Michele Mascitti (1663/1664-1760)
Sonate a Tre – Opera Prima
Sonata VII in D, op. 1,7
Sonata VIII in A minor, op. 1,8
Sonata IX in C, op. 1,9
Sonata X in E minor, op. 1,10
Sonata XI in D, op. 1,11
Sonata XII in A, op. 1,12
Musica Elegentia/Matteo Cicchitti
rec. 2023, Chiesa di San Francesco Caracciolo, Villa Santa Maria, Italy
Reviewed as a stereo 24/88 download with pdf booklet from Proper Music
Challenge Classics CC72979 [51]
At the end of the 17th century, many Italian performers and composers left their home country and tried their luck north of the Alps. Most of Europe was receptive to the Italian style, and the music they carried with them, either of their own making or by others, was well received. Quite a number of them settled in London, where the development of public concert life and performances of operas offered plenty opportunities to play and present new music. Others went to Paris, where since the turn of the century, any aversion to the Italian style had been waning pretty quickly. One of the first who settled there, was Michele Mascitti.
He was born in Chieti, near Naples, and began his career in the royal chapel, where his uncle – his first music teacher – was violinist. After travelling through Europe, he arrived in Paris, where he came under the patronage of the Duke of Orléans. The Duke was an ardent lover of Italian music and Mascitti was just one of the Italian musicians he took under his wing. This connection allowed Mascitti to play at the court in Paris. He made such an impression that in 1714 he was granted a King’s privilege to print for 15 years “collections of sonatas and other musical pieces, vocal as well as instrumental”. This privilege was twice extended, in 1731 and 1740, and, as a sign of the appreciation, Mascitti was given French citizenship in 1739. It seems that he was also generally liked as a person, because of his friendly character and his generosity. He died in Paris, at a ripe old age, in 1760.
Whereas most Italian composers, and certainly those from Naples, had a vivid interest in vocal music, and in particular in opera, Mascitti confined himself to instrumental music. His œuvre is not very large: nine collections of sonatas for one or two violins and basso continuo were published between 1704 and 1738. Several of these were dedicated to members of the Crozat family, one of the richest and most powerful in France, who granted him a pension during the last decades of his life. If one looks at the various collections, it is notable that several of them are of a complexion that differ from the conventions of the time. It was common use to print sets of six or twelve sonatas, but Mascitti derived from this habit. The Opp. 2 and 6 both include fifteen solo sonatas, whereas the Op. 4 comprises 14 sonatas: eight solo sonatas and six trio sonatas. The Op. 7 consists of eight solo sonatas and four Concerti à 6.
The first collection seems more in line with the conventions, as it comprises twelve sonatas. However, they are scored differently. The first six are solo sonatas, the other six trio sonatas. In addition, both groups are split into two parts: the first of each group are sonate da chiesa, the second sonate da camera. However, the two categories are not strictly separated: in the sonate da chiesa we find dances which are connected to the sonata da camera, whereas in sonatas of the latter category we find tempo indications like adagio and allegro that are part of the genre of the sonata da chiesa. In two of the trio sonatas (VII and VIII) Mascitti mentions the cello separately, but that does not mean that it has an obbligato part, but rather that it now and then adds diminutions to the bass line. Notable is the Sonata X, as here the second violin is optional and can be omitted. It means that it can be played as a solo sonata, which shows once again that Mascitti was his own man, not afraid to leave the trodden paths.
The sonatas Op. 1 were published in 1704 and must be counted among the first sonatas in Italian style printed in France. They are indeed unashamedly Italian; Mascitti didn’t make any real concessions to the French taste. The influence of Arcangelo Corelli is notable everywhere. With time, the Italian style would conquer the music scene in France; only a few decades later Vivaldi would be one of the most frequently played composers at the Concert Spirituel.
The track-list mentions that these six trio sonatas are “world premiere recordings”. That is not correct: in 2008 the label Acte Préalable released a complete recording of the Op. 1 on two discs. The producers may be forgiven to have overlooked that production, as the label is not exactly well-known; however, a bit of research might have prevented this error.
That does not diminish the value of this recording. In recent years several productions with Mascitti’s music have been released, and that is a happy development, as he was an excellent composer. It is easy to understand that his music went down rather well in his time. It still has the power to compel any lover of baroque instrumental music. There is really no dull moment here. The grave from Sonata VII is a dramatic piece, including a sequence of chords played forte. Sonata VIII opens with un poco andante over a walking bass. The largo from Sonata X is full of harmonic tension. Sonata XII opens with a jolly spiritoso; the third movement is a melancholic sarabanda. The piece closes with a sparkling allegro.
These sonatas are done full justice by the ensemble Musica Elegentia. Due to their use of a cello and a violone, I sometimes found the bass a bit too heavy. However, the basso continuo players make sure that the rhythmic pulse comes off very well. I have nothing but praise for the excellent playing of the two violinists, Paola Nervi and Marco Pesce. They deliver colourful and dynamically differentiated performances.
This disc is a welcome contribution to the discography of a composer who rightly enjoys quite some attention these days. Let’s hope for more Mascitti in the years to come.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
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