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Thread: G. Fouchetti (1771): Sonatas for two mandolins

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    Registered User Martin Jonas's Avatar
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    Default G. Fouchetti (1771): Sonatas for two mandolins

    Giovanni Fouchetti (1757-1789): Serenades and Sonatas for Two Mandolins

    Giovanni Fouchetti was an Italian composer living and working in Paris. In 1771, he published one of the earliest mandolin methods. The bulk of this book was taken up by a set of six serenades and six sonatas for two mandolins, becoming progressively more advanced. Wikipedia says he was born in 1757 and published his method in 1771 -- that sounds unlikely, as he would have been only 14 years old at the time.

    I have recorded several movements from this collection before. These are my recordings of the complete third and fourth sonatas, each consisting of a slow and a fast movement.

    Played on two vintage Italian bowlbacks.

    1890s Umberto Ceccherini mandolin
    1915 Luigi Embergher mandolin

    Sonata III
    a. Andante grazioso 0:00
    b. Allegro 3:00




    Sonata IV
    a. Andante 0:00
    b. Allegro 2:29




    Martin

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    I may be old but I'm ugly billhay4's Avatar
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    Default Re: G. Fouchetti (1771): Sonatas for two mandolins

    Very nice, Martin.
    Do you know anything about the semi-conical hats that appear in the first piece?
    Thanks,
    Bill
    IM(NS)HO

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    Registered User Martin Jonas's Avatar
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    Default Re: G. Fouchetti (1771): Sonatas for two mandolins

    Quote Originally Posted by billhay4 View Post
    Very nice, Martin.
    Do you know anything about the semi-conical hats that appear in the first piece?
    Certainly, Bill. Those hats belong to the costume of one of the Commedia dell'arte stock characters, Pulcinella. The Pulcinella paintings and drawings in my video are by Giandomenico Tiepolo (1727-1804), the son of the more famous Giambattista Tiepolo (who painted a number of the other pictures in my video). Tiepolo Junior made a large number of frescos (all from his own pricate house) and drawings with a profusion of figures in Pulcinella masks -- in a Commedia dell'arte play there is meant to be only one, but his pictures are overrun by creepy hunchback figures in Pulcinella costumes. There is a short explanation and more examples here.

    Martin

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    Unfamous String Buster Beanzy's Avatar
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    Default Re: G. Fouchetti (1771): Sonatas for two mandolins

    Very timely, I'd arranged to get together on Monday to play through these with one of our trio. Nice to have a sneak preview

    Bill I think you probably mean the commedia dell arte characters. The tall white hat is normally worn by Pulcinella Cetrulo and similar characters. They were meant to be a send up of the lowest classes of Naples.
    Eoin



    "Forget that anyone is listening to you and always listen to yourself" - Fryderyk Chopin

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    Registered User Martin Jonas's Avatar
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    Default Re: G. Fouchetti (1771): Sonatas for two mandolins

    Giovanni Fouchetti (1757-1789): Serenades and Sonatas for Two Mandolins
    Sonata I
    a. Andante 0:00
    b. Allegro 3:15


    Here is another one of Fouchetti's sonatas -- this is Sonata I (or Sonata Prima)

    I have used an arrangement by Andy Boden, who has added a bass line for mandola, which I am playing on tenor guitar -- thanks, Andy! With the additional bass line, this sonata becomes interesting for small mandolin ensembles. We have started playing this last month in our weekly rehearsals and everybody is much taken with it.

    Andy's score and parts are on his website at:

    http://www.andyboden.com/index_html_...onataPrima.zip

    Played on two vintage Italian bowlback mandolins, plus tenor guitar.

    1890s Umberto Ceccherini mandolin
    1915 Luigi Embergher mandolin
    Vintage Viaten tenor guitar



    Martin

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    Unfamous String Buster Beanzy's Avatar
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    Default Re: G. Fouchetti (1771): Sonatas for two mandolins

    Martin, I just wanted to drop in a note of appreciation & say how your playing on these multi-tracked pieces has really developed well. I know what a stiffler it can be to try to lay down the accompanying tracks so they ard solid. Because they're different takes on different instruments in trying to keep them steady for the melody track to use there's a continual hazzard to negotiate between keeping the tempo & not sounding too stilted. Recently all the tracks are feeling free and relaxed, but still able to support the melody for its final run, enabling that to really breathe now. It's a testament to your hours of effort that these sound so chirpy and there's a real sense coming through of your enjoyment in playing them. Really well done & thanks for sharing your work, it is a valuable contribution to us all.
    Eoin



    "Forget that anyone is listening to you and always listen to yourself" - Fryderyk Chopin

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