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Julien Martineau, Vanessa Benelli Mosell: Beethoven Suites (24/48 FLAC)

Julien Martineau, Vanessa Benelli Mosell: Beethoven Suites (24/48 FLAC)

Julien Martineau, Vanessa Benelli Mosell: Beethoven Suites (24/48 FLAC)

Composer: Ludwig van Beethoven
Performer: Julien Martineau, Vanessa Benelli Mosell, Yann Dubost, José Fillatreau
Format: FLAC (tracks)
Label: Naïve
Release: 2020
Size: 504 MB
Recovery: +3%
Scan: yes

01. Adagio for Mandolin and Piano, WoO 43b
02. Sonatina for Mandolin and Piano, WoO 43a
03. Sonatina for Mandolin and Piano, WoO 44a

Sonata for Mandolin and Piano, Op. 37a
04. I. Allegro
05. II. Andante
06. III. Allegretto

Andante con variazioni in D Major, WoO 44b
07. I. Andante
08. II. Variation 1
09. III. Variation 2
10. IV. Variation 3
11. V. Variation 4
12. VI. Variation 5
13. VII. Variation 6
14. Symphony No. 7, Op. 92 II. Allegretto (Arr. by Hans Sitt)6)
15. Lettre a l’immortelle bien-aimee
16. Rondino on a Theme by Beethoven in E-Flat Major
17. A Fifth of Beethoven (Arr. by Bruno Fontaine)

This album is an exploration of Beethoven’s neglected works for mandolin. None of them are called suites; the “suites” of the title are groupings of mandolin music closely or more distantly related to Beethoven. Some of this other music turns out to be even more of a revelation than the Beethoven mandolin music, itself rare enough: the Grande Sonate for mandolin and piano, Op. 37a, is an excellent example of Hummel’s style, with a slow movement that’s highly idiomatic to the mandolin (Beethoven’s pieces, especially on Julien Martineau’s rather metallic-sounding mandolin, are more like piano pieces played on the mandolin). All of the Beethoven works are early, and despite his claimed affection for the instrument, it’s hard to hear his voice in these. Midway through, however, the program turns into something else, humorous and very Gallic. Included is Walter Murphy’s disco classic A Fifth of Beethoven, arranged for a small jazz combo. Get ahold of the booklet, if you can, where annotator Camille De Rijck points out that “in the history of art, it is only permissible to exclude an artist from a movement if he or she absolutely refuses ever to have joined it, a conclusive attitude that Beethoven never expressed toward disco music.” The other selections toward the end are not that outrageous, but all poke a bit of fun at the lingering Romantic impressions of Beethoven that have come down to the present day. Pianist Vanessa Benelli Mosell keeps to a circumspect attitude that gives Martineau room to play around, and the result is an enjoyable romp that does give something of an idea of Beethoven’s youthful, lighter side.

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