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Appréciation d'ensemble / Overall evaluation :
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Reviewer: Anthony
Burton Of Domenico Scarlatti’s 500 odd harpsichord sonatas, a fair number were clearly written as pieces for a melody instrument and continuo; and an 18th-century French manuscript version of one piece suggests as a possible protagonist the mandolin, a popular instrument at the time. Mandolinist Anna Schivazappa, playing a selection of instruments in different tunings, justifies the proposition with neat and nimble, strongly rhythmic playing. But her continuo colleagues of Pizzicar Galante – viola da gamba, theorbo or guitar, harpsichord – when deployed at full strength create a congested, buzzy texture. Only when the accompani-ment is thinned down does the slender voice of the mandolin engage most effectively with Scarlatti’s ornate solo lines. The varied selection of pieces here – mostly in sequences forming three- or four-movement sonatas, but also including a single concerto-like movement and a set of variations over a recurring bass line – casts an interesting light on Scarlatti’s compositional range. From the general music-lover’s point of view, though, and especially for fans of the mandolin, it also contributes to a pleasant hour’s re-creation of music-making in an elegant Parisian salon.
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