It has double gut strings tuned in thirds and fourths. The instruments used are described thus: “The Vivaldi uses a six-course Lombard mandolin by Tiziano Rizzi (Milan, 2020), based on an original by Antonio Monzino (Milan, 1792) in the Museo Teatrale alla Scala di Milano. Hasse refers to Speme gradita in his cantata A battaglia, pensieri as being an Aria con mandola. It was Vivaldi who lifted into a role as a solo instrument through his own concertos, although he also used a mandolin in the oratorio Juditha triumphans. In the later 17th century the mandolin was generally limited to accompanying vocal pieces in opera and theatre performances.
The earliest use seems to be in the 1589 Florentine Intermedi della Pellegrina, where the First Intermedio and the madrigal O qual risplende nube refer to the mandola, an early name of the mandolin. The programme note essay by Guido Olivieri sets the scene for the use of the mandolin. The four concertos are interspersed with brief opera Sinfonias by Galuppi, Haydn, and Paisiello. Using three different mandolins appropriate to each period, this recreation of the evocative sound world of this comparatively rare instrument covers the period from Vivaldi around 1700 to Hummel in 1799 via the Neapolitan composers Giovanni Paisiello and Francesco Lecce. The Vivaldi Mandolin Concerto that opens this disk from Raffaele La Ragione and Il Pomo d’Oro will be well known to many people, but the other three lesser-known concertos are well worth getting to know.
Johann Nepomuk Hummel (1778-1837): Mandolin Concerto in G Major Giovanni Paisiello (1740-1816): Mandolin Concerto in E-Flat Major Sinfonia in B flatįrancesco Lecce (1750-1806): Mandolin Concerto in G Majorįranz Joseph Haydn (1732-1809): Sinfonia in D Major Hob.I:106 Antonio Vivaldi (1678-1741): Mandolin Concerto in C Major RV 425īaldassarre Galuppi (1706-1785): Sinfonia: from Il mondo alla roversa,
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