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Six Partitas for Solo Mandolin Time-Limited
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Six Partitas for Solo Mandolin Time-Limited

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SKU: SK0211305-US20260105-083122 Category: Tag:
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DISC: 1

1. Partita No. 1: I. Allemanda
2. Partita No. 1: II. Corrente
3. Partita No. 1: III. Sarabanda
4. Partita No. 1: IV. Bourrée
5. Partita No. 1: V. Giga
6. Partita No. 1: VI. Menuetto
7. Partita No. 2: I. Preludio. Allemanda
8. Partita No. 2: II. Sarabande
9. Partita No. 2: III. Corrente
10. Partita No. 2: IV. Giga
11. Partita No. 2: V. Gavotta
12. Partita No. 2: VI. Menuetto
13. Partita No. 3: I. Preludio. Allemanda
14. Partita No. 3: II. Corrente
15. Partita No. 3: III. Aria. Adagio
16. Partita No. 3: IV. Giga
17. Partita No. 3: V. Minuetto
18. Partita No. 4: I. Preludio. Allemanda (Arpeggio)
19. Partita No. 4: II. Corrente
20. Partita No. 4: III. Sarabanda
21. Partita No. 4: IV. Giga
22. Partita No. 5 In G Sol Re Ut: I. Ouverture
23. Partita No. 5 In G Sol Re Ut: II. Allemanda
24. Partita No. 5 In G Sol Re Ut: III. Corrente
25. Partita No. 5 In G Sol Re Ut: IV. Sarabanda
26. Partita No. 5 In G Sol Re Ut: V. Giga
27. Partita No. 6: I. Fuga. Allemanda
28. Partita No. 6: II. Corrente
29. Partita No. 6: III. Aria. Adagio
30. Partita No. 6: IV. Giga
31. Partita No. 5 In G Sol Re Ut (Version For Mandolin & Basso Continuo): I. Ouverture
32. Partita No. 5 In G Sol Re Ut (Version For Mandolin & Basso Continuo): II. Allemanda
33. Partita No. 5 In G Sol Re Ut (Version For Mandolin & Basso Continuo): III. Corrente
34. Partita No. 5 In G Sol Re Ut (Version For Mandolin & Basso Continuo): IV. Sarabanda
35. Partita No. 5 In G Sol Re Ut (Version For Mandolin & Basso Continuo): V. Giga

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The absolute rarity represented by this world premiere concerning the historic mandolin is offered to us by the rediscovery and performance of the specialist Davide Rebuffa, that, on two original eighteenth century instruments brings to light the Six Partitas for solo mandolin by Filippo Sauli. Unfortunately we do not have much information about the life of the composer of Florentine origins, but we know that he was hired in Vienna at the Hapsburg court in the early eighteenth century when he probably composed this music that, as compared to the seventeenth-century manuscripts (whose content consists of simple dances, not yet in extended musical forms such as Suites or Sonatas), mark an important change in the nature of the mandolin repertoire of the Baroque period.

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