG, 309 0944-2.
# # #Only the one concerto, but played fingerstyle on 6-course mandolino by Ulrich Wedemeier: a very cool little window into the way it used to be done.
O'Dette, Paul w/ The Parley of Instruments. 1985. Antonio Vivaldi (1678-1741): Music for Lute and Mandolin. Hyperion, CDA66160.
# # #An odd effort in that O'Dette opts to take the chamber works for "leuto" to mean a 6-course mandolino played fingerstyle, and the works for "mandolino" to actually mean mandolino played with a quill. #He now plays the works for "leuto" on archlute.
Orlandi, Ugo. 2002. Domenico Scarlatti (1685-1757): Sonate per Cembalo e Mandolino. Bongiovanni, GB 5122/23-2.
# # #An odd recording of mostly harpsichord sonatas played by Sergio Vartolo. #I find it odd because Orlandi uses 5- and 6-course mandolini on a couple sonatas, and more modern Roman and Neapolitan types on a few others.
Schneider, Christian. 2000. Mandoline Galante. Calliope, CAL 9274.
# # #A groovy recording of some fine sonatas for mandolino
Napoletano with harpsichord accompaniment played on an original 1766 Vinaccia. #One of my old favorites.
Tragicomedia. 2001. Capritio. Harmonia Mundi, HMU 907294.
# # #Only two works for 6-course mandolino (sonatas by Scarlatti and Arrigoni), but marvelously delivered by Paul O'Dette. #Arrigoni's sonata in e minor may be my favorite baroque work for mandolin kin, and O'Dette even plays the Arrigoni with his fingers.
Walz, Richard. 1998. Mandolin and Fortepiano. Globe, GLO 5187.
# # #The only recording I'm aware to string a mandolino Napoletano as prescribed by some of the early methods with the g course in octaves (g'-g) and a gut e". #One of my favorite recordings of the Beethoven and Hummel and the only recording of an excellent sonata by Neuling.
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