Music of Vivaldi, Beethoven, Bruce, Sollima, Scarlatti,
Ben-Haim, and Henze. Avi Avital, mandolin; Alon Sariel, mandolin; Sean Shibe,
guitar; Anneleen Lenaerts, harp; Ophira Zakai, theorbo; Patrick Sepec, cello;
Yizhar Karshon, harpsichord; Venice Baroque Orchestra. DG 00289 483 8534.
By John J. Puccio
Israeli mandolinist Avi Avital (b. 1978) made his debut
album some years ago on the Naxos label and has since followed it up with
several more albums for DG, including this one, called simply Art of the
Mandolin, and featuring music by Vivaldi, Beethoven, Bruce, Sollima,
Scarlatti, Ben-Haim, and Henze. Although Avital’s speciality may be music of
the Baroque period, the selections on the present album span everything from
the Baroque era to the present.
As I said of Avital in an earlier review, he “is
unquestionably a fine mandolin player, his tone sweet and fluid, his tempos
well judged, neither too breakneck fast nor too maddeningly slack, and his
natural affinity for the instrument always in evidence in his intonation and
flexibility.” Certainly, the same can be said about his playing this time around
as well.
The mandolin, if you’re not quite sure about it, is a
stringed musical instrument in the lute family, usually plucked with a small
piece of plastic, metal, or ivory. It commonly has four adjacent rows of
doubled metal strings tuned in unison (8 strings), although five (10 strings)
and six (12 strings) versions are also popular. Mandolins developed from the
lute family of instruments in Europe, and some their predecessors include the
gittern and mandola in Italy during the seventeenth and eighteenth centuries.
There are a number of regional variants but two of the most common ones are the
Neapolitan mandolin and the Lombardic mandolin, the Neapolitan style probably
most well known (and thank you, Wikipedia).
Anyway, the album begins with the Concerto for 2
Mandolins, Strings and Basso continuo in G major by Antonio Vivaldi
(1678-1741). Here, Avital is accompanied by Alan Sariel, mandolin, and the
Venice Baroque Orchestra. They take the outer Allegros with a graceful
panache, not too fast but quick enough to give them a lively spirit. These
sections also give the soloists a chance to show off their considerable skills,
and the final movement is particularly robust. The central Andante is
delicately handled, light as a feather, sweet as a flower in May. Quite lovely
all the way around, actually.
Next, we hear the Adagio ma non troppo in E flat major
for Mandolin and Harp by Ludwig van Beethoven (1770-1827). Avital is
accompanied by Anneleen Lenaerts on harp, and together they provide a
beautifully lyrical reading of Beethoven’s music. It is a love song, really,
and the pair do well by it.
After that is Death Is a Friend of Ours by British
composer David Bruce (b. 1970), with Avital, mandolin; Sean Shibe, guitar;
Anneleen Lenaerts, harp; Ophira Zakai, theorbo; and Yizhar Karshon,
harpsichord. Here we get a surprising throwback for a modern work, combining
the best of the nineteenth century with a distinctly contemporary sensibility.
It’s vibrant and rhythmic with a charming middle section. It’s all quite
festive, in fact, despite the rather gloomy titles the composer gave to the
movements: “Inside the Wave,” “The Death of Despair,” and “Death Is a Friend of
Ours.”
Things continue with the Prelude for Solo Mandolin
by Italian composer and cellist Giovanni Sollima (b. 1962), in which Avital
obviously takes it alone. It’s the most-recent composition on the program, yet
it references older styles and dances. It’s also probably the most fascinating
and imaginative piece on the agenda. Avital’s playing is a revelation.
Following that is the Sonata in D minor for Mandolin
and Basso continuo by Domenico Scarlatti (1685-1757). Here, Avital is
accompanied Ophira Zakai, theorbo; Patrick Sepec, cello; and Yizhar Karshon,
harpsichord. Scarlatti’s work is stately and dignified, The fact that the
composer may not have been written the piece specifically for the mandolin is
beside the point. Surviving manuscripts do not indicate what solo instrument
Scarlatti had in mind, but the music seems well suited to the mandolin, and
Avital appears to enjoy it.
Then there is the Sonata a tre for Mandolin, Guitar and
Harpsichord by Israeli composer Paul Ben-Haim (1897-1984), where Avital is
accompanied by Sean Shibe, guitar, and Yizhar Karshon, harpsichord. Here, the
music references Middle-Eastern sounds, and it makes a nice contrast with the
rest of the lineup.
The program concludes with the Carillon, Recitatif, and
Masque for Mandolin, Guitar and Harp by German composer Hans Werner Henze
(1926-2012). Avital is accompanied by Sean Shibe, guitar, and Anneleen
Lenaerts, harp. The three movements well describe the sounds therein, and
Avital and company do a good job delineating them. Avital says he likes to
think of the opening section as “a walk through an imaginary toyshop.” The
sounds are creative in themselves and creatively explored by the soloists,
whose three instruments blend into one.
Producer Andreas Neubronner and engineers Sebastian
Nattkemper and Rainer Maillard recorded the music at Stadttheater, Furth;
Teldex Studio, Berlin; and Meistersaal, Berlin. As we might expect from DG, the
sound is clear and rich, with a hint of hall resonance to complement the
realism of each track.
Ben-Haim, and Henze. Avi Avital, mandolin; Alon Sariel, mandolin; Sean Shibe,
guitar; Anneleen Lenaerts, harp; Ophira Zakai, theorbo; Patrick Sepec, cello;
Yizhar Karshon, harpsichord; Venice Baroque Orchestra. DG 00289 483 8534.
By John J. Puccio
album some years ago on the Naxos label and has since followed it up with
several more albums for DG, including this one, called simply Art of the
Mandolin, and featuring music by Vivaldi, Beethoven, Bruce, Sollima,
Scarlatti, Ben-Haim, and Henze. Although Avital’s speciality may be music of
the Baroque period, the selections on the present album span everything from
the Baroque era to the present.
As I said of Avital in an earlier review, he “is
unquestionably a fine mandolin player, his tone sweet and fluid, his tempos
well judged, neither too breakneck fast nor too maddeningly slack, and his
natural affinity for the instrument always in evidence in his intonation and
flexibility.” Certainly, the same can be said about his playing this time around
as well.
The mandolin, if you’re not quite sure about it, is a
stringed musical instrument in the lute family, usually plucked with a small
piece of plastic, metal, or ivory. It commonly has four adjacent rows of
doubled metal strings tuned in unison (8 strings), although five (10 strings)
and six (12 strings) versions are also popular. Mandolins developed from the
lute family of instruments in Europe, and some their predecessors include the
gittern and mandola in Italy during the seventeenth and eighteenth centuries.
There are a number of regional variants but two of the most common ones are the
Neapolitan mandolin and the Lombardic mandolin, the Neapolitan style probably
most well known (and thank you, Wikipedia).
Anyway, the album begins with the Concerto for 2
Mandolins, Strings and Basso continuo in G major by Antonio Vivaldi
(1678-1741). Here, Avital is accompanied by Alan Sariel, mandolin, and the
Venice Baroque Orchestra. They take the outer Allegros with a graceful
panache, not too fast but quick enough to give them a lively spirit. These
sections also give the soloists a chance to show off their considerable skills,
and the final movement is particularly robust. The central Andante is
delicately handled, light as a feather, sweet as a flower in May. Quite lovely
all the way around, actually.
for Mandolin and Harp by Ludwig van Beethoven (1770-1827). Avital is
accompanied by Anneleen Lenaerts on harp, and together they provide a
beautifully lyrical reading of Beethoven’s music. It is a love song, really,
and the pair do well by it.
After that is Death Is a Friend of Ours by British
composer David Bruce (b. 1970), with Avital, mandolin; Sean Shibe, guitar;
Anneleen Lenaerts, harp; Ophira Zakai, theorbo; and Yizhar Karshon,
harpsichord. Here we get a surprising throwback for a modern work, combining
the best of the nineteenth century with a distinctly contemporary sensibility.
It’s vibrant and rhythmic with a charming middle section. It’s all quite
festive, in fact, despite the rather gloomy titles the composer gave to the
movements: “Inside the Wave,” “The Death of Despair,” and “Death Is a Friend of
Ours.”
Things continue with the Prelude for Solo Mandolin
by Italian composer and cellist Giovanni Sollima (b. 1962), in which Avital
obviously takes it alone. It’s the most-recent composition on the program, yet
it references older styles and dances. It’s also probably the most fascinating
and imaginative piece on the agenda. Avital’s playing is a revelation.
Following that is the Sonata in D minor for Mandolin
and Basso continuo by Domenico Scarlatti (1685-1757). Here, Avital is
accompanied Ophira Zakai, theorbo; Patrick Sepec, cello; and Yizhar Karshon,
harpsichord. Scarlatti’s work is stately and dignified, The fact that the
composer may not have been written the piece specifically for the mandolin is
beside the point. Surviving manuscripts do not indicate what solo instrument
Scarlatti had in mind, but the music seems well suited to the mandolin, and
Avital appears to enjoy it.
Then there is the Sonata a tre for Mandolin, Guitar and
Harpsichord by Israeli composer Paul Ben-Haim (1897-1984), where Avital is
accompanied by Sean Shibe, guitar, and Yizhar Karshon, harpsichord. Here, the
music references Middle-Eastern sounds, and it makes a nice contrast with the
rest of the lineup.
The program concludes with the Carillon, Recitatif, and
Masque for Mandolin, Guitar and Harp by German composer Hans Werner Henze
(1926-2012). Avital is accompanied by Sean Shibe, guitar, and Anneleen
Lenaerts, harp. The three movements well describe the sounds therein, and
Avital and company do a good job delineating them. Avital says he likes to
think of the opening section as “a walk through an imaginary toyshop.” The
sounds are creative in themselves and creatively explored by the soloists,
whose three instruments blend into one.
Producer Andreas Neubronner and engineers Sebastian
Nattkemper and Rainer Maillard recorded the music at Stadttheater, Furth;
Teldex Studio, Berlin; and Meistersaal, Berlin. As we might expect from DG, the
sound is clear and rich, with a hint of hall resonance to complement the
realism of each track.
JJP
To listen to a brief excerpt from this album, click below:
To listen to a brief excerpt from this album, click below:
