City Research Online

Sparks, P.R. (1989). A history of the Neapolitan mandoline from its origins until the early nineteenth
century, with a thematic index of published and manuscript music for the instrument. (Unpublished
Doctoral thesis, City University London)
City Research Online
Original citation: Sparks, P.R. (1989). A history of the Neapolitan mandoline from its origins until
the early nineteenth century, with a thematic index of published and manuscript music for the
instrument. (Unpublished Doctoral thesis, City University London)
Permanent City Research Online URL: http://openaccess.city.ac.uk/7412/
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A HISTORY OF THE NEAPOLITAN MANDOLINE FROM ITS ORIGINS
THE
EARLY
PUBLISHED
NINETEENTH
AND
CENTURY,
MANUSCRIPT
MUSIC
WITH A THEMATIC
FOR
THE
UNTIL
INDEX
OF
INSTRUMENT.
BY
PAUL RAYMOND SPARKS
Submitted
University,
for
the
degree
Department
of
of
Doctor
of
Philosophy
to
Music.
Nay 1989
VOLUXE I
A HISTORY OF THE NEAPOLITAN MANDOLINE.
1
The City
CONTENTS - VOLUME I
INTRODUCTION
10
Ch.
1
THE EARLY MANDOLINO
14
Ch.
2
NAPLES AND THE ORIGINS OF A NEW INSTRUMENT
18
Ch.
3
THE MANDOLINE IN FRANCE
3.1
PARIS
26
3.2
LYON
43
3.3
OTHER FRENCH CITIES
47
4
THE MANDOLINE ELSEWHERE IN EUROPE AND AMERICA
4.1
BRITAIN
4.2
PRAGUE, VIENNA,
4.3
AMERICA AND RUSSIA
5
MANDOLINE TECHNIQUE
5.1
THE INSTRUMENT
Ch.
Ch.
49
AND GERMANY
53
61
63
2
5.2
STRINGING
68
5.3
PLAYING POSITIONS
72
5.4
THE PLECTRUM (QUILL)
76
5.5
QUILL
78
5.6
Ch.
TECHNIQUE
`TREMOLO (TRILL)
83
5.7
CADENCE
5.8
LEFT-HAND TECHNIQUES (chute,
5.9
PETITES
5.10
BATTERIES
95
5.11
ARPEGES
97
5.12
MARTELLEMENT
100
5.13
ACCORDS
101
5.14
SCORDATURA
102
5.15
NOTES INEGALES
104
6A
88
tirade,
coul6)
90
93
NOTES
REVIEW OF THE EIGHTEENTH CENTURY REPERTOIRE
OF THE NEAPOLITAN MANDOLINE
-
6.1
THE MANDOLINE AND VIOLIN
106
6.2
DUETS
112
6.3
MANDOLINE AND BASSO
122
6.4
TRIOS
130
6.5
CONCERTOS
138
6.6
CHAMBERWORKS
146
6.7
SONGS WITH MANDOLINE ACCOMPANIMENT
154
6.8
ARIAS
157
6.9
SOLOS
162
3
Ch. 7
INSTRUMENTS RELATED TO THE MANDOLINE
7.1
BISSEX
--165
7.2
COLASCIONE
-165
7.3
CREMONESEMANDOLIN
167
7.4
GENOESE MANDOLIN
168
7.5
MANDOLA
170
7.6
MANDOLONE
171
BIBLIOGRAPHY
173
TRANSLATIONS OF FOREIGN LANGUAGE CITATIONS
194
4
TABLES AND ILLUSTRATIONS
Fig.
3.1
Portrait
Pere
---le-
Lacour
Pierre
(late
Fig.
3.2
Johann
Heinrich
jouant
de la
Andre-
,of
Leberthonb
Francois-Benoit-Elisabeth
de Virelade
,
33
century)
eighteenth
Tischbein
mandoline
viconte
Fille
Jeune
(1772)
33
Fig.
3.3
Xaltres
de mandoline
in
Paris
35
Fig.
3.4
alai tres
de mandoline
in
Lyon
44
Fig.
4.1
Philip
- Portrait
of
Royal
Fig.
4.2
Mercier
Family
Published
Handbuch
Fig.
4.3
Other
Fig.
4.4
Manuscript
Fig.
5.1
Leone
Fig.
5.2
Denis
Fig.
5.3
Denis
Fig.
5.4
Corrette
British
the
'49
(1733)
music
mandolin
der
listed
published
music
issued
the
57
Litteratur
musikalischen
mandolin
in
music
from
by Johann
Vienna
Traeg
58
59
(1768)
64
-
Illustration
of
-
Xandoline
player
(Methode
1768)
65
-
alandoline
player
(Methode
1773)
65
-
Illustration
a mandoline
of
5
av
ndoline
(1772)66
- Seated
fenale`"mandolinist
Fig.
5.5
Leone
Fig.
5.6
Bortolazzi
Fig.
5.7
Illustrations
Fig.
5.8
Quill
stroking
Fig.
5.9
Denis
- Avoiding
Fig.
5.10
Denis
- Different
coups
Fig.
5.11
Leone
- Varieties
of
Fig.
6.1
Mandolin
frequency
Fig.
7.1
Conti
-
- Female
of
(1805)
mandolinist
76
78
signs
contre-coups
de plume
80
de plume
98
99
arpege
1750-1813
Types
-
and
109
forms
various
Illustration
of
6
73
73
quills
repertoire
of
(1768)
a Genoese
mandolin
169
ACKNOVLEDGEXEJTS
I am greatly
and
de
musique
Denmark,
Jensen,
Keith
England,
Neil
Gladd
Jean-Paul
Bazin
independently
have
allowed
supervisor
throughout
their
my research;
of
the
mandolin
of
all
to
helped
history
to
their
complete
and
d'Alton
me to
her
for
in
West
in
and
it.
7
begin
Australia,
Roux
have
mandolin,
research
notes;
Langham
and
my
Smith,
the
monitored
Joyce
of
this
support
Tyler
and
London,
thesis;
and
been
the
of
knowledge
expert
Tobey Burnett
in
Le
whom
Richard
James
inspired
me to
of
all
the
Hugo
Greiner;
of
Didier
enthusiastically
thesis;
the
Orlandi;
Morey
and
University,
and
this
for
Angeles,
which
City
patiently
of
progress
access
The
at
has
who
me
Ugo
States,
investigating
in
Paris;
Flensborg;
Stephen
France.
of
Departement
Montagu.
to:
United
the
of
the
Ulrike
Peter
Italy,
in
grateful
and
of
Austria,
and
and Jeremy
Clarke
am especially
in
Tove
and
Harris;
Eric
staff
his
Schneider
Nationale,
Norman Levine;
Kurt
Germany,
the
and
Bibliotheque
the
of
States,
United
Granges
help
their
for
people
Christian
France,
in
Francoise
following
the
to
encouragement:
family,
I
indebted
of
Los
assistance
whose
and
love
most
and encouragement,
I hereby
to
the
this
in
grant
University
thesis
part,
to
without
myself.
This
single
copies
subject
powers
to
Librarian
be copied,
further
permission
the
discretion
of
made for
normal
acknowledgement.
8
to
in
allow
or
whole
to
reference
only
covers
study
purposes,
conditions
of
ABSTRACT
VOLUME IHISTORY
The 4-course
in
Naples
in
the
was developed
mandoline
1740's,
by
the' ° 'Vinaccia
family.
It " is,,
principally
differentiated
from the earlier
4,5,
or 6-course
mandolino
by its
deeper
body,
bridge,
tuning,
higher"
moveable
violin
tension
string
with
partial
use of metal
stringing,
and the
universal
application
of quill'technique.
This thesis
traces
the great
popularity
which the mandoline
throughout
Europe,
France,
enjoyed
especially
'in
-between
1760 and 1785.
Italian
Cifolelli,
virtuosos,
such as Leone,
Spirituel
in Paris,
and Nonnini,
performed
at the -Concert
from
journals.
Many
and won enthusiastic
reviews
musical
tuition
books
there,
mandolinists
published
as well
as
85 volumes
instrument.
The
approximately
of music for their
in' Lyon,
Fouchetti
mandoline
was also
popular
where
and
Verdone were leading
teachers,
players,
and composers.
This
thesis
the history
instrument
in
also
examines
of-the
Britain,
Germany,
Russia,
North
America,
and the Habsburg
Empire,
in all
where there
was-a
of interest
resurgence
types
in
the
late
of
mandolin
eighteenth
and
early
'centuries,
in Prague and-Vienna.
Much
nineteenth
especially
including
items
by
new music
was produced,
repertoire
Mozart,
Beethoven,
and Hummel. The evolution
of mandoline
construction,
stringing,
playing
technique,
isdiscussed,
to
and
style
reference
with
treatises
the
Instruments
surviving
of
period.
closely
to the mandoline
related
are also described.
---I
VOLUME II - THEMATIC INDEX'
This
known eighteenth
catalogues
all
and early
nineteenth
listed
century
published
and manuscript
music-for
mandoline,
by
It
alphabetically
composer.
was
compiled
after
a
in eighteenth
systematic
search
of lists
of published'music
journals,
in
century
music
and after
extensive
research
libraries
major
music'
worldwide,
using
a name list
of
hundred
known composers
for mandoline
several
and mandolino.
Each entry
full
title,
consists
of composer's
name, dates,
location
date
of
any
surviving
copy
or
copies,
of
(where
publication
applicable),
number
of
pages,
and
In some cases,
thematic
incipit
of
each
movement.
only
information
has been obtainable.
partial
-For completeness,
types
to 1820 is
other
music for
of mandolin
composed prior
though
included,
thematic
incipit.
without
VOLUME III
- EIGHTEENTH CENTURY MUSIC FOR MANDOLINE
The final
volume
consists
of a selection
of some of the
from
the
finest
mandoline
repertoire;
pieces
each with
a
They range from solo
introductory
to
note.
variations
short
Full
have been prepared
concertos
scores
and chamber works.
where appropriate.
0
INTRODUCTION
Until
recently,
repertoire
had
that
The Guitar
der
been
the
(1939),
early
lacking
frequently
1981b),
and
for
all
too
to
fail
types,
eighteenth
century
pear-shaped
outline'and
neck,
occasionally
and-
fixed
the
the
more
eighteenth
history
and
catalogue-,,
exhaustive'
this
of
bridge
four
a
back,
, glued
to
and
six
strings.
10
as
a flat
the
its
The latter
with
type
a
with
soundboard
of
and
classic
lute,
a
wide
double
(or
soundboard,
courses
two
Milanese
in
small
various
the
the
-type,
resembles
the
particularly
today
former
rounded
dictionaries
music
between
name,
known
The
gut
in
mandolin
differentiate
form,
between
single)
a
my knowledge,
to
its
chart
an
on
study
is,
of
Ifusic
Early
in
with
to
and
number
a
Tyler
thesis
rather.
references,
mandolin
this
commonly
mandolins.
a
years,
present
share
Neapolitan
rosette,
to
extensively
to
which,
principal
recent
placed
about
articles
instruments
In
of
briefly
only
instrument.
the
often
and
mandoline,
and
repertoire
detail
deal
to
Neapolitan
development,
in
However,
work
century
brief
have
footing.
first
tended
James
Geschichte
be anecdotal
and
few
J., Bone's
Wö1ki's
but, dealt
and
The
Philip
and Konrad
valuable,
those
particularly
scholarly
The
,
inaccurate.
articles,
(1981a
were
history
conducted.
-principally
(1914)
mandolin,
factual,
than
had-been
written,
the
into
research
mandolin
and Xandolin
Mandoline
with
the
the
of
studies
little
very
has a much
deeper
body,
round-backed
hole,
a thin
bridge,
moveable
strings
tuned
quite
distinct
a canted
like
a
soundboard,
and four
pairs
These
violin.
histories,
an open
sound
mostly
metal
of
two
have
instruments
and
playing
types
in
repertoires
techniques.
In-order
to
thesis,
and
distinguish
I shall
Paul
follow
Sparks
contemporary
The
(since,
mandoline
be
will
referred'
to
for
reserved
being
full,
in
when all
name
by
used
its
later,
and the
French
the
term
Italian
roots,
its
France).
Other
less
Cremonese
and
the
term
types
of
mandolins,
being
"mandolin"
the
instrument
are
discussed.
Material
for
this
thesis
sources.
The
most
important
has
Parisian
journals
published
between
all
in
mainly
Genoese
as
occasions
by
the
where
Italian
the
Southern
its
developed
such
(1989),
commonly
called
this
by James Tyler
and composers),
is
despite
types,
important
used
given
most
makers,
was
own repertoire
is
was
instrument
violin-tuned
various
Xandolin
Early
this
players,
the
nomenclature
instrument
(since
mandolino
the
in
lute-like
earlier,
between
reviews
of,
Additionally,
Paris
of
a wide
during
this
been
period
research
was repeated
to
European
cities
(and
one
of
1749
to,
books
was
and
dealing
consulted.
extent
American),
and
various
study
1795,
for
of
noting
and
mandolinists,
their
a lesser
11
from
an extensive
for
publication
range
gathered
been
references
and
dates
obtaining
has
compositions.
with
music
in
This
mode
of
a dozen
was supplemented
other
by
France
to
and travel
libraries
music
surviving
cases
with,
wherever
letter,
via
mandolinists
published
countries,
one
Leipzig,
the
reading
a
range
especially
The mandolin
is
as
repertoire,
in
thesis
played
demonstrates
an active
musical
of
the
life,
of
opera
and that
in
composers
that
but
tremolo
for
tutors
was
myths
a standard
12
Mahler
by
other
solo
serious
fleeting
This
of
mandolin
eighteenth
century
the
during
second
regarded
widely
It
who view
symphony.
types
composed
period.
persistent
a
and
mandoline,
that
and
supplemented
various
being
was
a
seventeenth
century,
of
for
Paris,
occasional
an
or
the
the
instrument,
unfounded
showing
part
of
des
material
seven
without
by
only
that
eighteenth
aristocratic
leading
a
index
by musicians,
instrument
Mozart
most
and violin.
denigrated
vulgar
the
contemporary
guitar
redeemed
appearance
of
in
International
source
in
for
contacts
the
and
instrument,
the
frequently
lowly,
a
for
but
personal
main
was found
treatises
of.
The
fifty
investigated
by RISM (Repertoire
1971).
instruments,
it
other
the
of
and
person,
in
technique
and
in
possible
of
list
hundred
were
catalogues,
Musicales,
stringing
world
art,
half
second
two
published
issued
music
Sources
the
music,
biographical
about
throughout
music,
the
the
acquired,
with
concerned
during
Using
thus.
mandolinists
Italy
and
century.
eighteenth
books
of
consultation
extensive
for
by
also
refutes
about
the
technique
most
half
as
an
of
the
a number
instrument,
during
this
period,
all-metal
stringing
was
a
nineteenth
development.
century
Libraries
RIST(
are
sigla
introduction
As far
of
wayward
reproduces
to
referred
(a
to
as
eighteenth
ease
that
and
list
spelling
them
those
have
have
and
exactly
used
preserved
orthography
I
this
by
thesis
is
in
given
their
the
II).
I
century
reading
of
volume
possible,
throughout
eccentricities
titles.
when reproducing
however
accenting
as in
the
the
13
adjusted
in
some
volume
original).
I
of
the
(volume
of
For
more
II
CHAPTER 1
THE EARLY XAIDOLI10
lute-like
The
of
(round
century,
of
wood,
gittern
By the
France
late
volumes
de
by Praetorius
(1619)
instruments
of
instrument
was
Italy,
the
late
mandolino
the
1578),
four
five
and
alternate
after
which
interest
a similar
instrument
instrument
14
fourths
tuning
other
plucked
music
for
seventeenth
the
century,
declined.
was known
The first
Roy's
given
This
of
two
now lost.
perfect
all
deal
A good
tablature,
an
of
from
mandore
period.
both
c-f-c'-f'-c".
and
Le
courselmandore
intervals
in
Brunet's
Adrien
1585),
(Paris,
and
Pierre
and
the
in
music
was known
names),
published:
during
occurs
and four
single
other
many
mandorre
century.
a single
No medieval
composed
sixteenth
and
instrument
from
instrument
the
(Paris,
French
the
distinguishes
by a
gittern,
whole
three
strings.
been
c'-g'-c"-g"
e. g.
between
and,
survived.
had
for
tunings
the
probably
Europe
was carved
(amongst
it
in
pour
The various
In
for
century,
tenth
time,
century,
Xandorre
L'instruction
in
have
to
mandore
music
Tablature
mostly
metal,
the
of
fifths,
possibly
sixteenth
as
this
with
appears
the
gyterne,
and fitted
or
gut,
was
quitaire,
peg-box)
and
neck,
in
Jnandolino
throughout
At
1977).
the
was known
including
names,
body,
double
and
Europe
(Wright,
cbitarra
for
Southern
thirteenth
variety
piece
of
into
introduced
by the
forerunner
as the
known
maker's
use
bill
mandola
of
the
dated
by
term
1634
the
amongst
(Tyler
a
papers
& Sparks
1989,14).
four-course
seventeenth
by
and
tuned
to
the
the
The
mandolino,
'century
produced
published-works
formandolino,
Pietro-Ricci's
Scuola
manuscript
of
two
of
seven
During
'1979);
parts-for
in
whose
the
Rome,
Alessandro
mandolino
began
time
producing
for
the"
standard
'
(both-terms`°
has
which,
(ms.
of
1677),
3802).
the
Antonio
-was-
'(1680
and c. -, 1706)
and
(Sacconi,
survive
century,
obbligato
in'vocal
arias,
such
by
Carlo
Cesarini
(San
Marcello,
untitled
cantata,
",` dated
with-mandolin
in-Italian
1699,
obbligato
operas-and
a
and
Amongst-the
mandolini
of
Giovanni
in
appear
was a golden
were
an enormous
notation.
for
as
by
became
from
oratorios
-=--
century
Instrument',
course
to
An Aria
piece
onwards.,
The eighteenth
mandola
an
Scarlatti.
set
I-Fc
half
Ismaele
and
added,
pieces
body-patterns
of
second
a frequent
this
drawings
oratorio
b was
-manuscript=and
(Rome,
instruments
whose
the-
1695),
in
makers
of
the
g-b-e'-a'-d"-g"
numerous
d'intavolatura
most " distinguished
Stradivari,
During
a -tuning
including
1675-85'
c.
to
for
day. "
present
seventeenth
Italy
-an-additional
tuning
conventional
-in"Rome
in
e! -a'-d"-g".
century,
gut-strungthe
Barberini
coursetuned
eighteenth
six-course
to
was
° a fifth
early
g gave
survived
Francesco
The standard-tuning
mandolino
century,
the
Cardinal
of
number
with
'throughout
used
of
the
From manuscripts
gradually
such
Jnandolino
ý this
publications-and
tablature
15
age for
as the
or
period),
manuscripts
giving
Libro
way to
per
la
ý,
Nandola
(E: Pn,
1703
than
rather
century.
the
played
plectrum
Leading
players
include
century
the
Probably
most
are
composed
between
include
Landsberg
-Nandolini
61,
c.
e Basso
by F.
and
a
Ignaz"
)
by
quartets
c:
-, and
II,
a
part
of
mandolino
-Vivaldi,
items
(D-ddr:
Bds
ms.
a
due
sonate
(I: Ac 178/1)-1758Sammartini
Battista
1: Gi (l)
in
Rolla,
duets
by
J.
concerto
by
Antonio
Stamitz
Maria
Iist
exhaustive
K.
includes
and
Giuliani
mandolino
-, of
-"
Although
the
-mandoline
during
mandolino
experienced
the
second
of
contains
many-
pieces
concerto
with
wind
violin,
represented
include
Conrad
of
by
and
viola,
Melchior
the -eighteenth-century,
of
1800.
popularity-c.
music
manuscript
mandolino,
half
for
and
two
cello.
Other
--
16
Giuseppe
A-large
in
A: Wgm
including
- and
Chiesa,
Schlik.
mandollno
Hoffmann,
-Johann.
strings,
by --the
eclipsed
somewhat
was
a- resurgence-
collection
Johann
Paolucci
collection
any
the-
twelve
of.
Giovanni
1750. -A
includes
repertoire).
It
by
the
outstanding.
Hasse
a, setý
Giuseppe
Alessandro
Pleyel,
(Volume
1740,
in
Sauli.
Antonio
Other,
Adolf
early
in
by
1740.
hand,
right
and-Filippo
concertos
Johann
sonata
(I: Ff ornaciari
Conti
mandolino
later
the
compositions
and-
by
313/8)
in
and composers
1720,
the
of
Agosto
p°
the
that
became standard
which
three
di
a
clear
fingers
the
celebrated
concerto
a
is
Francesco
the
repertoire
it
with
the
Caccini
Xatteo
Vm b ms. 9)
Res.
frequently
was
Sig'-
I11usm°
deli
quartets
a
for
composers
Blesber
and
I
like
would
Tyler
allowing
in
the
Tyler
acknowledge
compilation
me access
and repertoire
in
to
of
& Sparks
of
to
the
his
the
assistance
given
this
chapter,
" particularly
research
mandoline,
(1989)
17
prior
notes
into
to
their
the
by
James
in
history
publication
CHAPTER2
NAPLES AND THE ORIGINS OF A NEV INSTRUMENT
The
entry
head
of
golden
Bourbon
his
Spanish
army,
Neapolitan
of
age
largest
third
the
Charles
of
Neapolitan
Italy
Sicily),
for
rule
centuries
kingdom,
an autonomous
a distinctive
the
building
porcelain
factory
at
of
In
a distinctive
music,
developing,
favour
Neapolitan
and
in
is
today
composers
who
developed
Europe
throughout
an
important
musician.
a steady
four
step
Throughout
stream
of
in
the
the
of
career
eighteenth
composers
and
18
study
of
next
house,
the
the
of
to
a
was
then
that
in
Pergolesi
a
school
in
a
Neapolitan
became
at
any
one
of
aspiring
century,
singers
of
of
conservatoires
a period
there
led
Battista
opera
of
as
composition
than
remembered
Neapolitan
and
of
style
form
a
it
1981).
Giovanni
best
the
under
enlargement
(Litchfield,
Europe.
of
The
patronage
melodic
the
south
music.
opera
a
and
languished
and
artistic
more
the
of
emergence
and the
painting
was
Paris),
and
San Carlo
the
of
of
established
the
art
Neapolitan
lighter
The
in
increased
(1710-36)
dialect.
Charles
Capodimonte,
while
elsewhere
had
style
saw the
flowering
region
and encouraged
few years
Reale,
whole
until
Neapolitan
Palazzo
London
the
comprised
the
at
Naples
Although
(after
1734,
beginning
the
signalled
Europe
in
Naples
culture.
kingdom
(including
foreign
in
city
into
to
of
famous
them
was
operatic
Naples
exported
other
European
capitals,
influence
on international
Naples
least
the
lutes
of
the
modified
and
became
often
strummed
discussed
as
Naples
dance
type
with
1966,,
by' Filippo
A
in
his-
'Bonanni
he describes
1722, ' where
49),
the
onwards,
to-song
instrument
third,
Gabinetto
pandura:
were
guitars
an accompaniment
as
were
construction,
century
seventeenth
a plectrum
(Baines,
lute
at
long
there,
Metal-strung
the
to
wire-strung
Italian
colascioni.
popular
back
introduced,
were
of
from
principal
of
dating
Arabian,
when
characteristics
known
in
popular
and
bouzouki
,
with,
a variety
with.
instruments,
century,
a
taste.
association
stringed
fifteenth
became
style
musical
had a long
has
-,plectrum-played
.
Neapolitan
the
and
was
of
arJnonico
-
1'istromento
dice
dalli
Napoletani
la
di
forma
6 poco differente
seguente,
cui
dalla
Mandola,
6
mä 6 di mole.. molto piü grande;
armato di otto
corde di metallo,
e si suona con
-la penna, e rende grata
armonia.
Pandura
si
The accompanying
thoroughly
drawing
An
unreliable
of
or
bending
the
notch
along
fixing
it
distributed
and
has
pandura
10 tuning
canted,
soundboard
its
to
the
the
instrument
underside,
body
string
than
the
with
over
a
hot
instrument.
tension
more
case
19
construction
introduction
poker,
behind
just
however
artist's
the
with
the
a
cutting
bridge,
The
equally
either-by
by
or
the
of
was accomplished
of-the
was the
his
-
instrument
Canting
table.
are
pegs.
in
1740
c.
book
Bonani's
unilluminating
" breakthrough`
Naples
'in
broken,
whole
the
important
occurred
in
illustrations
final
throughout
traditional
before
shape
the
flat
table
and
became
bridge
glued
common
a
particularly
developed
instruments
earlier
battente
cbitarrat
Collection),
Hill
their
since
During
the
the
ever-increasing
houses.
the
instruments
so
family,
hands
general
Jacobus
construction.
that
Europe
a few
of
public
and
the 'mandolino.
modified
expanding
virtuosos,
such
as
could-be
and
challenge
by
in
and,
case
back
borne
viol
from
in
domestic
the
in
was the
have
tables
the
of
that
order
than
to
mandolin,
bowl)
(or
table
canted
the
apart
of-
of
larger
of
moved , from
the
size,
these
those
change
spaces
halls
the
often
the
larger
the
this
heard
the
the
from
concert
to
never
In
to
on 'musical
a
case
with
made
from
'
Instruments
of
pine,
the
with
was,
be
could
deepened
tension
string
emphasis
and
make the
of
the
as
(London:
been
clearly
public
tension,
made use
1624
the"
responded
performance.
luthiers
Neapolitan
instrument
of
number
to
-although
such
Munich
houses
private
they
that,
newly
`
century,
of
the
exist,
have
trait,
, and
noted
Stadler,
examples
string
unable
were
Neapolitan
table
Some instruments,
surroundings.
thirty-five
canted
Luthiers
increasing
greater
with
throughout
surroundings
the
be
eighteenth
intimate
opera
should
these
original
performance
of
It
by
design
new
, Neapolitan
battente
cbitarra
mandoline.
This
mandolino.
distinctive
and
the
on
the
of
this
bowl
sycamore,
mandolines
period
commonly
from
constructed
rosewood,
each
rib
20
or
maple
was fluted
between
eleven
and
ribs.
On the
best
(that
is,
scooped
out
the
to
the
gives-to
best
instruments
with
the
or
stops
at
fixed
into
the
soundhole.
was
of
of
table
fixed
The average
with
136-9
playing
discusses
instrument
mandolines
nineteenth
bridge
of
the
of
geometry,
from
proportions,
to
the
corpulent
century).
21
hardwood.
the
battente
pegs of
it
of
either
By
on the
was
the
fixing
the
lute-
avoided.
56 cm,
was about
33.5cm.
and
instrument,
tensions,
and
with
the
between
made
mandoline
about
were
followed
and
of
and
frets
encountered
high
at
length
mandoline
is
which
length
overall
open,
base
table
head and side
inlaid
the
flush
modern
chitarra
plate,
of
at
rupture,
glued
a string
a piece
hitchpins
to
strings
of
was
protective
a
or
and-
lay
pegboard
rear)
the scrolled
soundhole
ivory
The flat
guitar
than
the
of
on the
unlike
or
the
type
and
over
Metal
from
of
The
runs
and
much more
found
fret,
ribs
others
other
ivory,
fingerboard.
(inserted
rather
tortoiseshell
of
on the
tradition
bridge
type
tenth
over
lnandolino.
problem
the
fingerboard
any
fingerboardwith
the
of
deep curve,
decorated
at
the
back
the
The pair
than
on
hardwood
where
construction,
the
was
pegs
Neapolitan
the
The
slots
sagittal
distinctive
that
so
much deeper
encountered
soundboard
instruments
is
its
that
place,
and troughs).
crests
mandoline
instrument.
plucked
in
glued
soundboard
than
pronounced
the
of
a series
presented
nearest
been
had
it
after
(Coates,
1985,
transformation
the
first
instruments
of
Vinaccia
the
early
However
and
the
most
lies
mandoline
fourth-based
traditional
favours
which
in
characteristics
the
study,
eighteenth
century,
instrument
family.
1 of
page
his
gives
to
mandoline
the
become the
mdtbode
of
a
-to
by any
king
Naples
composer
had,
which
undisputed
of
many of
was a separate
mandolino
violin,
Leone
As Signor
replaced
Whereas
understood
the
with
the
violin.
was easily
familiar
performer
a tuning
mandolino,
has been
musician
mandoline
the
The
tuning.
playing,
the
of
trained
conventionally
or
which
of
in
mandolino
of
style
fifths,
but
construction,
tuning
a chordal
by a tuning
the
in
not
between
difference
significant
of
by
the
pointed
the
bowed
out
on
1768:
La
Mandoline
comme le
s'accorde
exactement
Violon
il
ya
quinte,
quelques
autres
en
Instruments
d'une
forme
ä peu pres
semblable
et que 1'Etranger
qu'on nome Mandoles en Italie,
dont
il
ici.
sagit
confond
souvent
avec celui
avec justice
qui est le plus parfait
et qui dolt
du Violon
participer
aux prerogatives
reconnu
le plus
pour l'Instrument
universel
at le plus
etendu.
A
7ý
tnandolino
Credit
to
the
luthiers
for
mandoline
the
development
Vinaccia
are
family,
known
to
of
the
although
have
been
22
mandoline
several
making
is
usually
other
mndolines
given
Neapolitan
at
about
the
half
second
and
The
time.
same
the
of
specimen
the
of
Conservatoire
(Baines,
is
with
four
octave
older
of
the
of
surviving
in
is
tuned
'-It
described
mandoline
has
connection
dates
proper
as an
1.
or
one
the
with
The earliest
(Coates,
1753
from
instrument
a viola,
chapter
3182
description).
like
in
the
no.
either
no
or
and now in
and
sense,
Filano
surviving
Brussels,
in
the
instrument,
Vinaccia
modern
mandoline.
mandola
tenor
a
illustration
its
strings
known
earliest
Musique
an
here
pairs
type
de
gives
used
below
type
Donatus
were
made by Gaetano
Royal
1966,
Nandola
The
mandoline
1744,
dated
mandola,
brothers.
during
these,
of
century,
eighteenth
Fabricatore
the
important
most
1985,
136-9).
in
Although
a
Naples
the
Carlo
Cecere
for
players
and
through
the
reveals
that
m6thode
records
it
was
of
Pietro
grew
up
the
four
' leading
in
Denis
be
remarks
1768:
23
school
Naples,
Neapolitan
a
it
the
by
1760's
composers
concertos
A
formally
to
for
written
Emmanuele-Barbella,
Gäudioso,
mandoline
never
was
primarily'as
instance'during
instrument.
considered
as
of
the
music
Giuliano,
wrote
composers
was
instrument,
Giuseppe
regarded
was
For
Domenico
Naples,
works
Giuliano
"art"
composers.
and
in
resident
other
city's
Gabellone,
Gasparo
mandoline
instrument,
"street"
many of
the
taught
leading
on page
and
of
but
all
numerous
mandoline
a
search
conservatoires
there.
Giuseppe
exponent
3 of
of
his
the
Paris
J'ai'vu
moi,
Travellers
at
his
le
joue
level
Xusical
mieux
Naples
to
every
Naples
ä
of
Tour
X" Julien,
celui,
de la Mandoline....
that
mention
Charles
society.
1771,
of
the
instrument
his
in
example,
for
diary
selon
was popular
for
Burney,
in
noted
qui,
23 October
1770:
The
Second
Week
at
Naples.
This evening
in the
Neapolitan
street
singing,
some
genuine
by a caloscioncino,
accompanied
a mandoline,
and
band upstairs,
I sent
for
the whole
a violin;
but,
like
it
was best at a
other
street
music,
distance;
in the room it was coarse, out of tune,
in the street,
it
and out of harmony;
whereas,
let it
however,
this;
seemed the contrary
of all
be heard
the
it
modulation
and
where
will,
(Burney,
accompaniment
very
are
extraordinary
1771, vol.
1,254).
Burney
Italy,
noted
many
including
examples
this
of
mandoline
in
serenade
Brescia,
playing
in
while
on 26 July
1770:
At the sign
of the Gambero or Lobster,
where I
lodged,
and in the next room to mine, there
was
a company of opera singers,
who seemed all
very
jolly;
they
come from Russia,
were just
where
had, been fourteen
they
The
or fifteen
years.
I found,
them,
principal
singer
amongst
upon
Luigi
Bonetto
to be the Castrato
enquiry,
...
He is a native
of Brescia;
was welcomed home by
the night
a band of music,
at the inn,
of his
by
before
his
arrival,
and
another
and
my
departure,
two
consisting
of
violins,
a
french
horn,
trumpet
mandoline,
and violoncello;
though
long
in
dark,
the
they
and,
played
I
for
the mandoline.
concertos,
with
solo
parts
was surprised
at the memory of these performers;
in short
it was excellent
street
music,
and such
but ours is not a
to;
as we are not accustomed
for serenades
1,90-1).
(ibid.,
climate
vol.
Given
the
solo
the
relative
trumpet
passages
quietness
and French
played
horn,
by the
of
it
the
seems probable
mandoline
24
mandoline
were
compared
here
that
accompanied
to
the
only
by violins
and cello,
the
passages
(a
Ouvertura
and Sacchini's
tutti
Piccinni's
The
instrument
composers,
was
at
this
time,
in
elsewhere
Italy
activity
thriving
popularity
Of
in
published
Europe
itself.
this
can
where
the
music.
by
far
However,
livings
centres
the
instrument
the
half
25
of
the
most
but
dialect,
those
than
F: Pc).
Neapolitan
more
us
of
eighteenth
since
abroad
preserved
found
in
mandoline
important
to
was
in
seen
in
works
by
second
their-
making
European
period,
both
and manuscript
show
the
all
was Paris,
during
were
be
Neapolitan
in
operas
composers
their
for
written
just
playing
can
Concerto,
instrumental
small-scale
many Neapolitan
arrangement
widely
in
instruments
wind
similar
occasionally
in
chiefly
the
with
enjoy
and
great
century.
CHAPTER 3
THE XABDOLD E IH FRAICE
3.1
PARIS
During
the
massive
eighteenth
decline,
economic
increasingly
France
century,
foot
to
unwilling
extravagance
and
the
disastrous
country
engaged.
By, the
was
fought
"(1756-63),
of
series
end
life
elegant
of
to
refusing
France.
the
and in
instrumental
on days
the
of
the
Years
War
France
was
the
(Pierre,
This
concerts).
from
continued
in
1975,
a
encouraged
to
In
particular,
there
was
lyrical
musical
style
had
become
was termed
style
galant.
where
in
it
Lyon
was the
which
an
26
influx
of
were
held
was considered
these
of
city
Italian
immensely
and
fortune
their
try
second
did
regular
composers,
singers,
Paris,
the
history
full
Europe
throughout
as
which
when opera
in
and
being
significance
gives
patronized
thrived,
Paris,
in
crisis
was eagerly
Opera
the
unabated,
economic
celebrated
Spirituel
patronage
instrumentalists
wealthy
society.
most
insolvency,
national
music,
of
Concert
the
religious
unsuitable
France,
royal
which
Seven
Prussia,
and
mounting
particular
concerts,
of
concerts
and
strata
privileged
of
titled
recognize
Art,
by the
backdrop
this
against
whose
in
wars
the
of
for
bankrupt.
virtually
But
bill
of
becoming
people
the
Britain
against
French
the
with
a period
underwent
of
France.
musicians,
popular
in
in
Paradoxically,
the
cultivation,
by
exalted
for
1'homme
sauvage,
dress
as
other
with
idealized
example,
shepherds
music
1752
and
played
Paris
with
light
melodic
performances
style
irreverent
sharply
contrasted
by
dominated
the
drawn
themes
harmonically
antiquity,
complex
language.
and
conservatives,
with
the
day
the
was
the
favour
supporting
most
Italian
the
of
frangaise
musique
Italian
that
the
had
du
Village,
applied
to
already
to
the
show
French
how
guerre
progressives
protagonists,
his
of
Rousseau
in
arguing
Lettre
sur
la
performance:
a musical
an opera
composed
favoured
a contrapuntal,
Jean-Jacques
ä la fois
melodie
qu'une
ne porte
(Rousseau,
ä l'esprit.
idle
qu'une
Rousseau
style,
intellectuals
young
in
its
with
opera
between
stating
style,
The
Padrona.
The subsequent
cause.
of
articulate
the
of
in
sensation
who
and
a polemic
most
as the
- libretto,
French
current
was principally
such
colloquial
from-classical
bouffons
each
buffa,
opera
and
musical
serenade
La Serva
Jean-Philippe-Rameau,
ageing
des
a
created
Neapolitan
the
with
would
aristocracy
and
Pergolesi's
comment
of
(bagpipes).
musette
this
of
was
simplicity
instruments,
company
of
social
the
on pastoral
opera
life
Jean-Jacques
natural
shepherdesses,
and the
Italian
an
the
and
pastoral
; alike.
Versailles
at
artificiality
of
thinkers
praised
and
such
image
and
(hurdy-gurdy)
vielle
of
midst
artists
Rousseau,
In
the
this
language.
27
new
A 1'oreille
1753,275)
et
his
le
of
melodic
own,
style
Devin
could
be
The French
were
in
at
general
their
regaining
as Claude
time,
this
Italian
in
interest
Bellanger
culture
notes:
litteraire,
de la
L'Italie
admiree
au temps
Renaissance
perd son
et A 1'epoque
classique,
Mme du Bocage-se
plaint
prestige
au settecento.
du ralentissement
du commerce litteraire
avec le
le Journal
de 1756,
A partir
pays de Dante.
6tranger
des correspondants
A Rome, A
6tablit
l'Italie
Venise,
Les articles
A Florence
sur
...
La controverse
deviennent
sur
plus
nourris
...
la valeur
de la langue
italienne,
qui fait
rage
dans la peninsule,
dans cette
revue
se reflete
1,307).
(Bellanger,
1969,
vol.
...
During
1750's
the
influx
unprecedented
composers
In
including
their
teachers,
or
performers,
and
their
who earned
of
composers
Palace
at
'instrumentalists,
many
mandolinists
opera
Comedie
the
Royal
the
at
an
chiefly
both
at
came
wake
of
a number
Paris,
in
enjoyed
musicians,
worked
who
Opera
and the
Versailles..
as
singers
and
Italienne
Neapolitan
of
France
1760's,
and
living
for
their
during
this
music
instrument.
The
first
period
there
professional
was
the
Roman Carlo
on 18 October
in
mandolinist
Sodi
(or
Paris
Sody),
who performed
1749:
Le Sr. Sodi,
frere'de
l'excellent
Pantomime de
1'Academie
Royale
de Musique,
de sa
y joua
Mandoline
(Mercure
avec le succes qu'il
meritoit
de France,
December 1749, pt.
1,201).
and
subsequently
()fercure
as
first
de France,
a violinist
recorded
at
at
a
spirituel,
May 1750,188).
the
appearances
recorded
concert
teacher
as
Comddle
Sodi
Italienne
a mandolinist,
of
the
28
instrument
6
on
worked
and
although
in
April
1750
principally
made no
other
he was the
Paris
(Deze,
1759,
lists
1750's
the
appeared
favourable
in
review
(see
listed
in
Jdze
itself
as the
the
instrument
beginning
the
due
to
Concert
of
the
the
It
to
was not
establish
instrument's
great
leading
two
of
Easter,
At
are
and
there.
appearance
Spirituel.
13 June
Paris
began
2,
pt.
dated
in
a
gained
on their
de colascione.
mandoline
brothers
1753,
an entry
stayed
Neapolitan
Paris,
in
at
Cifolelli
dominant
the
the
and
approvingly
mal tres
as
that
1760 marked
popularity
players
(1759)
1753
remarked
brothers
than
The
( June
in
the
by Giacomo
de France
also
The
1760's
the
in,
X6moires-(1860)
7.2).
ch.
until
The year
his
in
performance
1753
Xercure
Paris
in
Neapolitans.
Spirituel
Duc de Luynes
The
163).
Concert
the
at
both
During
there
popular
championed
brother,
his
and
less-
was
was being
which
de mandoline).
as a maitre
mandoline
colascione,
Xerchi
Sodi
only
Giovanni
there:
performed
Cifotelli
[sic],
Musicien
Le
de
signor
Palatin,
l'Electeur
joue
Sonate
de
a
une
de sa composition.
Mandoline,
Mandoline
est
-La
de petite
le
guitarre:
une espece
et
signor
Cifotelli
joue
taute
1'habilit6
en
avec
"
(.Pfercure de France,
June 1760,237).
possible.
Le
Roux
sovereign
Cifolelli's
(1986)
of
the
states
that
small
duchy
daughter
Comddie
Italienne,
slender,
elegant
noted
waist'
de Renommee (1785).
where
he
worked
became
as
the
of
Elector
her
by the
Cifolelli
Luxembourg.
cantatrice
mandolinist,
at
figure
author
subsequently
29
near
'pleasing
anonymous
a composer,
was
Deux-Pants,
a celebrated
for
Palatin
of
settled
and
the
the
and
Tablettes
in
Paris,
singer.
A
fascinating
of
the
description
Journal
his
of
de Nusique
talents
July
in
78
on page
appeared
1770:
Nous possedons
depuis
temps
quelque
en cette
ä
Ville
dont
les
talens
meritent
un Virtuose
egards
M.
tous
d'dtre
connus.
universellement
Cifolelli,
Italien,
a dans sa manibre de chanter
toutes
les graces qu'on admire dans les Artistes
de son pays,
defauts;
sans avoir
aucun de leurs
il
tire
d'un
infini
tres-petit
volume
un parti
de voix,
ä
la fait
& son gout exquis
paraftre
I1 ajoute
A ce
son gre legere
ou interessante.
de s'accompagner
trds-agreablement
nerite
celui
de la mandoline,
de la Musique.
& de composer
charmante.
The appearance
Journal,
the
this
panegyric,
Nicolas
Franery,
of
to
unconnected
collaborated
fact
the
the
on
'1'Italienne',
may
these
that
of
composition
was performed
which
by the
written
not
be
two
men
an
that
editor
year
of
entirely
had
just
opera-comique
at
Comedie
the
Italienne.
The second,
of
Signor
his
and
Leone
Leone
appeared
September,
eliciting
at
Leoni)
the
on Corpus
again
Le Signor
beaucoup
'1760,237
8
(or
own sonatas
appeared
important,
more
of
Naples,
Concert
Spirituel
Christi
where:
1760
in
a further
8,24,
two favourable
and
four
25
was that
who performed
at
concerts
December
in
one
Pentecost,
Leoni
de la Mandoline
a jou6
d'habilit6.
(Nercure
de France,
1760, pt.
1).
and July
at
'
appearance
1766
1766),
and
avec
June
(those
.
this
reviews:
de
8 December
M. Leone a execute
un
solo
...
d'un
&& la fois
d'un fort
bon genre,
mandoline
heureux.
Cet
goat
par, son
a etonne
artiste
habilite,
d'autant
&a
succes,
eu un veritable
dent. il
plus flatteur
que 1'instrument
pour lui,
A
nest
a fait
choix
relativement
pas officieux,
30
of
on
tine
du local
de France,
1'etendue
(Xercure
ses talens
1: 188-9).
oü il
a deploye
January
1767, pt.
de surprise
avec
autant
que de
entendit
M. Leone,
Professeur
de
dann ce concert
plaisir
differents
Mandoline,
morceaux
sur cet
executer
la nettete
On ne peut porter
instrument.
et la
des
loin
(L'Avant
plus
precision
- Courreur
Spectacles,
quoted in Le Roux, 1986,11).
On
does
not
Jnaftre
de
Leone
was
music
was
known
Parisian
la
mandoline
his
(1768),
mandoline
Naples,
and
Xinkoff
reprint
his
library
of
manuscripts
Gabriele
1789.
Parisian
mandolinist
publisher
during
certainly
possible,
in
1760's,
as Leone
However,
source
the
much later
of
that
given
copies
of
1760's
the
Leone
31
1983
Pietro,
but
Noseda'
mandoline
have
it
or
London
been
is
1770's
originally
the
music
This
same.
manuscripts
duets
Sigr:
that
suggests
a
the
of
del
one and the
known to
no Parisian
name and,
also
de
The
Nandolini
is
548).
all
Leonil
several
Leone,
were
1954,5:
christian
merely
the
as
Fondo
are
due
Gabriele
and
it
the
(1986)
Le Roux
of
uncertain.
Milan`
a
(Grove,
1766
that
Duetto
entitled
Leone
in
Signor
gives
In
this.
Conservatorio
important
[or
is
metbode
for
ä
du violon
passer
and
Leone
name
Leone's
of
the
X.
christian
(1761),
instrument.
the
simply
no explanation
offers
for
tutors
himself
called
pour
detailed
most
first
the
Variations
30
ralsonnee
the
century
eighteenth
Leone
X6thode
mandoline
with
commencing
publication,
his
of
de
Duc
the
of
deal
A great
but
Paris,
in
resident
household
the
Paris,
in
published
including
and
in
1760's.
the
been
have
mandoline
during
Chartres
to
appear
in
is
London
significant
ever
in
gave
Milan
a
are
published
in
Paris
I do not
1762,
in
the
consider
Gabriele
for
case
to
be proven.
Paris
the
was
later
centre
works
mandoline
those
all
century,
eighteenth
had their
of
was
standard
orchestral
mandolinists,
such
as Leone's
on
mandoline
or
or
the
and
small
instruments,
Six
title-page
violin,
for
being
often
to
compared
works
of
1762,
were
usually
suitable
for
either
for
also
published
the
Duo of
as
the
Europe
over
all
market
relatively
always
for
described
from
As the
there.
during
publishing
and composers
published
music
music
de viole
par-dessus
flute.
The rise
in
popularity
its
frequent
inclusion
the
period.
A
portrait
fine
de Virelade,
playing
position.
de
frequently
Heinrich
1772
which
(fig.
in
is
French
included
1973),
instrument
of
However
portraits
Lacour
le
one
1764
and
the
first
Over
female
Jeune
the
at
where
the
mandoline
and
partly
an
32
Pere's
the
of
of
the
in
now
few
years
such
de
la
New York,
functions
ornament.
as
Madame
of
the
it
was
Johann
mandoline
19
partly
This
of
National
appearances
next
seated
fashion-
to
portrait
jouant
Sotheby's,
sold
of
attractiveness
portraits,
fille
3.2,
as
the
Drouais'
of
art.
view
importanct
particular
in
in
Tischbein's
(fig.
in
to
Leberthon,
a clear
gives
3.1).
completed
London,
mandoline
Pierre
is
women. Francois-Hubert
Pompadour,
Gallery,
time
accoutrement
example
became
mandoline
conscious
an
as
led
this
at
mandoline
Andre-Francois-Benoft-Elisabeth
of
viconte
the
the
of
of
December
as
association
an
ä
a)
v
)
"4E +'
V) 0C
CO)
ro .C
:14.
-<
00
CO
Ql
ru U)
. 14 U Q) "b
0O"U
ý+
OO>0
rC CC
v
S-i aC
ý. ov
0) +J
-4 i
.4
+-+ -4 '1
oN
11
vInc,
C
ý+ICvw
N %v +j +-J " -4
4J
ý4
4
'O vC
rl
C
`)
U
I
4-1 (z
O 4+ v.. 4 w
C)
ro
s4
m
OH
1) v(t
+1",.4 _c
-0J
n1
v C'" lý
f4
-1
,O".
¢vvo
wvv
0:
+J
º4 .-r
ý
+
cII to
.-+ v
ý1
J
Iý
I`. 0
'+ c
v
-- U
-vc
00
-N
(11
cý1
mot. `-4
ri
C"
rJ
E0
.l
cz
0
33
between
the
first
the
of
Battista
apprendre
s jouer
fait
les
pour
Gervasio,
touring
a
in
a concert
instrument:
facile
pour
instrument
cordes
his
but
1760's,
composer,
and
virtuoso
only
1784,
when
(a concerto)
compositions
own mandoline
was
appearance
24 December
until
was not
his
one of
title
1767).
the
spirituel
the
A quatre
mandoline
by the
tres
Xethode
mandoline
active
he played
to
de la
for
published
Gervasio's
dames (Paris,
particularly
at
be
to
tutor
Giovanni
highlighted
and women is
mandoline
audience:
an unsympathetic
que M. Gervasio
eat 6t6 ä souhaiter
se fat
de justice
la
pour
rendu
assez
sentir
que
du tout
dans un lieu
mandoline
ne convient
point
oü il
ne faut
our
que de grandes
masses;
ces
lui
6pargn6
reflexions
essent
quelques
desagrements
(Le Journal
de Paris,
from
quoted
Le Roux, 1986,13).
I1
At
this
time
the
full
work
with
sense
of
least
one other
very
with
to
Table
in
works
large
particularly
Most
as mandoline
an accompaniment
several
Often
the
output
at
two
published
and
music
is
in
manuscript
the
by at
intended
continuo
Gervasio
Vienna,
a
compositions
any case,
Although
and
in
accompanied
and basso
violins
in
remains
signify
simply
century
are,
London,
the
as
published
bulk
of
his
collections,
E: Pc and J: Uu.
1 has been compiled
almanachs,
was used
eighteenth
soloist.
Paris,
necessarily
that
concertos
only
not
it
performance,
player.
be performed
did
concerto
orchestra.
a combined
designated
to
term
from
from
from
various
information
the
period,
34
Parisian
given
on
and
gives
journals
title-pages
the
years
and
of
in
which
various
have
is
been
not
lessons
giving
for
available
those
de
maitres
years
in
mandoline
on the
every
which
Paris
the
musicians
are
known
to
As information
instrument.
year,
these
in
table
details
only
their
advertised
services.
3.3
fig.
(TABLE 1)
XA! TRES DE KAHDOLIHE IN PARIS
ma 1 tre
dates
Barrois
Pietro
Denis,
Giovanni
Fouchetti,
Also known as Jean
-
1789
-
1765-77
comments
- 1770-89
Fouquet.,
In England
1775.
Previously
in
Lyon.
Blind
Frizieri
-
1775-76
Martin
-
1777-79
Mazzuchelli
-
1777-89
-
1766-89
Resident
in Paris
previously
as a performer
and teacher
of the colascione
and guitar.
Giacomo
Merchi,
Riggieri,
Antoine
Sodv,
Carlo
"(1e)
Vasseur
Veginy,
Giacomo
since
childhood.
'May
1781-83
Approximate
dates.
during
See
have been teaching
1760's.
dates in Pt.
II.
notes on publication
Resident
in Paris
as a
1749. He was noted
since
mandolinist
1775.
after
as blind
1759-89
-
1778-83
- 1768
Verdone
-
1788-89
Vernier
-
1778-83
Previously
35
in
Lyon.
Two of
these
maftres,
importance:
Pietro
Biographical
(1810)
F6tis
Provence,
(C.
1750),
in
1765)
the
chant.
The
of
duets,
six
first
the
christian
name
'Sr
et
Denisi'.
became
Leone
mandoline.
Methode
latest
in
His
most
songs
from
1768,1769,
work
and
their
accompaniments
the
Comedie
36
this
years
is
the
he
Annonces,
is
named as
time,
Italians
the
reverse
Denis,
"just
become
Fouquet.
not
in
technique
on this
his
Denis
only
as
for
a
the
three-volume
which
to
Leoni
as
and arranger
was
quite
His
- find
to
1773)
Italienne.
it
de
a set
Italian.
records,
composer
important
transfer
at
Jethode
fourteen
1767,483)
become
Parisian
Denis,
in
and
may have
as a prolific
provide
Paris
'Sr
but
common
have
also
how to
how to
is
Fouchetti
and
(Paris,
violinists
and
may
prominently
but
it
names in
Denisi
June
(11
While
so
features
maitre
divers
French
Italian,
course
a
Indeed
appeared.
not
was
of
their
rare,
chant
divers
Denis,
1764,
until
for
avis
by Pietro
mandoline
de
works
the
of
author
in
et
of
noted
be the
published
de
is
avis
frenchifying
is
work
Denis
that
afficbes
for
was not
possible
is
to
numerous
afficbes
born
a N6tbode
of
authorship
to
death
Fayolle
&
as a Frenchman,
Annonces,
this
1'fethode
the
addition
the
I believe
musicien'.
after
in
However
March
Denis
him with
Fouchetti.
Choron
example
list
of_ particular
are
Giovanni
and
(for
(1873))
and credit
mandoline.
(11
Denis
dictionaries
and
chant
yet_ discussed,,
not
he
the
instrument
teaches
mandoline,
to
the
In
I,
volume
Denis
tutor.
The public,
which
will
explains
his
he says,
have
enable
without
the
complex
matter,
to
the
expense
the
-mandoline,
This
a maitre.
a work
is
not
a
of
a
Denis:
to
according
produce
master
of
the
publishing
him to
asked
violinists
or
aid
for
reasons
I1 n'est
toutes
de detailler
ici
aucunement
necessaire
les
habitudes
bonnes
anciennes
et
de
de debiter
mauvaises,
et
un long
verbiage
faussement
regles,
que quelques
gens s'imaginent
titre
de quelque
J'ai
ä Naples Mr
utilit6
vu
...
Julien,
celui,
qui selon moi joue le mieux de la
Mandoline,
m'assurer
que personne
n'avoit
encore
fixe
le coup de plume
(Denis,
1768,
ni decide
3).
In
spite
good
is
maitre
instruction.
than
any
reader
be
more
lest
the
he has in
later
mentions
worth
And,
teacher
which
Denis
this,
of
mind,
that
the
amount
in
any
eye
of
written
doubt
as
to
he continues:
Au surplus,
je m'oblige
lecons
de poser
en six
la main et de faire
executer
tout
ce que Jai
livres
trente
avance,
moyennant
six
qui
me
(Denis,
1768,10).
seront
pales en comefcant
This
first
volume
of
(Annonces,
affiches
whether
not
or
he wrote
the
stung
the
preface
to
this
requested
a
set
mandoline,
this
'a
of
verbiage
into
reply
in
of
and
mind
when
it
rules',
his
when
(Annonces,
1768
1768,368),
colleagues
long
same year
April
25 April
his
had any of
was
May of
divers,
avis
in
appeared
mdthode
is
own tutor
affiches
et
avis
26 May 1768,464).
divers,
have
Denis
Leone
in
appeared
In
et
dismissively
that
clear
the
and
that
his
work,
of
Leone
rules
methode
request:
37
states
from
him
was written
that
many people
for
playing
in
response
the
to
determine
ä le faire,
soit
a
me
suis
...
de Maitres
de bien
du defaut
cause
capables
dans les Pays oü il
montrer
un Instrument
est
cru devoir
peu connu,
soft
encore parce que j'ai
deffectueux
A un trait6
qu'on
remedier
a dejä
1768,1).
donne ä ce sujet
(Leone,
je
Although
more
this
likely
towards
the
end
been
in
he
that
had published
been
print
could
has
of
is
as,
in
squeezed
his
contain
it
especially
bottom
the
at
not
Gervasio,
at
Denis,
Leone
text,
small
aimed
for
intended
the
of
remarks,
suggesting
Denis
have
to
following
may have
remark
the
a page,
that
annoyance
first.
la
Mandoline
un erreur
que de croire
de la montrer
Ceux qui se proposent
aisee.
en
douze legons
tiennent
principes
sans doute leurs
leur
Musique de quelque
fameux
et par consequent
Coureur
Napolitain.
Mais il
est bien plus
ais6
de reconnoitre
Portrait
d'un
en eux le
vrai
l'esprit
d'interet,
charlatan,
et
que
d'apprendre
instrument
m@me a
wettre
cet
d'accord
1768,19).
(Leone,
en si peu de tens
C'est
Giovanni
Fouchetti
methode
or
Paris
Sieber
ever
in
1800,
Xusikaliscben
Paris
to
by
has
and
published
music
it
indeed
Sieber
during
was
(Leipzig,
due
to
38
the
from
for
Sieber's
mandoline
for
work
in
the
his
Handbuch
der
1817-27),
which
renewed
and
in
Whistling
and
only
mandolin
included
still
His
summer
Friedrich
Vienna
the
Lyon.
and was the
both
only
Carl
in
deduced
1955),
was listed
of
available
probably
1769 from
been
the
was
published,
Hofmeister
late
be written
this
Friedrich
in
by Johansson,
Litteratur
was
Paris
date
tutors
Although
mandolino.
catalogue
(this
reproduced
the
one of
1771
of
catalogues,
longevity
in
was published
autumn
which
came to
and
listed
Leipzig.
This
popularity
that
the
popularity
Vienna
in
enjoyed
mandolino
temporarily
which
in
the
years
that
eclipsed
1800,
around
the
of
a
Neapolitan
mandoline.
In
the
Fouchetti
tutor,
it
makes
that
clear
he prefers
the
mandolino:
Mais
jouer
Instrument
nest
difficile
'ä
cet
pas si
A quatre
que la Mandoline
cordes,
parce
Aussi on
qu'il
ne faut
pas demancher si souvent.
le
A lautre,
prefere
aujourd'hui
et
on le
trouve
plus harmonieux;
mais cela depend du gout
(Fouchetti,
1771,5).
Despite
this
dominant
instrument
serinates
and
methode
are
however,
assertion,
in
six
Paris
senates
written
Besides
Gervasio,
Denis,
musician
published
a methode
Corrette,
Michel
Lyon
Paris,
et
as-well
as
produced
more
avis
flute.
tutor
methodes.
educated
is
divers,
a
dozen
and
the
musician
to
even
the
Fouchetti,
as
of
books
any
a tutor
39
for
This
by
(Annonces,
for
composer,
variety
the
of
musette,
and
association
parts
the
of
his
Parisian
earlier
far
in
Corrette,
a
many
the
was
published
special
and
to
was
other
and
guitar,
mandoline
one
1772
organist
six
mind.
Paris.
was
the
in
1772,779).
cello,
work.
in
the
Fouchetti's
of
instrument
September
tutor
Corrette
valuable
end
Methode
resemblance
produce
and
de mandoline
career
evidence
as
time,
and
in
no
However,
a particularly
Leone
is
marked
remained
four-course
violin,
a
mandoline
14 September
a
than
Corrette
bear
at
including
There
between
found
Dunkirk
pursuing
instruments
this
Nouvelle
whose
and
afficbes
at
the
with
the
most
mandoline,
highly
this
During
of
the
for
music
mostly
and
gives
a
these
works
it
mandoline,
mandolines,
songs
with
mandoline
listing).
by
is
their
designated
A typical
or
mandoline.
Op.
3 by Valentin
1769
they
were
intended
page
stated
that
later
the
to
maftre
de
simply
have
The
most
at
the
made in
matching
portable
nature
made them
second
instrument
giving
obtainable
in
the
minuets,
from
form
of
in
a single
or
40
forms.
a
may
mandoline
were
often
and
playing,
duets
or
as his
patron.
century,
fullness
of
originally
was the
harmonic
dance
mandoline'.
his
alfresco
other
title-
mandoline
towards
The
1769),
Leone
the
for
sonatas,
appeared
the
were
mandolines
mandoline.
Sonates
made no mention
(who employed
ideal
a
but
on the
eighteenth
two-movement
allemandes,
bass
combination
the
Six
3 April
of
1770,
violin
divers,
(1977,77),
remarks
either
the
sonatas
gesture
common instrumental
the
first
same work
mention
been a diplomatic
with
sonatas
be performed
Duc de Chartres
of
publishers)
of
and
the
majority
around
for
that
violins
As
all.
pairs
years
II
(vol.
their
avis
the
of
mandoline),
As Coates
duet.
two
editions
the
et
'could
they
mandoline
dedicated
for
the
When these
affiches
mandoline
connected
suitable
is`
case
Roeser.
(Annonces,
However,
being
for
great
(or
as
music
the
in
that,
noteworthy
consisting
accompaniment
closely
composers
volumes
Paris,
sonatas
Although
violinists/composers
several
in
two
are
in
published
for
complete
eighty-five
approximately
were
mandoline
duets
of
bass,
and
1761-83,
period
their
the
not
readily
were
usually
collection
The sonatas
of
for
bass
and
mandoline
and
sonatas,
difficulty
are
than
perfect
Despite
Concert
quiet
This
great
time,
there
public
when
much
of
galant,
technical
greater
the
compositions
just
as the
the
eighteenth
of
the
performance
of
volume
by
performance
ever
few
are
mandoline
love
century
to
to
in
play
it
standard
de
was
was
upon
Villeneuve,
Concert
atthe
heard
developed
relatively
instruments.
by a reviewer
the
after
only
Spirituel:
1770,
il
Novembre
premier
ya
eu
On a fort
ä
applaudi
concert
spirituel
...
de Mlle.
l'execution
de Villeneuve
qui° a joue
la mandoline
& precision
un
sur
avec legerete
Cette
[sic].
de N. Stritzieri
virtuose
concerto
le
jouer
de
un
concerto
sur
se
proposait
ne lui
ont pas
clavessin,
mais les arrangements
jeudi,
41
at
the
at
Le premier
Toussant,
le
Novembre,
de la
jour
Concert
Spirituel
ä
a commence par- un Motet
de
de ' Gille.
grand
choeurs
'Mademoiselle
Villeneuve,
dont
jeune
personne
cette
nous
dejä annoncd les talens,
avions
en rendant
comte
de la Fete de Chilly,
de
un Concerto
a execute
de M. Frizeri,
de la composition
avec
mandoline
de plus
l'art,
la grande
tout
toute
execution
habile
plus de plaisir
qu'on
maitre. ' Elle
a fait
d'un
instrument
trop
n'en
pouvait
attendre
sec,
dans un grand
trop
peu sonore,
pour etre entendu
Mademoiselle
de Villeneuve
vaisseau.
ne se borne
Elle
y excelle.
est
pas A ce talent,
quoiqu'elle
& c'est
en
superieure
sur le clavecin,
encore
(Journal
de Afusique,
donner
idee
une grande
...
November 1770,43
- 44).
Le
of
those
than
still
orchestral
Paris
in
had been
mandoline
mind,
was remarked
Mlle.
other
instrument
the
the
mandoline
occasions,
the
Although
when compared
mandolinist
style
were
Spirituel.
lack
Many
popularity
above,
mentioned-
the
a
three-movement
elegance.
the
this
duets.
full
commonly
of
encapsulated
sinplicity_and
with
of
perfectly
most
generally
the
examples
itself
are
a
woman
permis
151).
...
Xademoiselle
Chilly
de
was also
(Mercure
de
France,
Villeneuve's
warmly
December,
appearance
1770,
Chateau
the
at
de
received:
Madame
Favart,
habillee
la
ä
parfaitement
des Strasbourgeoises,
maniere
arrivait
avec son
M. Clerval,
tenant
par la main,
marl,
un enfant
jouant
de
& precedes
d'une
jeune
fille
la
de Villeneuve,
C'etait
Mademoiselle
mandoline.
jeune
de talens
& de grace.
personne
remplie
Directeur
Elle
de M. de Villeneuve,
de
est Pille
Comedie
& le
la
de
Strasbourg
talent
...
de Mademoiselle
de Villeneuve,
sur la
superieur
faciles
ä rendre
ne sont
pas plus
mandoline,
(Journal
de Nusique,
September
1770,52
- 53).
Only
two
other
Spirituel.
mandolinists
M. Aldaye
violinist,
was
appeared
who later
(Alday),
hailed
a child
as
the
at
Concert
became a successful
prodigy
when,
in
March
1771:
joue
...
rapidite
(Journal
de la mandoline
avec une facilite,
d'execution,
des plus
extraordinaires.
de Nusique,
March 1771,218).
une
M. Aldaye
dix
fils,
age d'environ
ans,
a joue
de rapidite
sur la mandoline
avec autant
que de
(Xercure
de France,
April
1771,181
precision
82).
'
X.
Nonnini
1783,
performed
when
composition,
he
two
on
played
a
and received
mandoline
promoted
stayed
in
concerts
Paris
in
concerto
24
December
of
his
own
a warm reception:
Cet instrument,
qu'on
pour un grand
concert,
d'un
moelleux
et d'un
jamais
cru susceptible;
(Journal
enthousiasme
Roux, 1986,13).
Nonnini
8 and
occasions,
for
regardait
comme peu fait
a paru sous- ses doigts
fini
dont on ne l'aurait
il
a dt6 applaudi
avec
de Paris,
from Le
quoted
some time
to
addition
42
and gave
his
several
appearances
selfat
the
Concert
for
than
an occasional
not
reviewed
therefore
by
LYON
The
mandoline
it
than
achieved,
in
to
Italians.
The
is
incorrect
since
1756;
The weekly
I1
Paris,
a 'venue
succeed
on more
concerts
this
of
bulk
were
period,
of
and*
performances
to
the
de Lyon
services)
for
recorded
in
the
Affiches
depuis
ya
qui
enseignent
ils
mandoline;
d'ecolieres,
de Lyon
from
there
Lyon
in
in
of
the
as
its
of
that
Giovanni
1757,
1932,341,
taught
de Lyon
further
him
making
is
there
1763).
teachers:
deux Venetiens
ville
peu en cette
instrument
d'un
ä jouer
no=6
d'ecoliers
beaucoup
et
ont deja
en
qui
souhaiteront
ceux
et
43
many
various
having
two
closer
listing
(Vallas,
Afficbes
announced
earlier,
there
records
Vicinelli
given
because
presence
1761
mandolinist
date
a little
(a directory
mandoline
listing
Lyon
.n
presumably-
Almanach
was teaching
first
the
large
private
the
popularity
Naples, - and
proximity
Fouchetti
to
journals
that
Suisses,
has gone unrecorded.
did
professional,
Parisian
Cents
was too
Small-scale
be inferred
by mandolinists
des
instruments
basis.
it-may
3.2
was held,
on plucked
performances
Halle
the
Spirituel
Concert
the
where
However,
Spirituel.
1e
augmenter
Suisses,
Jacobins1
rue
oi,
dan! s notre
sojourner
May 1759).
It
is
from
clear
types
of
made
in
Italy.
One
de
(Affiches
during
for
clearly
works
Verdone
Table
2 has
Lyon,
and gives
known
with
the
every
fig.
been
to
dates
have
and
are
3.4
when the
been
teaching
However,
has survived
the
example
manuscript
the
Lyonnais
by
which
published
compositions
the
dates
known to
the
pages
various
in
have
given
here
advertised
of
maftres
Lyon.
Cremasqui/Cremaschy
not
those
their
de
de mandoline
As was
is
are
Affiches
the
available
on which
case
for
the
services.
XA1TRES DE XAHDOLIBE IN LYON.
(TABLE 2)
younger
the
of
date
the
both
"four"
other
written
information
mitres,
maitre
Biferi
the
from
compiled
Parisian
year,
musicians
and
the
1761).
for
that'
"Two "'mandolines,
'e. g.
and 1770's
16
E: Pc).
in
are
(see
mandoline
peu
period"
strings,
music
1760's
the
Lyon,
September
of
Fouchetti,
of
six
30
quantity
mandolinists
is
has
Lyon,
considerable
in
coexisted
the
of
des
de Lyon,
(Afficbes
ville
advertisements
mandolin
les
chezx
s'adressercnt
de
la
place
pres
loges, - Its
doivent-
nombre
Raisin,,
,ils
sont
comments
-
1767-70
A Neapolitan.
-
1764-68
This
Italian
musician
in mandolino,
specialised
which he
the art of
also sold,
and taught
vocal accompaniment
on that
instrument.
Italien.
"Le Sr. Cremaschy,
continue
Ville
ä enseigner
dans cette
a jouer
44
de la Mandoline
& douze
(Affiches
de Lyon, 21
November 1764).
Deux
Venetiens
Dubrec
Fouchetti,
-
cordes"
1759
A
Leone,
Dubrec
pupil
of
9 livres
a month for lessons
charged
in town.
or 15 livres
at his house,
du Sieur
Leoni,
de
"Eleve
Maitre
le
Mandoline
de S. A. S. Monseigneur
Duc de Chartres,
a fixe
son sejour
Ville,
de
& se propose
dans cette
de cet Instrument,
donner des legons
ä neuf livres
et
par mois, chez lui;
livres,
Ses
ä quinze
en Ville.
principes
sont les m@mes que ceux du
de
Sieur
Leoni,
& il se flatte
les suffrages
du Public,
par
meriter
faire
les progres
fera
rapides
qu'il
A lui"
ä ceux qui voudront
s'adresser
(Affiches
de Lyon, 3 January
1771).
1771
fils
Giovanni
He then
-
1757-69
-
1760-65
Grou
-
Also a luthier,
1761-65
naking
de Lyon, 2
.mandolines"(Affiches
March 1763).
Joannot
-
1764-70
Died 1770, aged 32. Also
taught
violin,
cello,
singing,
pardessus de viole
(Vallas,
1932,341).
Juspin
-
1764
Tauseany
(also Tauseana
and Tozeani)
-
1765-66
Also taught
lute,
guitar,
de viole.
Several
par-dessus
pieces
for lute
by Tauseana survive
in a
in Köln-Universitäts
manuscript
und
Ms. 1. N. 68. An air
Stadbibliothek
in
by "sieur
Tozeani"
was performed
1772 (Affiches
de Lyon, 2 September
1772).
-
1768
He later
moved to Paris.
Verdone,
Italien,
Musicien,
"Le Sieur
de faire
sejour
quelque
se proposant
Ville,
offre
ses services
en cette
qui veulent
apprendre
aux personnes
il ne
de la Mandoline;
ä jouer
de
demande que trois
mois pour faire
ä
bons Ecoliers,
ainsi
qu'il
a fait
Gatti,
Verdone
Pierre
Also
45
moved to
Paris.
violin.
Landres
ä Paris,
avec sa methode
taus les
d'abreger
particuliere
de sa
Pour juger
principes
...
& de son talent,
on peut
capacite
de
l'entendre
(Affiches
chez lui"
Lyon, 14 April
1768).
Vicinelli,
brothers
the
Fouchetti,
a former
his
of
student
form
manuscript
Italian
sold
Romans.
- 1763-65
in
music
et
is
this
time,
at
in
A notice
mandolines.
known
Leone,
the
have
to
sold
and also
to
have
Affiches
de
Lyon
mentions:
Maitres
de
Le Sr.
Fouquet,
616ve des premiers
le
Par-dessus-de-viole,
Paris
offre
pour
dont
il
d'enseigner
de la Mandoline,
A jouer
a
Leoni
(Affiches
du Signor
de
lui-m@me
appris
Lyon, 13 August
1760).
As
the
was
highly
than
prized
frequently
were
Walner
de
(Afficbes
Lyon,
convenant
offered
for
livres
making
=1
mandolines
and Serriere
3 February
were
sale
the
in
1763,5
brothers
un
amateur
louts
were
M6riotte,
de Lyon,
October
le
1769).
Amongst
Goux,
1768).
Pierre
4 April
et
46
By
May
1759),
the
a
connoisseur"
was
1,200
Lyonnais
1764,26
livres
luthiers
Kettenhoven,
selling
d'or
comparison
for
The chief
who were
23
3 and 2 louis
for
same publication
d'or).
by Joseph
one
de Lyon,
riche
more
instruments
example
mandolines
September
the
(Affiches
for
sale,
were
Italian
France.
20
ä
instruments
(Affiches
Neapolitan
"violon
(24
for
Naples
of
two
and another
made in
those
offered
Taurini
Italian
Paris,
in
case
Picchi,
March
music
music
1772,
retailers
by Leone
in
who,
de Lyon,
(Affiches
1761
a year
so many copies
run
out
of
1768
performed
in
1760,
Academie
Paris,
and
to
. mandoline
3.3
the
chamber
on the
concerts
in
little
so
years
the
in
spirituels
orchestral
more'
is
the
around
'However,
concerts
to
1768).
in
included
parts.
more
geared
music,
performers
upper
Italy,
from
the
Lyon
in
2 March
were
The
1769).
Academie
de L)ron,
in
he had
that
sold
returned
des Beaux-Arts
therefore
was
newly
that
announced
the
at
Castaud
and
25 January
mandolins
reinforce
its
modelled
been
(Afficbes
Acadeiie
to
order
had
a concert
that
notes
the
of
in
there
(1908,10)
Paris,
de Lyon,
when Cremasqui,
a sonata
orchestra
than
(Afficbes
was featured
on 2 March
metbode
1761),
in
publication
Leone's
of
supplies
mandolino
Vallas
its
after
16 December
works
known
about
more
modest
Lyon.
OTHER FRENCH CITIES
Elsewhere
appearance,
Smollett,
France
in
but
while
following
the
j
ndoline
was a popular
in
Nice
on
made
amateur
6
December
a
Tobias
instrument.
1763,
made
observation:
likewise
We have
made acquaintance
with
some
St.
individuals,
Mr.
other
particularly
with
Pierre
junior,
who is a considerable
merchant,
for
Naples.
He is
consul
and
a well-bred,
47
the
English,
is
an
young
man,
speaks
lute
performer
on the
and mandolin,
In a word,
pretty
collection
of books.
pass the winter
enough
shall
agreeably
XII,
1766, Letter
1,215).
vol.
sensible
excellent
and has a
I hope we
(Smollett,
highlighting
was spread
not
but
players,
the
that
influence
through
only
through
also
the
through
countless
advertisements
for
importing
and
for
retailers
A
strings.
formerly
wide
Paris,
of
made
have
By the
in
aristocratic
and
Nonnini
mandoline
either
making
who settled
in
such
the
put
an
elites.
at
the
made
little
in Paris
to
end
Apart
the
from
Concert
escapist
the
impression
48
and,
amongst
in
a
harps
to
There
French
luthiers
the
way
that
did.
situation
pursuits
appearances
in France.
luthier,
a
and political
Spirituel
further
or elsewhere
Vinaccias
economic
worsening
and
to
of
however,
as the
instruments
1908,179).
(Gouirand,
mandolines,
and
violins
examples
reveals
mandolines,
Marseilles
from
no
period
Charles,
J.
Naples.
to
the
Italian
selling
is
been
families
1780's
France
luthiers.
mandolines
in
specializing
Neapolitan
of
of . instruments
serinettes,
to
journals
instrument
professional
visitors
with
example
typical
range
seem
provincial
a few
of
skill
contact
A search
Neapolitan
the
of
(already
on
of
of
the
Gervasio
noted),
musical
the
life,
CHAPTER 4
THE MANDOLINE
4.1
ELSEWHERE 11 EUROPE AND AMERICA
BRITAIN
The
mandoiino
was
introduced
century
eighteenth
Hickford's
Dancing
on 2 April
1707:
when
Room
in
Britain
into
Fr.
Conti
performed
James
Street,
Haymarket,
instrument
decades,
rig.
4.1
as
-
enjoyed
Philip
'hilip
British
Portrait
aristocratic
Mercier's
:, iercier:
Royal
patronage
portrait
i1ortrait
Family,
1733
London)
Gallery,
49
of
of
the
the
Mr.
at
The
Signior
Conti
his
play
will
upon
Theorbo,
Mandoline,
an instrument
and on the
known
(Aston,
1882,
2,38.
This
vol.
yet
first
'mandolin'
use of the word
recorded
Oxford
English
Dictionary).
This
in
early
London,
great
not
is the
in the
in
subsequent
Royal
the
(National
Family
testifies.
In
Princess-
Caroline
However,
4.1).
Britain
terms
have
used
to
from
a
letter
Kilravock
and
a number
cover
by
Clephane
Dr.
of
Europe.
mandolino
appear
instruments,
of
in
popularity
parts
other
many
(fig.
mandolino
the
attained
mandoline,
mandolin,
been
excerpt
in
enjoyed
the
playing
never
mandolin
it
the
depicted
is
London, )
Gallery,
(National
painting
the
that
Indeed
to
this
as this
Rose
the
of
of
indicates:
family
has its
too,
The spinet,
10 March 1758 ...
I
instrument
the
has
than
once
more
and
merit,
the
the
for
or
guitarre,
you
proposed
London
by
here
it
is
our
called
as
mandolino,
is its
What induced
ladies.
me to recommend it
as
music is well
methinks
and that
portableness,
However,
if
but not as a study.
an amusement,
on the spinet
you have once made some progress
be an easy
the mandola will
or the harpsichord,
1848,461).
Club,
(The Spalding
acquisition
This
met
with
in
terms
the
of
compounding
first
the
and
guitar
mandolin
is
also
music
for
the
British
published
instrument:
Eighteen
DIVERTIMENTOS for
two Guitars
or two
best
by the
Properly
Mandelins
[sic].
adapted
J. Oswald on the Pavement
for
Masters.
Printed
London (1757).
St. Martin's
Churchyard,
The
music
mandolin
music
consisting
of
the
that
as a mandolin
known as the
and
the
at
this
period
of
entirely
double-stopping,
probable
in
contained
"English
to
melodic
with
a lower
instrument
this
volume
time
in
lines
with
limit
was actually
which
50
of
to
unlike
quite
be found
referred
Guittar",
is
Paris
d'.
Vienna,
or
no
had only
or
chords
It
highly
is
ladies"
by "London
a type
any
of
cittern,
recently
been
the
into
introduced
Spencer
and Harwood, ' 1985).
By
late
the
regularly
Gervasio
March
1760's"
helped
1768,
however
to
used
to
of
Theatre,
London
Gervasio
was
published
a volume
the
the
popularize
the
a mandoline
Barthelemon's
opera
(Fiske,
to
the
Parisian
this
1775,
in
have
mandoline.
'instrument
when,
concerto
during
Oitbona,
at
3
on
one of
the
Haymarket
the
Highfiii,
and
been
1978.
He
Gervasia").
also
guittar,
with songs
violon
or
...
same time.
journals
during
to
and
entitled:
for
the
mandoline,
interspersed
german flute,
about
1987,
Neapolitan
"Signor
as
Airs
at
seems
1973,261,
referred
Coggin,
in
term
describe
he played
intervals
(discussed
country
though
British
I'have
London,
on 17 March
1766
later,
in
1766,
(Grove,
also
Denis
found
as yet
Leone
sources.
April
Pietro
that
record
performed
1954,
England
no corroboration
vol.
of
Hickford's
at
5,548).
Hickford's
at
in
was
Room,
A month
Room,
was
performed:
A concerto
on the Calascioncino
and Calascione
by the two Brothers
Colla;
a Solo and Concerto
by Mrs. Francescis
(Elkin,
1955,
on the Mandolin
45 - 46).
The mandoline
Music
Room in
featured
was also
Oxford
in
at
December
a concert
in
the
Holywell
1771:
Italian
musicians
are
engaged
on Monday
to
Pieces
the
perform
next
some select
on
Calisoncino,
the Roman Guittar,
and Maundolins
(Jackson's
Oxford
Journal,
14 December
1771.
Mee, 1911,
gives
a full
account
of the Oxford
Music Room concerts,
from 1748 onwards).
Three
51
Zuth
(1931
England
visited
The
English
introduction
to
most
Broderip
essential
rules
(London,
manuscript
in
l'accordo
delta
from
a tutor
to
Francesco
Xandola
c
familiarity
name,
Pegge's
by
the
with
its
Leutino,
probably
is
Anonymania,
Library,
is
his
instrument,
written
this
and
Genoese
in
survives
This
work,
Cbitarra
alla
Genovese,
alla
Conti
mentioned
British
lack
continued
and
in
in
the
However,
son.
containing
Glasgow.
by
an
complete
the
also
delta
not
illustrated
A
for
Xandolino
osia
was
by Longman
Conti,
listesso
1770-80, " and
c.
but
earlier,
over
although
SCOLA del
francese
dates
1785),
Music
Britain
mandoline,
...,
Euing
the
the
published
attributed
mandolin,
in
methode,
of playing
art
1803 and 1805.
time
Leone's
of
the
this
at
published
translation
between
tour
Bortolazzi
Bartolomeo
that
notes
on a concert
tutor
only
the
32,90n)
-
confusion
from
passage
of
Samuel
1796:
When the
into
instrument
is
use
now coming
it to be
called
a Mandarin,
we are led to think
Lords
by
Chinese
the
something
or
used
]Mandarins;
but
the
truer
is
pronunciation
Mandolin,
for
I suppose it has no connexion
with
is
the
but
chinese
nation,
rather
an Italian
instrument,
or citara;
way of
and the correct
is
in
writing
which,
and pronouncing
mandola,
Altieri's
Dictionary
by a citern.
is
explained
Mandola
Italian
in
which
signifies
an Almond;
it
takes
its
shews that
of
name from the figure
belly,
its
is much like
which
an almond (Pegge,
1796 11809],
Century
III,
49).
In
the
hands
1851).
1820's
the
mandolino
the
Milanese
However
the
of
Pietro
virtuoso,
following
some exposure
received
entry
52
from
Vimercati
the
at
(1788?
Dictionary
the
of
Xusicians
he
that
suggests
also
the
used
wire-strung
instrument:
Vimercati
(Signor).
A celebrated
performer
on
the mandolin,
Theatre,
performed
at the King's
in London,
in the Season of
oratorios
and the
1824. The instrument
is strung
with wire,
and is
played
with
a plectrum,
or piece
of wood held
between
the thumb and forefinger.
The tone has
by catgut
the
that
is
not
sweetness
yielded
but is more penetrating,
strings,
and therefore
better
for
theatre
or a
calculated
a capacious
large
Vimercati
has obtained
great
room. Signor
his
instrument
(Sainsbury,
1825,
mastery
over
2,507).
vol.
By
the
largely
forgotten
in
entry
nineteenth
early
in
The Penny
Xandoline.
kind,
but
tuned
as
the
century,
Britain,
and
had
instrument
warrants
only
been
this
brief
Cyclopaedia:
instrument
the
lute
of
musical
four
having
strings
which are
smaller,
The mandoline
is
those
of a violin.
in
Italy,
but has
still
met with
occasionally
fallen
into
disuse
in
most
other
parts
of
1833 - 46).
Europe.
(The Penny Cyclopaedia,
4.2
PRAGUE, VIENNA,
During
the
Tour
of
1771,
Vienna,
Paris,
in
place
modest
in
AHD GERJ[AHY
1760-85,
period
in
popularity
in
A
the
when the
Habsburg
music-making.
noted
this
mandoline
Empire
Charles
its
appearance
extract
dated
accorded
Burney,
at
H.
enjoyed
in
l'Augier's
3 September
it
his
great
a more
Musical
concert
1770:
for
full
pieces:
room was much too crowded
by Signior
Giorgi,
only were played
a
some trios
Tartini,
Conforte,
of
of
pupil
a
scholar
Pugnani,
and by Count Brühl,
who is an excellent
the
on many instruments,
performer
particularly
The pieces
violoncello
and mandoline.
violin,
by Huber,
they
executed
were composed
a poor
but
the tenor
at the playhouse;
man, who plays
The
53
it
was excellent
simple,
music,
harmony,
frequently
good
and
fancy
(Burney,
and contrivance
Graf
Brühl
von
Viennese
early
(Gerber,
London
is
fortunes
instrument
played
quartets
that
state
in
viola
Haydn's
he was
in
on a pianoforte,
instrument
luthiers,
Antoine
Laske,
acquired
were
as
Mozart
Central
to
Vienna
Empire
and,
only
the
that
the
the
although
had enjoyed
in
success
Hellmer
this
items.
and
mandolines
Beethoven
and
the
repertoire
Joseph
Italian
when
as an artistic
it
some
important
Charles
was not
Europe.
popularity
attain
of
time
in
status
it
France,
in
waning
did
made copies
both
the
several
such
importantly,
precisely
there
the
Prague
However
Habsburg
achieved
Frankfurt-am-Main
in
1984,10).
second
never
and
at
time
the
within
Paris,
(Wölki,
a higher
this
was at
city,
the
played
(1810)
having
mandoline
attained
mandoline
in
of
many
strings
1780's,
the
of
centre
of
use steel
as
1777
late
the
Prague
and
and Fayolle
to
recorded
10 December
until
Dresden,
1778.
Gervasio
on
Choron
musician
in
in
performances
1790).
first
the
born
was
in
clear,
rich
abounding
with
1771,
2, vol.
composed
Joseph
but,
more
there
for
instrument.
Mozart,
during
having
the
fenestra
already
summer
while
of
composed
1787,
rehearsing
performance.
The singer
Jean-Baptists
Kucharz,
added
the
was Luigi
who also
54
Don
the
Giovanni
aria
singers
in
Deb,
vieni
for
the
Vienna
alla
first
Bassi,
and the
mandolinist
made the
piano
arrangements
of
Mozart's
many of
similar
Paisiello's
and
Barber
Paris,
revised
1784),
instrument
in
composers,
who
komm are
have
they
Of
the
been missing
that
1796,
at
the
city,
at
Countess-to-be,
Kucharz.
least
three
of
Prince
he
where
World
Josephine
For
her
in
probably
Krunpholz,
The
NArodni
manuscript
mus.
Zither,
15210,
ms.
but
in
Clan"
ä
is
Prague.
Beethoven
Lichnowsky,
Count
it
mandoline,
visited
Gallas-
mandoline
In
and
`the
pupil
of
the
'WoO 44a
Woo 44b
WoO 43b.
piece:
Sonatina
was
for
mandoline
liebe
written
Sonatina
in C
Variations
in D
Adagio in Eb
A fourth
the
of
instrument`
with
the
were
Clary,
he composed
of
War II.
for
the
net
role
generations
Komm,
and
compositions
request
the
Dddr: Bds,
of
since
four
1782,
songs
Zufriedenheit
catalogue
Beethoven's
probable
the
in
Petersburg,
'an
as
mainly
of
1778)',
succeeding
Mozart
other
Die
accompaniment,
for
it
used
(St.
success
(Paris,
crystallized
music
have
the
j31oux
Seville
certainly
a- serenading
by
Lament
of
"serious"
Two
serenades.
inspired'
Gretry's
in
portrayals
appearance'of
probably
although
mandolinist,
This
operas.
C"minor
composed
a violinist
in
mandoline
amount
represented
are
for
a
Viennese
friend,
Wenzel
and mandolinist.
Muzeun
considerable
Woo 43a
Prague
music
of
Padre
has
from
chamber
a
this
music.
Bernardo
55
large
period,
Amongst
Arauhal
collection
of
including
the
a
composers
(including
six
quartets
for
Ladislas
Dussik
mandoline,
(two
and-mandolono),
earliest
known parts
the
virtuoso
(1873)
1773,
but
U: Lbl)
his
to
six
notes,
the
work
tuning).
this
pointing
to
his
(Leipzig,
and
around
one
from
Vienna,
the
value
of
and
a small
music
serious
musikalische
& Härtel),
plucked
was
were
in
born
in
1799
(manuscript
in
(Baines,
1984,1125,
is
"chords
[of
a
Zeitung
easily
von
violin
for
tutor
critics,
selbst
in
such
the
zu
Germany
as
(published
convinced
instrument:
Von
Bartolozzi
Dresden,
Septbr...
den
2ten
[sic],
dem Mandolinenspieler,
nichts,
sage ich
Aber
als,
welch
ein
er
viel.
macht
sehr
Gezirp,
Keinen
Werkzeug,
das,
armliches
nur
Ton,
gehaltenen
von Gesang geben kann!
nichts
(Allgemeine
Zeitung,
September
musikalische
1803,836).
56
up to
of
with
principally'
not
Hummel
mandolin]";
mandolin
mandoline
He toured
1805).
A11ge? eine
by Breitkopf
Leipzig
die
he
Venice
Nepomuk
published
Anweisung
of
Bortolazzi.
in
variety
a
last
the
appearance
born
contains
for
later
the
Johann
of
Milanese
unequivocally
the
that
performer
the
to
was
piece
in
Bartholomeo
Brescia.
this
mandoline,
are
profile
due
Concerto
Bortolazzi
erlernen
the
for
for
viola,
collection
public
suggests
near
violin,
mendolone/nandolono.
(1984)
that
instrument,
bass
Bortolazzi
state
is
the
and composer,
Mandolin
expressly
in
Jan
mandolono),
divertimento
century,
Garda,
and
mandoline,
that
states
Lake
incorrect
the
eighteenth
Vö1ki
Toscolano,
(a
a higher
performer
Fetis
composed
for
achieved
the
of
years
for
quartets
Also
andndolono).
mandolin
viola
Megelin
and
violin,
The
violin,
this
in
of
But
Bortolazzi's
from
review
skill
the
same periodical
his
many- to
won over
side,
this
as
admits:
Virtuos
Auf
Herr Bortolazzi.
auf der Mandoline.
Leser
der
Mandoline?
viele
wiederholen
Vahr
Kopfschüttelnd
Es sey drum!
und lächelnd.
dass
dies
kleine,
ist
es
allerdings,
beschränkte,
Hand nur
in
weniger
geschickter
Instrument
Grund
nicht
ohne
wenig
-zirpende
Hr.
kredit
in Deutschland
hat:
B. Siebt
aber
Geist,
Gefühl.
Beweis,
wie
einen
vollgültigen
Fleiss
Geschmack
auch durch
und unermüdlicher
Organ
zu sprechen
vermögen.
ein
unbedeutendes
Konzerte
Orchesterbegleitung
Seine
mit
voller
der
der
Sache
konnen,
Natur
nach,
weniger
Variationen
interessen:
und ähnliche
aber seine
kleinere
Stücke,
(meistens
von
seinem
sieben
der
Guitarre,
Sahne
jährigen
und
gut
auf
Improvisiren,
begleitet)
sind
sehr
so wie sein
Schwerlich
hörenswerth
erfreulich.
und äusserst
Italiener,
durch
Jemand,
irgend
möchte
als ein
Hr. B. hat
kleines
werden können.
so interessant
Instrument
für
kompositionen
auch
sein
artige
bald
herausgegeben;
erscheinen
werden
andere
19 October
Zeitung,
(Allgemeine
musikalische
1803,45-6).
Bortolazzi
Brescian
the
mandolin,
Neapolitan
tone.
softer
in
specialized
an
In
Vienna,
Neapolitan"mandoline,
took
their
part
as
simply
in
(1817),
a
following
three
(d)
and
a
the
niandolino
all
to
referred
Musikalischen
Whistling
and
published
for
Friedrich
the
music
works:
4.2
Title
Composer
as
century,
being
der
or
same- way
strings
and
Handbuch
catalogue
the
'single
mandolin,
Friedrich
Cremonese
nineteenth
all
fig.
Aichelbourg
early
The
Carl
Hofmeister
the
the
music-making,
"mandolin".
by
lists
in
with
Cremonese
Litteratur
trade,
but
mandoline,
in
tuned
instrument
the
on
performances
Copy
Library
Potpourri
op.
v1n. & gtr. )
57
1 (wand.
or
-
Date
1812
(B)
Bortolazzi
Variations
op. 2 (wand. or
& gtr. )
vln.
Notturno
conc. op. 3 (wand.
& gtr. )
or vln.
-
1812
-
1812
Variations
conc. op. 4 (wand.
& gtr. )
or vin.
(Nei cor pie)
Six Variations
& gtr. )
op. 8 (nand. or vln.
Sonate op. 9 (nand. or vln.
A: Wn
1812
C : Pnm
1804
A: Wgm
1804
&: Wgm,
1803
& Pfte. )
6 Themes varies
or vin.
Anweisung
Call
(L.
& gtr.
die
)
op.
16 (wand.
D-brd: B
Kandoline...
Variations
op. 8 (mand. or
& gtr. )
vln.
Sonate conc. op. 108 (nand.
de)
or vln. & gtr. )
Variations
op. 111 (mand. or
Fouchetti
Zucconi
& gtr. )
vln.
Methode de Handoline
6 cordes.
(wand.
6 Variations
(G)
de)
(T.
A4
et
A
or vln.
publication
from
notices
some
cases,
dates
in
Vilden-Hüsgen
Other
works
nineteenth
are
Allgemeine
the
from
given
1811
Q: Lbl
1812
E: Pn
1771
research
1803
1810
c.
compiled
Zeitung
and,
by
conducted
in
Marga
Aachen.
of
published
century
in
Vienna
in
the
early
years
of
the
include:
fig.
4.3
Library
Title
Composer
g: Wn
my own additions,
musikalische
unpublished
1805
-
6 gtr. )
The
E: Pn,
B: Br
g: Wn
Date
Variations
1803
op. 8-c.
D brd: B c. 1804
Variations
[? ] op. 10
1802
6 Variations
sur une piece
d'Alcine
(wand. & gtr. )
Call
(L. de)
Variations
ou A: Wn 1804-05
pour la Mandoline
le Violon
sur la
et la Guitarre
1'aura
lire
op. 25.
qui dove ride
Hoffmann,
(J)
r$: Lb1 1799
Tre Duetti,
op. 1. (2 wands. )
Hoffmann,
(J)
Tre Duetti,
op. 2. (2 wands. )
Hummel (J. N. ) Grande Sonata per i1 Clavicembalo
A: Wgm 1810
o Pianoforte
con accompagnemento
Bortolazzi
(B)
copy
58
di mandolino
o violino
obligato.
Notturno
per 11 mandolino
Sonata für Pianoforte
und Violine
oder Mandoline
op. 3.
Neuhauser
V
Neuling,
The Viennese
of
Johann
music-dealer
music
manuscript
Singerstrage,
(taken
from
Giovanni
Zuth,
(or
in
III
III
lower
copies
1799,
this
Hoffmann
issued
also
than
printed
a number
of
works
through
editions),
including:
per 11 Mandolino,
A Handolino
e Viola
He
Austria.
guitarist,
the
4.4
rather
mandolinist
abandoned
in
shop
1931-32,94).
Johann)
Quartetts
Serenate
Another
his
in, 1799
Serenata
per i1 Mandolino
e Viola
.
Sonate p. detto
Violino
eB in B
Sonata p. 2 Mandolins
in G
Sonata p. 2 detto
in B
(Giov) Trio p. ii Rand. eB
in C
Serenata
p. 11 Rand. e Viola
detto
detto
in F
detto
detto
in D
Cassazione
p. i1 Mand. V. Viola
e V11o.
detto
in D
Quartetto
p. detto
detto
detto
in A
Son. p. 11 Handolino
e Basso
Quartetto
eB
p. i1 Band. V. Viola
Aria p. i1 Mandolino
Trio A Rand. Viola
eB
!
Noturno
&c
p. i1 Mandolino
(manuscript
Traeg
list
included:
which
Anonymo
Ananymo
Anonymo
Anonymo
Hoffmann
Anonymo
Anonymo
Anonymo
Anonymo
Anonymo
Anonymo
Schlik
Anonymo
Anonymo
Anonymo
Neuhauser
issueda
from
available
fig
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Traeg
c. 1799
I,: Mc
1813
career
composing
was
Andre
moved
to
in
Oberleitner,
Vienna
favour
about
Viola,
of
40
instruments.
59
V. et
Vc.
born
1786
in
in
surgery,
but
one as a mandolinist
and
to
published
study
works
for
the
During
the
1820's,
Pietro
appearances
in
Vienna.
1820,1826,
and
1829,
the
mandoline",
him
performed
Rossini
to
as
1835
in
as "the
Giuliani
of
Giuliani,
a virtuoso
40,
-
Schilling
he often
Rode
6,773).
c.
calls
that
and
vol.
him in
who had
guitarist
and notes
Kreutzer
to
referred
concerts
Gustav
mandoline",
by
him
numerous
noted
Mauro
with
1,257).
concertos
(Schilling,
that
records
the
made
Hanslick
Vienna
vol.
of
violin
instrument
in
1869,
Paganini
"the.
Eduard
and refers
success
(Hanslick,
1800
.
a comparison
great
enjoyed
Vimercati
his
on
Moscheles
conversation:
He then
talked
the
the
specialities
of
of
different
that
the
instruments,
said
and
the
[Fernando]
Sor
mandolineguitarist
and
the
Vimercati,
possibility
of
player
proved
with
obtaining
great
results
slender
artistic
both
I
happened
have
heard
to
these
means.
his views.
He
artists,
and could
quite
endorse
told
late
one evening
me that,
arriving
at a
Italian
he had already
town,
to
small
retired
Kapellmeister,
the resident
rest
when Vimercati,
be present
him
to
sent
an invitation
at
a
In
performance
of one of his [Rossini's]
operas.
those days he was not as hard - hearted
as he is
to be present
now, when he persistently
refuses
he not only went
at a performance
of his works;
but played
bass as a
to the theatre,
the double
for
the
substitute
right
man,
who was not
1873, vol.
2,271).
forthcoming
(Coleridge,
he
Although
tours
extensive
Germany
in
(Schilling,
Another
lived
in
Europe,
of
1835,
and
1835 -40,
performer
of
who was the
recipient
Beethoven's
physician.
Vimercati
Milan,
giving
in
concerts
Berlin
and
vol.
6,773,
note
was Signor
of
Hummel's
60
to
make
Holland
and
continued
in
Weimar
and F6tis,
Fr.
in
1836
1873).
Mora
Grand Sonata,
de
Malfatti,
and was also
AMERICA AND RUSSIA
4.3
While
it
the
is
not
in
mandoline
in
America
'a
solo
10).
he
an
Italian,
published
Six
mandolines
he set
where
August
His
1769,
House"
On 17 June
Opera
in
musician
Paris
in
the
Sodi,
London,
and
Chambers
of
mandolino,
accompanied
with
Russia
from
mandolinist
the
during
about
performing
1770,
his
[Moscow]
d'annoncer
dans
la
la
apres
a result
in
on
16
1769 and
12
given
"a
of
1780's.
made
a concert
Fall
from
King
violin"
Zaneboni
This
was
performer,
numerous
tours
of
who has
been
"a
(Gladd,
a
great
will
duetto
play
1987,7).
success
who lived
in
throughout
Zaneboni
1'honneur
a
7 janvier,
prochain,
que
vendredi
de M" Maddox,
des masquerades
salla
il
donnera,
sur la mandoline,
comedie,
61
a
on the
own compositions:
Monsieur
the
master
Portugal
of
including
music",
the
Vidal
Mr.
"for
was given
dancing
which
the
of
instruments
Genoese
dealer
and music
was
two
America,
to
emigrating
first
in
on diverse
The
as
same city,
Signor
the
of
for
1987,7).
1774,
of
1771
1931,
England,
in
on 30 November
by others
in
time
concert
recorded
played
Entertainments
merchant
He died
benefit
Evening
mandoline
(Howard,
some
as a wine
first
(Gladd,
for
before
followed
1770.
October
lived
of
areas
Gualdo
Philadelphia
in
Easy
the
of
(Giovanni)
continuo,
up shop
1767.
November
the
basso
and
John
development
important
other
appearance
when
Kandolino'
the
outline
two
first
1769,
the
upon
to
country,
The
in
was
Gualdo,
where
his
every
be mentioned.
should
here
possible
in
Liege
Europe
un concert
vocal et instrumental
au, cours duquel
il
jouera
de sa composition,
plusieurs
pieces
soit:
1) Une symphonie
ä grand orchestre;
2) un concerto
pour mandoline;
3) Mil"
Vigna chantera
italien;
un air
4) une symphonies
5) un solo avec variations,
pour la mandoline;
6) un air
italien;
7) un rondo pour la mandoline;
8) une symphonie
...
1782).
(Gazette
de Moscou, 5 January,
Zaneboni
(incorrectly
appeared
again
veritable
mandoline"
In
St.
Moscow,
in
he
TheAtre
du Font-Rouge,
Barber
of
1781).
This
his
its
following
year.
Francesco
recorded
In
The
2,662
1837,
Russia
singer)
the
with
duo
Stockholm,
having
of
in
performed
the
L.
13
to
April,
use
work,
in
Königsberg.
singer
Europe,
Invernardi
in
1799
the
who
and
throughout
the
which
Invernardi,
violinist
Hamburg
the
Beaumarchais'
Petersburg
St.
performed
and
1781
Paisiello
was
la
at
of
in
"sur
April
Petersbourg,
setting
performance
Giordani.
as
S.
1782,
1790)
1782).
15
persuaded
operatic
1795
Dantzig,
including
have
c.
Russia
de
(and
mandolinist
toured
vol.
first
an
Gerber,
23 February,
a performance
(Gazette
may well
received
Another
during
Seville
in
de Moscou,
performed
by
February
25
on
(Gazette
Petersburg
mandoline
Sannebuoni
called
is
(Mooser,
& 631).
Pietro
(Schilling,
Vimercati
1835 -
made a highly
40, vol.
62
6,773).
successful
tour
of
GUIDE TO PLAYING THE NEAPOLITAN MANDOLINE
CHAPTER 5A
5.1
Instrument
the
Several
the
Paris
Leone
(fig.
of
mandoline;
(fig.
Corrette
any
known
the
result
instrument
of
such
as
usually
give
the
However
Denis's
limit
of
beyond
the
the
table
made from
Gervasio
first
g#111.
This
tenth
of
of
ebony
mentions,
movement
of
ivory,
has
fourteen
the
Second
the
lower
(Gervasio,
still
-.
Leone
-
Sonata,
op. II,
from
63
and
mvt.
a top
an upper
by extra
frets
into
set
are
frets
usually
which,
Leone's
fret,
as
The
1767,2).
one more
ý
no. 2,1st
g-d'I.
giving
frets
' Con bi¢, arria
,.r
being
(1837),
body),
the
extra
Sonata
requires
three
Kastner
frets
joins
brass
of
be simply
to
orchestration
explained
These
are
unlike
quite
frets,
sixteen
is
unlike
by Bailleux),
(published
as
neck
and
other
century
mandoline
the
& 5.3),
informatiori.
the
has
the
of
the
and
instrument.
or
seems
and
of
discrepancy
(where
the
is
(1790)
Leone's
while
example
nineteenth
instrument
f#'",
of
note
deal
Albrechtsberger
range
5.2
however
drawing;
early
and
(figs.
period,
a great
offer
tutors,
the
of
poor
eighteenth
Denis
Corrette
The
illustrations
give
5.1),
5.4).
illustrations
Late
tutors
op.
in
II
! 7'O tt 2ýt 1'ý
^C
IMI
13
fig.
5.1
Leone
-
illustration
of
64
a mandoline
(1768)
v
c
0
aC
(D
E
N
c
v -ý
.Zm
N
Oý N
wa
0
(0
1
Z
ul
sý
N
" >,
".a r+
w n.
65
fig.
order
5.4
to
Fouchetti
four-course
play
-
Illustration
Corrette:
(1772)
a"'
several
confirms
the
of
a mandoline
semiquavers.
use
of
extra
frets
as common on the
mandoline:
I1
dix
touches
ya
sur
Mandoline
et plusieurs
autres
Instrument,
cet
qui
servent
demancher
(Fouchetti,
1771,3).
66
le
manche de la
de
sur la table
lorsqu'on
veut
These
frets
extra
because
mandolino,
f'
',
the
of
tenth
high
top
have
mandolines
the
on
note
for
Genoese,
is
which
Modern
parallelogram.
but,
always
a distinctive
with
scratch-plate
the
fret
course
S''
most
the
on
encountered
gives
plucked
string
period.
Neapolitan
plate.
more -rarely
the
a sufficiently
music
of
are
carried
batwing
shape,
traditionally
instruments
as Corrette
a
relates,
protective
like
shaped
carry
that
unlike
a
tortoiseshell
a
instruments:
on many early
de bois dur,
Ebenes
il ya
un
plaque
comme
...
&c que
les
faiseurs
palissandes.
grenadilles
de mettre
d'instruments
ont soin
pour que les
la Table,
point
coups de plumes ne grattent
car
ä ce deffaut
dans les comencemens on est Sujet
1772,1).
(Corrette,
Fouchetti
instruments
both
that
mentions
termed
are
the
four
and
However,
mandolins.
six
course
according
to
Leone:
Instruments
dune
autres
ya
quelques
...
forme a peu pres semblable
qu'on
nomme Mandoles
at
que 1'Etranger
confond
en Italie,
souvent
il
ici,
dont
le plus
sagit
qui est
avec celui
avec justice
et qui dolt
participer
parfait
aux
du Violon
reconnu
pour 1'Instrument
prerogatives
le, plus
le
(Leone,
plus
universal
et
etendu
1768,1).
il
Instruments
were
built
Naples.
However,
there
highly
prized,
as
inventories
of
luthiers'
in
is
can
France,
as
well
no doubt
that
be
from
seen
as
the
an
imported
latter
were
examination
effects:
Francois
decds
du Sieur
le
apr4S
Item
deux
1785
21 Septembre
..
de Naples
communes (Paris,
et quatre
mandolines
CXXII,
850).
National:
Min. Centr.
Archive
Inventaire
Lejeune.
67
from
more
of
Dupuis
de
Marie-Jeune
le
deces
Inventaire
aprds
Item
1801
29 Septembre
femme Lejeune.
...
de Naples ä quatre
trois
cordes
prise
mandolines
ä
francs
de quatre
A raison
revenant
chaque
12 fr.
douze francs
cy ...
huit
Item
quatre
prise
communes
mandolines
Centr.
Min.
(ibid.,
4 fr
francs
ci
...
1168).
LXXIII,
25
Guersan
du
Sieur
deces
le
Inventaire
apres
dont
Item
trois
1770
mandolines
octobre
...
vingt
quatre
prise
une neuve de Naples avec etui
d'hazard
de Naples
livres;
avec son
une autre
livres
dix - huit
et une autre
rouge prise
etui
Min.
(ibid.,
livres
douze
commune prise
neuve
1970,222
from Milliot,
349 (taken
XXVII,
Centr.
64)).
158
&
31
This
instrument
musical
5.2
Striping
It
is
a
mandoline
metal
inventories
common
was
Yet
strings.
a
the
to
the
customary
the
the
greater
reveal
that
counteract
Paris
at
tutors
this
confirms
these
the
gut
strings
in
the
strings.
discusses
The
M. de
made by
the
eight
68
tension
all-metal
the top strings:
Encyclopedie
author,
the
of
de cordes
de
de Pardessus
des Cordes,
de la qualite
A 1' egard
de
Guitarre
de
pour
chanterelles
(Corrette,
1772,3).
An article
in
time:
use of gut for
this
table
canted
1'on
des Xi,
A 1'egard
se sert
des chanterelles
Von
boyau
prend
1771,5).
(Fouchetti,
de Viole
Corrette
can be found
mandoline
period.
that
assumption
introduced
was not
stringing
of
Neapolitan
highly-priced
"commune"
and a cheaper
all
of
between
distinction
la
boyaudlers
on se
les
the
of
production
Lande,
in
sert
(mi]
states
the
that
fauxbourg
Saint-Martin
Naples.
article
in
Paris
do ''not
Therefore
he
travelled
and,
fountain
of
the
making
the
ways in
are
rendered
finest
the
which
K.
of
Naples,
in
serpents`
of
secrets
to
workshop
the
at
compare
guts
of
Italy
to
Angelo
he
gut
those
with
to
seven
by the
initiated
into
Having
strings.
eight
his
research
Angelucci,
was
in
made
the
described
month
lambs
old
he remarks:
serviceable,
Quand ils
& attendris
ont 6t6 degraissbs
pendant
huit
jours
les
par
cette
eau
alkaline,
on
les
tordre;
assemble
pour
on ne net
que deux
boyaux
les
de
pour
ensemble
petites
cordes
trois
la
de
mandolines,
pour
premiere
corde
la
dernidre
(Encyclopedie,
violon,
Sept
pour
1751-76,
9,446).
vol.
Kastner
on
(1837)
no sources
Indeed
strings.
Ephraim
strings
to
enough
of
be used
the
of
fuller
account
Hz),
nylon
than
a
American
At
gut
of
string
increase
0.6
in
mm is
0.5
began
strong
the
until
gives
a
tensions
to
pitch
replace
(A
415
A modern
suitable.
though
on
Steel
1954,
baroque
more durable,.
top
string
when it
mm is
metal
was not
'
maximum
standard
have
1986,100).
(Hipkins,
century),
about
iron
I
expert
wasý' dot 'developed
century
today's
of
string
that
used
and
and
(Segerman,
pitch
still
recommend
organologist
strength
nineteenth
were
century,
which
calculates
this
the
of
strings.
less
sonorous
gut.
Fouchetti
the
the
period
nineteenth
the
throughout
gut
this
tensile
middle
nineteenth
from
at
el I strings
gut
the
Segerman
a"suitable
the
into
well
mandolines
found
that
records
stringing
and
Corrette
of
the
also,
lower
give
courses:
69
detailed.
information
about
A 1'egard
des
doivent
titre ode
cordes
elles
laitan.
L'on
de
prend
pour les La, des cordes
Clavecin
du numero 5. Les Re soot du numero-6,
Von
deux tordues
mais
en net
ensemble
pour
Les bourdons,
chaque Re ...
ou Sol,
sont aussi
des cordes
de Boyau, coals filees;
Von prend des
de Violon,
bourdons
On fait
mais plus
petits.
fois
filler
des cordes
de soye,
quelque
pour
de bourdons;
bien
tres
servir
sonnent
elles
(Fouchetti,
1771,5).
...
jaune
celles
3).
French
no.
0.3
0.34
-
0.297mm
University).
by
For
the
on
gut,
g,
high
both
plaiting
two
with
It,
remark
is
that
Kenneth
6
no.
twist
Segerman,
Hobbs
the
strings
together
has
d'
-
1986,
Bristol
of
advice,
coupling
0.292
of
is
string
into
to
proved
a
be
mandoline.
an
harmonics
an octave
low
A
composed
of
these
compared
when
for
this
the
strings
two
reason
fourth
copper
silver-plated
density
gut
equivalent
However,
courses.
by
me
Fouchetti's
a string
suitable.
to
from
between
of
diameter,
a
taken
are
Following
on the
successful
strings
figures
given
length.
single
et
1772,
bad a diameter
time
6
no.
higher
were
this
at
mm, and
(the
produced
N° 5
5 strings
lower
the
Clavecin
du
demie
filles
(Corrette,
de
montent
en cordes
[la],
les
[re]
cordes
[soll
filees
en entier
se
noticeably
are
to
that
of
the
third
Fouchetti
strings
are
1.92
.
wound
mm,
lacking
and
and
Corrette
commonly
de la Mandoline
A quatre
pane
cordes,
A quatre
doubles,
c'est-a-dire
cordes
car elles
de deux
ä l'unisson,
sont
accordees
en deux
du meine son
la
c'est-ä-dire,
excepte
grosse
A lacuelle
On
corde,
ou Sol,
on met une octave.
d'une
se sert
A celle
pour cela
corde
semblable
de La, que Pon
ä l'Octave
accorde
au dessus de
la grosse
Quelque
fois
l'on
corde Sol.
met deux
70
in
second
apart:
J'ai
is
tuned
bourdons
l'unisson
(Fouchetti,
Corrette,
commenting
Cet
Octave
lutes
the
est
accord
and
first
le
en usage
plus
on early
guitars,
as
harmonic
of
stringing
thicker
brass
suggest
0.37
is
string
tutor
of
duller,
the
than
that
1772,3).
a common feature
upper
string
thicker,
I would
used,
(Corrette,
was
the
that:
remarks
recommend
recommended
gut
using
by
on
reinforced
If
string.
a slightly
Fouchetti
(I
on
the
mm).
Bortolazzi's
stringing
octave
courses
octave
tuning,
on this
lower
on
stringing
ä
accarde
cordes
autres
les
on
alors
les
trois
ensemble,
comme
1771,5).
offers
types
different
further
of
information
mandolin:
die Darmsaiten,
Es sind
wie bei der Violine,
Die doppelten
Drathsaiten,
jedoch weit feinere.
Nandolinen
bei
trifft,
mehreren
man
welche
taugen nichts;
sie geben einen bei weitem nicht
Jene.
Zwar
Tou,
lieblichen
als
Siebt es auch
so
Nandolinen
(sie
und mehreren Saiten
von 6,8
Xandara).
Jene von 6
heissen
auch Kandola,
Xailändischen
die
und Turiner;
sind
saiten,
8
diese
die
saiten
versehen,
mit
da
theils
Neapolitanischen;
allein
sie
theils
anch einen zu harten,
unbequemer sind,
bleiben
haben,
Ton
so
wir hier um
zither-artigen
der,
bei
neuerlich
erfundenen,
mit Vier
eher
so
Saiten bezogenen Xandoline
- der Cremonesischen
da sie
theils
- stehen,
oden Brescianischen
theils
bequemer,
von
auch
weicherem,
(Bortolazzi,
Ton
ist
1805,3).
gesunSvollerem
As we have already
type
of
remarks
instrument
cannot
seen,
at
be taken
the
Bortolazzi
expense
too seriously.
71
was promoting
of
the
others,
his
so
own
his
5.3
Playing
Positions
de la.
tient
comme la Guitarre
la 2" Corde nominee
main gauche le pouce dessous
La,
doigts
arrondis
pour
et les
quatre
autres
les
toucher
sur
quatre
qu'ils
puissent
aisemt
faut
Cordes.
Quand on joue debout
il
ä
attacher
le bas du Manche un
un bouton
qui est derriere
Ruban que les
Dames attachent
avec une
petit
ä
Epingle
ä leur
Robe et que les hommes passent
Si on joue
de 1'habit
ou A la veste.
un bouton
du Ruban de quelque
assis
on peut
se passer
le
tenir
faut
toujours
il
que ce soit
maniere
1772,1).
du cote gauche (Corrette,
manche eleve
La
Mandoline
se
La position
la plus
pour les Dames,
avantageuse
d'appuyer
le
lorsqu'elles
est
sont
assises,
is
de la Mandoline
vers
corps
sur les genoux,
droit,
position
cote
mais de maniere
que cette
trop en dehors
le bras droit
ne fasse
pas fetter
ils
hommes,
des
joue.
A 1'egard
quand
on
le corps
de la Mandoline
appuyent
sur le creux
de l'estomac,
le cote droit,
et le
un peu vers
dit
(Fouchetti,
manche eleve
comme nous l'avons
1771,4).
These
descriptions
two
Denis
(figs.
as in
the
paintings
3.2).
The
two
from
position,
5.2
of
the
position
recommended
express
a
(fig.
5.6)
by
5.5),
& 5.3)
and
Leone
Lacour
(fig.
3.1)
latter
three
for
the
either
seated
(fig.
ones
Leone
position,
position
72
for
engravings
as
and Tischbein
show the
by Fouchetti.
preference
favours
illustrated
illustrations
Denis
while
well
are
well
(fig.
common standing
show
the
and Gervasio
but
women.
seated
do not
Bortolazzi
Lr)
-4
m0
E 00
v-4
w-
.. +J
.N (n
N
"-
tQ ". 1
00
4.1 "ti
0
ýl
c4
E
\o
lý
C;
w
a)
rd-ý
E co
Q)\0
wN
v
4,J
4-J
cn c
a) c
oc
(1)(t
F
.ý
w
73
Although
the
mandoline
left-hand
positions
distinct.
By
the
the
modern
towards
the
bridge.
fingers
parallel
technique
frets,
had
pointing
positioned
in
figs.
advise
that
be seen
as can
the
& 5.6.
Whereas Corrette
thumb
mandollne
rest
the
the
and Leond (1768,3)
(1772,1)
should
(underneath
second
the
is
still
whereas the violinist's
passages,
Gervasio
advocates
different
reason:
freeing
lute
higher
the
(this
facility
for
in
Only
positions.
but
thumb,
that
and guitar),
a greater
gives
the
is
formation
on the
in
especially
habitually
The result
chordal
easier
position
instrument
violinists
neck.
standard
the
of
neck
course),
allows
position
the
under
thumb around
hand position
scale
fingers
the
with
were quite
violinists
century,
Xandollne
the
share a common tuning,
two instruments
the
position
with
5.2,5.3,5.5.
brought
for
mid-eighteenth
adopted
the
and the violin
the
an entirely
la
Prenez
i
croix
que
vous
garde
encore
Elles
trouverez
signifient
sur les notes basses.
ces notes
se doivent
occasion,
que daps cette
faire
qui tient
avec le pouce de la main gauche,
On fait
fort
le manche de l'instrument.
ainsi
fort
des
seroient
qui
passages
aisement
1767,1).
(Gervasio,
difficiles
This
fingering
common
of
presently
recommends
it
in
the
shows a passage
discussion,
giving
the
by its
simplified
74
thumb
technique.
guitar
under
text,
left-hand
the
with
notes
century
eighteenth
mandolinists
which
bass
only
following
use.
Of
was a
the
Gervasio
example,
47
rn
(1767,6).
Gervasio
avec
se doigtent
the
However,
the
"Les
notes
pouce".
le
general
in
to that
of the violinist
nineteenth
The instrument,
several
+
in
nandolinists
as a hand position
closer
was adopted.
is
position,
sitting
legs,
by the
forearm.
by
abandoned
century
the
in
points;
the right
was
practice
d'un
marquees
the left
the stomach,
As Corrette
points
supported
hand,
at
and
out:
Pour que la main droite
la libert6
toute
ait
il
faut
bras sur la Table
possible
poser l1avant
Non seulement
et le coude un peu en dehors;
cela
d'aisance
donne A la main beaucoup
pour donner
les coups de plumes,
la facilit6
de
mais encore
11instrument
(Corrette,
contenir
soi
contre
1772,1).
Leon6 recommends that
from
inches
the
From all
seems
to
considered
being
wrist,
in place,
securely
3).
the
suitable
so
information
the
should
that
the wrist
with
me that
to
forearm
the
the
free
contained
position
be
the
for
simple
most
75
at a point
instrument
is
two
held
to move (Leon6,1768,
in
shown
secure,
vocal
rest
the
the
in
fig.
standing
accompaniments.
it
treatises,
5.5
was
position
5.4
The Plectrum
The 'Neapolitan'
been
played
recommending
with
suggests
In
a plectrum.
the
feathers
Ostrich
unlike
mandoline,
'tortoiseshell
modern
also
(Quill)
raven
plectrum
use
of
a
quill
are-recommended
feathers,
the
the
has
mandolino,
century,
eighteenth
was
used,
not
(see
instead
by
Leone',
and Corrette
always
but
the
players
fig.
5.7).
Fouchetti
hen feathers.
Name dAtibwdw.
vu (ZZ110,eau .
5.7. Examples of the quill, taken from the Methodesof Leone (left), Corrctte
fig.
(centre), and Gervasio (right). (Not to scale.)
Gervasio
feather
describes
the
processes
involved
in
rendering
serviceable:
I1 ne faut
dure,
pas que la plume snit
mais au
taillee
tres
Le jeu en acquiert
contraire
mince.
de la delicatesse,
le moyen de faire
c'est
une
de notes,
plus
grande
quantite
an rend de plus
l'instrument
doux et gracieux,
lui
fait
et Von
durete
de
perdre
une
Sorte
qu'il
a
naturellement.
76
the
la' plume,
la corde
I1 - ne faut
aver
pas presser
de
l'6xtrernit6
legerement
la
toucher
avec
mais
l'on
Plus
touchera
la
corde
avec'
celle-ci.
le son sera
delicatesse,
et
melodieux
et plus
flatteur.
de cette
fagon
taillee
(fig.
titre
La plume doit
forme,
faut
lui
il
lorsqu'on
5.7)
a donne cette
de la partie
les
concave,
afin
angles
abattre
6galement
des deux cotes
plate
et
snit
quelle
1767,1).
(Gervasio,
polie
Leone
advice:
some more practical
adds
dire,
ä
Elastique,
c'est
soit
quelle
dure;
trop
foible
trop
ni
ni
ne soit
quelle
de la force,
ni donner
on ne pourroit
autrement
son jeu.
ni adoucir
la Plume lors
C'est
ä tort
que
que Von retaille
barbe
de
Emoussee;
un
peu
peu
un
est
sa pointe
les sons
bonne au mains pour rendre
est toujours
1768,3).
(Leone,
plus grave et plus veloutes
I1
faut
Leone's
'repeats
Corrette
tip
extra-musical
to
comments,
and
the
adds
following
finish:
de perdre
de j ouer, - de crainte
Quand on af ini
le
les Cordes entre
la plume,
on la met dessous
les
les
tiennent
boutons
qui
et
chevalet,
1772,8).
(Corrette,
The
use
narrow
of
the
inhibit
these
thus
the
render
used
universally
of
piece
plectrum
used
the
if
in
cherry
bark
The
Italians,
mandolin.
patacca
very
the
the
end
high
of
less
"jangly".
France,
for
the
he
his
that
mandolin
is
tutor,
mounted
77
maximum
all-metal
as
preferred
harmonic
partials,
and
Although
the
was
quill
a
preferred
informs
1805,3).
of
were
strings
(Bortolazzi,
of
advent
Bortolazzi
gut
the
allows
plectrums
production
sound
strings
after
tortoiseshell
wider
stringing,
at
harmonics;
of
production
on gut
quills
us,
Cremonese
his
of
this
call
Fouchetti
cherry
entirely
small
mentions,
bark
with
small
gut
should
strings,
be
as
feathers
no
are
in
good
such
1771,
(Fouchetti,
a case
18).
The quill
40-60
approximately
It
knife.
either
5.5
further
or
of
essence
or
ways by the
the
play
a
with
1 mm,
of
about
by
holding
it
mandoline
is
tip.
technique
one
gives
either
up
stroke.
These
maitres,
as shown
an
different
Maitre
Gervasiö
Denis
Leone
Fouchetti
Corrette
Bortolazzi
Leone
from
right-hand
simple:
floor)
fig.
during
adjusted
of
Technique
extremely
the
to
nearer
Quill
The
being
barbs
the
away
a length
to
a thickness
down to
filed
feather
the
trimming
mm, and
was then
flexibility
the
by cutting
was produced
5.8
-
explains
Quill
the
on
a
the
down
in
notated
are
in
(towards
stroke
fig.
various
5.8:
Downstroke
not notated
not notated
Upstroke
B (Bas)
B
h (haut)
H
auf or v
ab or.
stroke
notations
difference
between
strokes:
78
used
the
by
down
various
and
maitres.
up
Le premier
que j'appelle
superieur
par ce qu'il
Le second
et le plus usit6
est le plus riche
...
Celui
doux,
ci
mains
que je nomme inferieur
...
dire
du premier
pour ainsi
au secours
qui vient
titre
que la vitesse
employe
que lors
ne doit
les
faut
1'eviter
dans
l'exige,
il
surtout
d'une
Corde infdrieure
ä la superieure
passages
y est de la plus grande difficult6
par ce qu' il
(Leone,
1768,4-5).
The
upstroke
was
mandolinists
'to
downstroke,
much
Denis
give
as
'attempted
to
simplify
most
basic
to
the
played
with
a
down
to
ensure
this.
universally
to
Denis's
from
passing
(involving
one
a
is
of
manners
de plume
use
of
occur;
the
and
that
quill
By
contrast,
the
c&d
coul6.
The mandollne,
show
how to
less,
apart
later),
is
an uncomplicated
devotes
a
great
designed
although
79
This
is
Leon6,
that
string
the
the
from
the
an upstroke
the
how the
avoid
in
by
with
past
(having
plume.
illustrates
(discussed
patterns
Leon6
a&b
show
None the
technique
5.9
Fig.
scales.
quill
II
earlier
string
in
reasoning
comments
de
outlined
a higher
with
play).
his
contre-couP
to
this
volume
and
usually
sequences
out
in
down
and
are
he'applies
difficulty,
a lower
to
I,
up
'beats
works
system
the
the
playing
batterie
matter.
Leon6ls
movement
about
one
however,
scales;
discusses
for
term
and
sound.
for
Strong
In volume
all
he
meantime)
of
stroke
contemplated
perhaps
few.
the
considered
upbow an inferior
rules
the
than
note
time
this
the
century
eighteenth
sonorous
at
and the
strokes
order
less
a
violinists
be noble,
downbow to
by
considered
various
contre-coups
by
difficulty
arpeggio
Certain
Denis
maintains
subject.
deal
in
of
space
imitation
to
the
of
the
a
ý
C
c
ý
C.
if
-A
c
b
ý
C
C
d
.C
-v9-9-9m
fig.
5.9
-
lacks
violin,
other
the
which
expression
comparable
In
the
between
would
to
preface
the
the
period,
give
to
his
subtle
part
bow.
Leone,
more than
was
aware
a right-hand
a
versatility
and
of
the
of
quill
breadth
of
violinist.
the
he discusses
Methode,
of
acutely
develop
that
the
and
to
sought
and
technique
namely
of
mandolinist
deficiency,
this
most
contre-coups
avoiding
expressive
latter,
the
of
resources
any
(1768):
Denis
de plume.
differences
and bowed strings:
plucked
de 1'Archet
Instrument
etant
ne peut
priv6
Violon
le
ton
ni
executer
comme le
soutenir
d'un
de
lui
seul coup;
notes
une
quantit6
comme
de commun avec le Clavecin,
il
et tous
a cela
1768,1).
(Leone,
Instruments
qui se pincent
Cet
Having
Leone
is
of
warns
that
both
signs,
and to
performance
passages.
played,
If
a
he
player
or
she
to
Naples
players
have
give
help
does
will
to
advantages
in
especially
widely
most
system
in
that,
states
technical
these
conceded
a greater
with
not
the
constantly
80
the
where
developed
range
these
find
it
violin,
instrument
an
of
of
negotiation
observe
the
exact
expression
difficult
signs,
necessary
Leone
to
teacher
a
consult
difficult
who
Furthermore,
passages.
the
take
those
of
advice
how
he cautions
to
perform
to
not
readers
'play
who
mandolinists
without
strokes:
quill
guidelines'-about
strict
demonstrate
can
Car
tres
j'assure
qu'il
n'y
en ä qu'un
petit
puissent
qui
s'executer
arbitrairement.
nombre
Du reste
je conseille
ä ceux qui ne sont
point
de ne s'en pas m@ler,
de la bien marquer
en Etat
1768,
le remede seroit
pire
que le mal (Leone,
20).
basic
the
Besides
of
ways
other
thus
fingers
out,
several
notes
quill.
are
long
every
than
does
which
also
in
which
stroke
dry
stroke.
that
of
the
Several
with
in
dismisses
as
dealt
be
will
a
the
indicates
a single
a sharp
obtain
straighten
/-%
stroke.
with
used,
to
to
player
to
order
player
a firmer
accent,
the
varieties
and r1
to
a
of
One can
.
rationalize
to
and
Fouchetti
see
Leone
varieties
is
aspect
century
81
of
his
thought
of
an examination
and
of
quill
in
alone
his
throughout
every
eighteenth
on
Gervasio
1768,3).
Mtbode
stroking,
although
Denis
which
(Denis,
his
of
emphasis
greater
Denis,
stroking
rules"
whole
type
dominated
of
of
the
possible
put
desire
the
indicate's'an
almost
also
A
tells
be played
verbiage
devotes
M
the
instructs
quill
to
are
A
several
gives
sections.
subsequent
These
.0
the
giving
are
signs
other
holding
he
strokes,
a note.
while
attack,
gentle
"a
attacking
fingers
the
bend
and
his
Corrette
stroke
use
of
1Jletbode Raisonnee
subject,
in
general.
a desire
a
The problem
by all
of
of
stroking
Vhereas
authors.
continued
treated
so
the
other
time,
If
simply.
but
consecutive
in the
problem
will
groups
discussed
the
use
cannot
be
allow
triplet
up and down strokes
fall
will
is
notes
the
alternate
any other,
the usual
summarizes
even-numbered
stroke
strokes
the
stepping
three
of
and down strokes,
up
in. Mrieur
used,
groups
downbeat
on the
involve
system will
every
least
at
two
One way of side-
sane direction.
be discussed
are
later,
but
Gervasio
compromises:
trDiS.
Regle pour les notes de
Quand la lenteur
du mouvement peut le permettre,
la premidre des trois
il faut alors faire
notes
en donnant, le coup de plume du haut en bas, pour
lui donner plus de d6licatesse
et, de grAce; mais
il faut sly prendre
quand le mauvement est vif,
(Gervasio,
1767,
autrement, comme vous le verrez
4).
Fig.
5.1
naturel,
(Leond)
marks
ar-gentin,
function
and
out
three
flutd.
varieties
Corrette
timbre
of
explains
-
their
further:
On tire
des sons fort
ou doux selon la force
que
Von
donne au coups
de plumes
la
et suivant
les tirent
presque
place
sur la corde,
ou Von
de la
les
toujours,
au dessous
sons se tirent
du chevalet
Rozette,
f ois
pour
aupres
quelque
I
de la
lors
ils
au dessus
sont
et
argentins
la oQ llon
Rozette
ils
joue,
sont doux et clest
les piano
(Corrette,
1772,9).
Eighteenth
dolce,
century
and
interchangeably
in
mandolinists
much
mandoline
as contrasts
to f.
82
commonly equate
music
p
and
piano
d
are
with
used
5.6
It
(Trill)
Tremolo
is
stated
in
articles
whichý today
is
an
commonly
tremolo,
technique,
mandolinist's
development,
Kevin
players.
classical
undermining
for
part
every
' century
century
eighteenth
regards
example,
mandoline
of
nineteenth
by
used
ever
Coates,
a
that
mandolin
indispensable
was
if
rarely
the
about
' it
as
style:
It was only when mandoline writing
ceased to be
idiomatic,
in
and players
ceased to discriminate
their
that
and adaptation
selection
of works,
tremolo
became
the
ubiquitous
an
such
feature
unfortunate
of
popular
mandoline(Coates, 1977,85).
playing
there
However,
tutors
and the
is
ample
music
of
evidence
the
period
in
contained
to
both
the
that
establish
this
was not the case.
The- various
maltres
desirability
this
time.,
disapproval
and both
of
For
vary
tremolo,
instance,
greatly
or
trill
as it
Fouchetti
a method of playing,
he and Leon6
in their
opinions
was referred
describes
in
common amongst the
recommend that
as to the
the
trill
to
tones
should
toutes les notes,
il y en a qui trillent
car
...
les doubles
les
croches
et
crcches,
exceptd
pas le tems de les
u'auroient
quI ils
parce
En
taut.
triller,
car sans cela ils trilleroient
de Joueurs
de
Italie
on appelle
ces sortes
Clest
des Pdtacheux.
jouer
de la
Nandoline
de Village,
Mandoline
violons
comme les
qui
Cela met
jouent sur toutes les cordes A la fois.
dans 11harmonie quIon n'y comprend
une confusion
1771,6).
rien (Fouchetti,
improprement
dit est une repercussion
de plume de haut en bas dans le m8me
83
of
Italians,
used sparingly:
Le trill
de coups
at
be
la dur6e de
ton, dont an se sert pour soutenir
darchet;
il West tout au
la note au deffaut
d'oýj je
plus utile
que pour d6gager le poignet,
trop
conclus
ne faut
pas le r6p6ter
qulil
(Leon6,1768,16).
souvent.
The two maitres
the
use
the
of
positive
attitude
peculiar
to
However,
tremolo.
in
enthusiastic
above both
mentioned
to
instruments
as
takes
idiomatic
an
more
a
device
a quill:
with
plucked
were
Corrette
use.
technique,
the
writers
other
its
advocating
in
recommend restraint
Il est A remarquer que sur la Mandoline on ne
les sons comme on fait
avec
peut pas enfler
Pour supl6er A cela, on
Varchet
sur le Violon.
du md-me
fait
qui est une rdp6tition
un Trill,
Trill
du
d6pend
L'ex6cution
son sur une note.
du poignet droit,
cet agr6ment est
entierrement
trds
joli
que sur les
et ne se peut faire
instrunens
joud avec la plume cc
que l'on
Vielles
Cistres,
Mandores,
Mandolines,
et
hurdy-gurdy].
Le
[a type
Turques
of plucked
Trillo
Italiens
trill,
les
au
nonmd par
se fait
sur des
et Trilli
singulier
au Pluriel,
1772,17).
notes de longues dur6es (Corrette,
Gervasio
long
further,
goes
the
advocatinS
use
of
tremolo
on all
notes:
les
Toutes
les notes
comme par exemple
seules,
Ce mot franqoise
blanches,
triller.
se doivent
de Gen6ve,
signifie
et d6fin6
par M. Rousseau
la corde en sens
faut
ici,
vivement
qulil
agiter
de haut
clest-&-dire
alternativement
contraires
le plus
prestement
en bas et de bas en haut,
de la plume Jusqu'A
ce
avec la pointe
possible
la valeur
de la note
(Gervasio,
rempli
quIon ait
1767,3).
Gervasio
the
number
to
relation
Denis
the
here
prefer
latter
is
and
the
describing
the
tempo
a precise
maltre
the
frequency
of
the
music.
number
of
of
explains:
84
tremolo,
non-netric
quill
strokes
Fouchetti,
strokes
in
where
bears
Carrette,
their
trill,
no
and
as
-nombre
'45'týe
doit
de
toujours
imp'air,
Le Trille
de trois,
A dire
cinq,
ou plus de
clest
_sept,
la
de la note ...
valeur
coups de plume, selon
de trois
Le trille
coups de, plume est un trille
de go,3t (Denis, 1768,4).
Carrette
the
explains
of
number
reason
faut
observer
le
Trill
...
que
parce
Ilexdcutant
par nombre
le silence,
d'un
fait
belle
fait
effet
un tr6s
'w
Av
de
the
odd
finir
'W-
BHBHB
remarks
be
must
(1772,17)
Corrette
uHßHUriB
and
on
en baissant
brillant
en
est
plus
impair,
par ce moyen an
de soupir,
ce qui
quart
(Corrette,
1772,17).
-
AM'
la
B II 13
Denis
insistence
the
strokes:
il
w
for
the
that
to
added
trille
is
the
notated
used
only
music
for
longer
notes
when
principally
transcriptions:
playing
On peut se passer de faire
des trilles
en jouant
de la Musique des Maitres
de Mandoline,
parce
qulil
nly mettent
pas de notes longues:
mais
dans d'autre
musique, oýj les notes longues sont
il
faudroit
substituer
emploies,
et multiplier
la valeur des notes
d'autres
notes, pour remplir
demanderoit
f0t
longues;
llon
ce
qui
que
Compositeur.
Le trille
y suppl(? e; et, quand il
fait
doux,
il., est
tr(ýs
par un poignet
est
(Denis, 1768,5).
agr6able
From
the
the
numerous
tremolo
maitres.
It
given
quotations
was
part
is
often
of
above,
technique
the
indicated
85
in
of
that
one
can
see
all
the
Parisian
mandoline
music
by
the
sign/w
and
,
but
more frequently
discretion.
in
notated
In
full,
the
as in
left
methodes
this
to
the
the
tremolo
from
example
Leon(
which
use
contradicts
the
of
Pamant
technique
Jaloux)
(Campbell,
Richard
is
in
Campbell's
'Tandis
for
"Tandis
que
is
own taste
frequently
Leone's-
that
tout
sommaillel
such
metbode,
(1768,27)
assertion
que
"unusual
player's
an
early
Gr6try's
from
period"
1980,609).
Andantino
IT
Gretry
-
86
tout
sommeille"
(1778)
his
in
Bortolazzi,
tremolo,
Anweisung
he terms
which
also
bebung
Cremonese .' mandolin
sinSle-strung
is
incorrect-to
the
tremolo"
Boito'lazzi
that
say
but
his
suited
to
"theV61ki
instruments.
"does
The
1984,15.
(W61ki,
less
is
Neapolitan
double-strung
than
technique
r
indicates
and
the
mentionsý
not
Bortolazzi,
is
reference
mention
even
1805,23).
In
'was
playing
have
bequeathed
Classical
players
fondness
for
sparingly
than
the
jv6tbodes
the
variety
performers,
in
thýe salons
but
themselves,
of
the
ornaments
especially
in
of
the
Howeveý,
from
tremolo
be
to
Europe
used
all
P6tacbeux.
do not
to
compositions
notated
order
a phrase.
87
to
in
their
technique
the
technique
prolong
appear
posterity.
varied
intioduced
more
evidence
of
was amongst
ad
the
in
musicians,
street
improvised)
was
and
P6,tacbeux
known as the
or
of
style
century,
(presumably
memory
'tremolo,
tremolo
the
eighteenth
players
any
the
the
mandolinist
from
playedý
who either
in
of
these
that
obvious
known
well
However,
Italy.
is
by a type
practised
to
it
conclusion,
libitum
last
note
by
of
5.7
As
Cadence
shown
above,
tr-J11o
to
describe
notes).
The
modern
exception
because
Denis
of
it
trill
we shall
tended
to
occur
later)
see
the
on
or
Leone
as
by them
to
was referred
as
trille
word
(incorrectly,
tremolo
the
the
used
maitres
mandollne,
as
(with
cadence,
a
note
penultinate
the
of
a
phrase.
Corrette,
who
standard
but
was
mid-eighteenth
Leand
both
seen
,
an pp. 70-1,
the
left-hand
refers
besides
tremolo)
the
cadence
execution
main
is
he uses
to
formed.
of
the
"another
In
the
first
extending
the
the
of
species
next
of
the
four
this,
volume
cadence,,
fretted
trille"
notes,
he
tells
of
his
(that
is,
starting
us,
explains
cadence:
Elle
en baissant.
se fait
comme au Violon
et
levant
de vitesse
de la
le doigt
par gradation
ýe
sur laouelle
elle
note
celle
est
au dessus
faut
il
observei
au'a
chaque
posee:
mais
iaut
de doigt,
battement
il
un coup
et levenent
bien ensemble
de plume qui batte
avec le doiSt
et que la plume ne p6se pas fort
sur la corde;
Violon,
au lieu
qu'au
un seul coup d'archet
sert
les battenens
de doigt:
A tous
ce qui rend la
facile
Instrument
cadence
plus
sur cet
que sur
la Mandoiine
(Denis,
1769,2-3).
Corrette
echoes this
De tous
difficile
last
remark:
les agre=ens
la Cadence est le plus
il ne
et le plus necessaire
a etudier,
88
as
with,
part
he
for
t
instead,
cadence;
in
the
uses
reserving
a note
consists
By
+,
indicate
Denis,
which
note.
+ to
for
t
prefer
discuss
not
thumb.
Mtbode,
above
Foucbetti
does
player,
notation
century
and
Gervasio
tremolo.
a keyboard
principally
the
the
,t
de la
pas se flater
le tems an en vient
faut
avec
16).
And Fouchetti
it
considers
bien faire
d'abord
ä baut
(Corrette,
to
be suitable
only
mais
1772,
on the
rarely
instrument:
Quoique
les
praticables
cependant
passages
Every
tutor
length
string
too
tension
sufficient
in
the
full
the
prolong
was
for
from
energy
cadence,
too
considered
high)
in
each note
Whereas an the
quill.
be used to
could
that
stresses
with
plucked
Cadences
ne
soient
gudres
la
Mandoline,
llon
sur
peut
en faire
quelques
unes dans certains
(Fouchetti,
1771,17).
the
the
cadence
guitar
the
an the
mandoline
(and
short
left
the
to -be able
strings
left-hand
must be
the
fingers
to
hand
string
absorb
to
alone
the
keep
vibration.
The purpose
(through
resolution,
of
the
acceleration
and
is
to
create
before
developed
a standard
illustrated
the
cadential
13h13h^
BhBIi13
played
written
B 13h B It
played
written
--------
--
-
ýý
(1771,17)
On observera
de triller
la cadence,
vient
apr6s
de sa longueur
proportion
89
final
below:
B
Fouchetti
tension
greater
dissonance)
and nandolinists
Fouchetti's
fornula.
is
cadence
la note qui
taujours
A
et an la trillera
(Fouchetti,
1771,17).
Ces accords
font
un bel effet
aux finales
et A
la fin
de chant
d1une phrase
Si. A la note
.....
Vaccord
finale,
on ne peut
pas faire
parfait,
A la
un Trill
an fait
place
autrement
elle
trop
seroit
attendu
naigre
que sur la Mandoline
les sons coymm au Violon
on ne peut pas enf ler
(Corrette,
1772,24-5).
5.8
Left
Hand Techniques
Eighteenth
century
compensate
for
violin,
in
notes
under
is
in
specialist
not
normal
pizzicato
but
this
lightness
fluting
the
seen,
these
that
too
extended
left
employed in the
but
to
mandollne
with
of
were
an
and
in
this
early
Instruments.
light
construction
best
with
a gauge lighter
instruments
adequately
techniques
music of this
left
acciaccaturas
the
be executed
following
the
many
the
with
The cadence was considered
violin.
an ornament
hand alone,
(only
case
and were strung
used on the
execute
nowadays performed
are
was enhanced
the'ribs),
sound notes
circumstances
was not
As we have already
(this
to
effects
the
On a modern high-tension
bow stroke.
possible
to
ability
to
ways
vis-A-vis
weakness
latter's
the
a single
hand alone
manner),
instrument's
particular
it
mandoline
their
various
sought
mandolinists
by
than
to
with
are
be
the
commonly
period.
ChOte
The cb0te
lutenists,
was a term
and
the
derived
same
from
technique
90
French
can
harpsichordists
also
be
found
and
in
lute
Elizabethan
Corrette
music,
a straightforward
gives
it
where
is
fall".
"a
termed
explanation:
trois
La chOte se fait
ya
ou quatre
quand il
la
A faire
m4me corde,
notes
sur
en donant
un coup de plume en baissant
pour la
seulement
les doigts
lrtonber
pour
note et en laissant
de la corde
les autres
notes,
sur les vibrations
(Corrette,
d1autres
de plume
coups
sans donner
1772,14).
is
BBB
[3
Li
U
(Corrette
later
A little
the
executed,
remarks
fingers
fall
each finger
though
All
Carrette
(1768,8)
that
mentions
it
and that
terminology
the
is
and of
making
and agreeable.
The slur
aver
that
for
meaning
special
all
the
notes
term
taken
is
one's
the
playing
notes
to
be played
is also
"as
found
of
the
guitar
tone
of
more brilliant
the
players,
with
Lean6
from
sweetening
instrument
Thus the slur
stroke.
are similar.
plucked
are
well
strings
technique
a way of
instrument,
the
the
onto
is
hamn r".
this
of
when a cb0te
firmly
were a little
descriptions
other
that,
1772,14. )
cbdte
has a
indicating
one right
in the next
hand
technique
to
be discussed.
Tirade
is
a reverse
pulled
with
This
is
the
chOte and, as the name implies,
left
hand fingers,
91
as Corrette
the string
describes:
des doigts
de la main gauche
Tirade
se fait
le
doigt
la
sup6rieur
en tirant
corde
avec
faut
A dire
A chaque note clest
qu'il
convenable
le Sol dans Vexemple
tirer
cy dessous
avec le
le Fa avec
le
le La,
doiSt
tirer
feroit
qui
le Sol et le Xi avec le
doigt
qui a d6j& fait
La Tirade
le
Fa
de faire
doigt
est
qui, sort
...
Pun
de la chOte,
se fait
quand les
contraire
quand elles
et l1autre
vont
notes
en montant,
La Tirade
que la chOte
ainsi
vont en descendant.
A
quand
on va d' une corde
ne se font
point
1772,15).
Vautre
(Carrette,
La
TTBTTBTTBTTB
TTT
B TTT
(Corrcttc 1772, ts. )
Although
succession
sane
Carrette
of
T's,
way as with
be seen
as varieties
to
prefers
other
the
maitres
cbjte.
of
the
Indeed
nark
the
use the
slur
both
these
tirade
with
exactly
techniques
cou16.
Coul6
Von trouvera
Cette liaison-O"Soque
souvent sur
les notes,
qui sont ainsi
marque que celles
doivent
li6es,
dtre faites
avec la plume de haut
1767,1).
en bas (Gervasio,
92
In
a
the
can
The above
f
the
string,
is
example
and then
on
the
third,
the
quill
allowing
down
continuous
by fingering
played
stroke
and
the
the
to
flow
(hence
the
d an the
the
a on
the
over
name;
fourth
open
second,
in
one
neans
to
strings
couler
f low).
Corrette
all
uses the
in
term
a more general
more than
ways of playing
one note
manner to describe
per quill
stroke:
Des notes Coul6es que Von fait
du mdme coup de
des liaisons
ya
plume. Quand il
sur deux ou
trois
notes on les joud du
mdme coup de plume une plus grande quantit6
ne
il n1en est pas de ndme du
point:
slentenderoit
Violon ou d'un seul coup d'Archet
an peut couler
1772,12).
une douzaine de notes (Carrette,
Indeed
Corrette
also
petites
notes
performed
Petites
nowadays be called
the
use
In eighteenth
a
hand,
variety
of
the
next
as
a
performance
length,
of
that,
while
difficult
1759,87).
However,
to
this
de voix
C. P.
ascertain
93
Corrette
and
E.
upon them
devoted
Bach,
to
for
rapid
which
vary
and
that
is
which
does not arise
in
the
example,
some appoggiaturas
always
problem
Leond and
and could,
is
space
of
performance,
are
Fouchetti
(and commentaries
notes".
others
frequently
port
deal
"little
in
while
treatises
great
but
acciaccaturas,
term,
into
century
since),
observes
above
them further
subdivide
ever
left
to
Notes
These would
Denis
the
with
term
describes.
section
5.9
the
applies
it
in
is
(Bach,
mindoline
music
for
the
simple
in
the
couI6
played
technique
is
describes
their
only
that
petites
manner described
linking
execution,
discussed
notes
brief
are
and that
above,
to very
applicable
techniques
pulling
reason
ornaments.
them with
the falling
always
this
Leon6
and
earlier.
Il
La
deux sortes
de petites
ya
notes
...
premidre
qui monte au Ton se fait
en frappant
fort
d'un coup de plume de haut en bas, et
fesant tomber le doigt suivant
inediatemt- apr6s,
les deux sons se font entendre
d'un seul coup.
C'est ce qui s'apelle
chOte sur la Guittarre.
La Seconde, qui descend au ton se tire
avec le
doigt
du retentisement
quIelle
n1a
au deffaut
pas comme la premi6re et clest
ce qui s'apelle
tirade
(Leon6,1768,13).
sur la guittarre
tirade
chute
Corrette
and
Fouchetti
common musical
another
nuance
points
names;
of
separate
the
port
meaning
for
the
two
de voix
this
by their
species
and the
could
As
word! ).
(yet
Corrette
out:
Le Port
de Voix
A la
presque
semblable
est
...
la
diff6rence
le
chote:
ne consiste
que dans
la
des notes;
nombre
attendu
quIen
chOte
on
de coups
de
passe
plusieurs
notes
sans donner
de voix on n1en fait
et que pour le Fort
plume,
de la Corde (Corrette,
sur les vibrations
qu'une
1772,18).
He
also
performed
notes
that
on the
fourth
these
ornaments
string;
although
94
are
scarcely
he gives
ever
no reason,
it
lies
presumably
thin
S'
the
left
better
hand
the
use
of
react
equally
thus
and
this
The thick
to
g and
the
pulling
of
technique
"would
be
two
(whether
notes
main
notes,
to indicate
both
mandoline
notes
notes.
The small
on violin,
performed
required
appp&rlaturas
these
appoggiaturas,
large
was reserved
indicate
the
stringing.
not
fingers
as ordinary
large
long
octave
avoided.
written
to
the
would
strings
for
As
in
maltres
tied
note
voice,
with
a stroke
ornaments
or
a single
on both
the
considered
it
were
to the
mandoline)
attack.
As
petite
and
preferable
in full.
5.10
deux
On no=e
Batteries,
notes
sur
battuds
l'une
degr6s
l1autre
apr6s
les
fois,
quand
notes
se trouvent
Veffet
diff6rentes,
cordes
en est
1772,26).
(Corrette,
13 H0HBHBH
different
plusieurs
deux
sur
beau
plus
alter
D FI alter
((; erre(te 1772,26. )
The
following
prolonging
trille
sections
sounds
was not
on the
considered
will
discuss
mandoline.
various
As noted
by many oi the Parisian
95
ways
earlier,
maftres
of
the
to
be suitable
for
batterie.
the
This
instruments
full
between
the
remarks,
Indeed,
according
alternatives
formula
it
the
two
a
on the
particularly
courses
Denis,
ring
on
interlocking
of
effect
to
has
was
an many
when performed
strings
the
giving
the
a standard
because
is
strokes,
crotchets.
of
This
sound.
course
different
two
on
of
as Corrette
but,
mandoline
is
Amongst
usage.
constant
this
is
in
tied
the
essence
technique:
de notes
Les batteries
des quantit6s
par
sont
deux,
dont la premibre
est sur une carde et la
de m6me
seconde,
sur
un autre
en continuant
des
comme l1exemple
cy aprAs,
quand la premidre
deux notes
basse,
son coup de plume
est la plus
de la secande
en haut;
est
en bas,
et celui
la plus
des deux est
mais,
quand la premidre
haute,
de
son coup de plume est en haut et celui
la seconde en bas (Denis,
1768,9).
V
J
A utre botterie en double
h',
ji
Aa
,
in
that
the
the
reverse
of
falling
an the
performed
fy, - h-- 1
.
ý,--
- -, - 1Z
9
--» ---»'
0-,
(1768,9)
Denis
Note
jý,
second
usual
beat.
so that
example
sequence,
This
practice
the follow-through
96
the
with
is
quill-stroking
the
allows
brings
weaker
the
up stroke
each stroke
to
be
the quill
into
a
is
where it
position
normal
down/up
pattern
be
brought
back
to
before
played
5.11
the
attack
the
were preserved,
the
over
next
string
quill
the
would
have
just
been
had
which
If
note.
be executed.
the next note could
ALpýges
This
technique
brilliance
the
Corrette
magazin.
(by
performed
subsequent
interpret
how he
indicate
usually
-bars
such passages
Customary
rules
execution
of
of
the quill
stroke.
unconventional
are
Use is
in a
from the
pattern
a
will
composer
to
passages
measure
player
is
often
set
made of
in
full,
often
be
and
free
to
in
the
Gervasio,
instance,
for
for
the following
ý_
ý
__._
97
the
aside
could
in one continuous
over the strings
stroking
5.11).
encountered
arpeggio
first
of
ad libitum.
stroking
arp6ges.
although
the
chords),
as
is
passage
the
5.10).
(f ig.
arp6ges
wishes
out
writing
certain
(fig.
virtuosos
that,
notes
Denis
Indeed
plume.
choose a suitable
should
their
off
m6thode to an exhibition
when an arpeggio
player
show
he identified
three-course
of
that
suggesting
that
page of his
a full
varieties
piece,
coups_ de
Neapolitan
certain
with
Leon6 devotes
gliding
different
to
maltres
them so idiosyncratic
patterns
twenty
the
allowed
with
considered
up
to
ready
gives
arpdge.
technique,
down or
a
most
le
et-
rmia
C',
111
coff,p We?Ian 4
Item de cert-v
rI
lot let 1ý
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99
-ir
t: t
=I;i
vi
The
three-note
and
the
down
three
next
In
stroke.
facility
of
normal
rules
5.12
downbeat
played
as
playing,
ar-pdige
is
to
primary
an up stroke,
with
played
semiquavers
execution
of
is
chord
cou16
with
a single
with
the
batterie,
the
observation
of
the
and weak beats.
stressed
! artellement
Corrette
and
Lecn6
neans of prolonging
another
lef t
this
suggest
hand
ornament
as
a note:
Le Martellement
avant une note
se peut faire
longue,
compos6 de trois
cet
agr6ment
est
de
du
font
Elles
coup
ndme
petites
se
notes.
frapant
llex6cuter
On peut
en
plume.
aussi
les doigts
l'un apr6s l1autre
sur la
seulement
pour lors on
corde le plus prontement possible,
ne donne le coup de plume que pour les Blanches
1772,20).
(Corrette,
Leon6 gives
jouez- la
use of
of
this
minim
a variation
blancbe.
the
trille
technique,
of the
As remarked
mar-tellement,
earlier,
as a means of
he considers
he disliked
extending
other
which he terms
extensive
a note.
ways of
In place
prolonging
(blancbe):
Au lieu
de se servir
du trill
la
faire
pour
blanche
je trouve
de la
qulil
est plus agr6able
cadencer,
oCi de la partager
en deux noires
en
On
A chacune
d'elle.
ajoutant
un martellement
de
Deut encore
emploier
quelques
agr6ments
soit
d'autres
tir6es
des accords
petites
notes,
soit
de la note,
le tout
la connoissance
selon
et
100
a
de celui
N-. an peut encore
llhabilit6
qui Joue.
1768,17.
la partager
en bas (Leond,
avec 118-Leone
here
By
means
cadence,
a
rhythmic
an a note).
construction
0
p
it Ar
Leone
devotes
Leon6
only
discussion
shown
long
notes
with
section
a cadence
his
of
long
of
Fouchetti
5.7,
ch.
whole
filling-in
the
Of
in
a
(1768,17)
notes.
to
preferred
and a trille,
to
mdtbode
fill
while
a
However,
as
in
of
pairs
Corrette
uses
accords.
Accords
5.13
deux sons frapds
On nomme accord
ensemble,
sur
diffdrente
du indme coup de plume,
deux cordes
fois
Ces derniers
sur 3 ou 4 cordes.
quelque
se
f inals
font
trds
(Corrette,
aux chants
souvent
1772,22).
It
has already
to
alternative
been observed
writing,
violin
quadruple,
wndoline.
technique
stopping
trille
a
passages
stopping
However
peculiar
are
that
the
at
of
can be performed
accord
end of
double,
was used as an
the
and
and
Lean6
mandoline,
on a single
As with
a phrase.
even
both
by
triple
in
commonly encountered
Corrette
to
the
music
101
for
discuss
which
double-
course:
l'unisson
A
double
dans
la
dtant
et
corde
de tirer
de la mdme
il
est possible
=ndoline,
Pour y parvenir
il
faut
deux sons diffdrents.
La
or
a
d'abord placer bien d'Aplomb le daigt de la note
deux cordes
forment
inf4rieure
les
qui
sur
l'unisson,
de' la
placer
celui
note
ensuite
touche
de
supärieure
qulil
ne
maniäre
vers le bas de
adroitement
que la corde situäe
Vinstrument
(Leonä, 1768,17).
,
Simi!!
zo
ei
-j-
"
:7p:
:-r
P
(Lconc 1768,17. )
Corrette
however,
having
discussed
upon the difficulty
of executing
to
of
the
likelihood
He therefore
note.
instruments,
this
is
often
fouling
two
not
the
that
where
(to
allow
considered
the
notes
each
due
lower
be
should
On modern
possible.
of
strings
manner,
course
a smoother
are
tremolo),
practicable,
although
two notes
used as a method of playing
on
Scordatura
The tuning
close
together
is
finger
remarks
course.
a single
allows
close
technique
scordatur-a
5.14
the
very
situated
in this
courses
where
technique,
accords
upper
recomm nds
different
on two
played
the
this
the
of the
two strings
mandolinist
position
chords
to
which
of a course
perform
would
102
to diferent
passages
otherwise
in
thirds
notes
and
be impossible.
Several
this
his
century
eighteenth
in their
possibility
took
mandolinists
advantage
Leon6 hints
compositions.
at
it
of
in
mdtbode:
dans llouvraSe
On trouvera
que Je donnerai
apräs
des
la
Xandoline
ci,
marceaux
pour
celui
de diverses
(Leond,
1768,20).
acccirdöe
maniäres
Unfortunately
copy
no
Antoine
Riggieri,
second
movement
however,
(Adagio)
of the two unison
d'
this
of
proposed
uses
of
strings
op.
is tuned
A 13
4,
Sonata
in
the
V, where one
to b:
1
1---
written
known.
is
technique
scordatura
his
work
3W
10
sounds
Riggieri
The piece
fingered
-
needs,
if
it
is
Pietro
Denis
of his
m6tbade:
also
op.
of
4,
course,
Vq 2nd
no,
to
be carefully
not to descend into
uses
this
device
mvt.
in
composed and
bitanal
nonsense.
Prelude
7 from
Part
doit se faire
Celui-ci
aprds avoir des accord6s
d'un ton et deni plus bas
un des deux traisidnes
(Denis, 1769,7).
que Vautre
103
II
written
sounds
Ir-LLJ ;L
Denis
Although
is
it
that
is
Prelude
-
to
the
nearest
strokes
the two notes
Notes
the
of
string
5.15
and
amongst
French
musicians
de
should
be f ound on the
that
so
be played
down
when playing
lower/higher.
(as
of
of
mandollne
those
noted
(a
the
late
earlier,
of
who
notated,
in full.
Therefore
rhythms
find
only
seventeenth
Corrette
discusses
alternate
universal
and early
out by the period
Furthermore,
published
Denis
as
practice
Paris.
conventionally
irregular
quavers
written
had begun to die
amongst
and Italians
that
my own opinion
semiquavers
centuries)
maitr-es
Frenchman
bass,
execution
quavers
Corrette,
mOtbodes,
two notes
will
dotted
the
the
In6galar.
The systematic
eighteenth
from
clear
not
lower
the
7 (1769)
tutors,
only
was
a
may have been Italian),
or at
it
least
Indicated,
is not surprising
the matter:
Renarques que le coup de plume en baissant
sonnents aisement les deux cordes A l'unisson
au
104
of
to
lieu
en haussant
n' en sonne quelque
que celuy
la pr4f4rence
donner
fais
qu'une:
ce qui doit
au
les notes
I-, ' pour
longues.
Ordinairement
dans
Chaconnes,
les Menuets,
Passacailles,
Sarabandes
les
in6gales
craches
an joue
sans
quIelles
la
Musique
pour
cela
point6es
soient
sur
1772,10).
(Carrette.
With
the
with
associated
in
for
music
I
minuet,
mandoline
believe
maitres
are
notated
played.
The
n4thodes
the
of
that
not
discussed
Italian
taste
this
suite,
this
of
the
cover
there
the
all
no
this
and considered
105
are
are
not
As
period.
only
minuets
aspects
doubt
was
of
of
that
encountered
the
regards
to
the
Italian
the
them
to
performance
notes
a practice
archaic.
forms
all
apply
intended
composers
seems
because
and
remarks
dance;
as
these
minuet,
Corrette's
that
form
were
baroque
the
French
thoroughly
the
of
exception
be
so
ln6gales
foreign
to
CHAPTER 6
A
REVIEW
THE
OF
EIGHTEENTH
REPERTOIRE OF THE NEAPOLITAN
6.1
At
CENTURY
MANDOLINE
THE MANDOLINEAND VIOLIN
the
that,
outset
although
tuning
of
this
the
Neapolitan
the
with
be compared,
to
sophistication,
clear
from
virtuosos
such
as
coupled
imagination,
one
only
leading
contemporary
pupils
of
repertoire
Leclair),
difficulty,
is
has
that
106
the
the
Riggieri
musical
the
music
of
(many
former
every
entire
comparison.
is
compositional
Paris
with
in
straightforward
at
in
bristling
see
it
mandoline
and
and
look
violinists
to
musical
considerable
a
to
cannot
or
that
Gervasio
instrumental
to
a comm a
Whilst
violin.
compositions
Leon6,
fine
a
shares
complexity
the
of
surviving
technique
technical
that
made clear
repertoire
mandoline
technical
their
both
possessed
in
be
must
mandoline
the
violin,
either
it
chaDter
type
mndoline
of
44
bý
P.
Abbö Alexandra Auguste Robineau (1747-1828);
(Paris,
c. 1770, OlLbl h. 218) Ist mvt. =.
Sonate IV
1-10.
++
r
9
41
4ý
7-
boo
-5a4
1-4
1
:ý -4-*.
: 0.2
Pierre Gavinies
(1728-1800);
Sonata IV (Paris,
QRLb1 Hirsch 111.212)
let mvt. =. -15-27.
107
-0
1760.
.-
A number of -violinists
designated
for
Prospero
the
None of
leading
say
that
or
trivial,
the
among
compositions
requiring
for
skills
the
this
their
reflected
in
of
amateur
technical
or
The following
idea
the
of
give
extent
as
difficulty.
for
types
various
for
the
of
has
involved
type
their
as
works
estimating
108
the
the
and
which
intended
of
not
both
mandolin
a
to
for
great
give
an
and vocal
to
show
the
In order
of
to
full
the
I
repertoire,
and manuscript
extant
appeal
repertoire,
possible
mandolin
no longer
musical
simplicity,
occurrence.
century
of
and
and
mandolin,
known published
any
large-scale
instrumental
of
a picture
all
including
consequently
not
are
pieces,
has been compiled
table
of the eighteenth
composed
this
musical
complete
have counted
1813,
and
frequencies
relative
its
is
especially
its
of
than
works,
much of
been
melodic
market
composed
music
many
bulk
Le
undemanding
necessarily
However
light,
short,
This
instrumental
always
the
much less
peers.
concertos,
execution.
has
is
is
great
mandoline
consists
the
and
Mahoni
and
is
their
be, shown,
sonatas
example
and the technical
time,
or
music
will
for
works
can be numbered among
and sonatas
Robineau,
-As
Roeser,
of their
mandoline
published
or mandoline,
musicians
duets
I
Gavinies,
to
of
these
of their
of
period
Valentin
violinists
difficulty
that
violin
either
Cauciello,
Berton.
the
of
between
(in
number of
music
1750
and
some cases,
individual
items
in
contained
Therefore,
work.
twelve
the
basso,
&
sophistication)
large
due
in
m6t. hodes,
dances.
have
to
part
each
Very
been
TABLE 6.1.
of
it
is
trios,
arias
are
and
than
are
the
duets,
songs
number
of
containing
short
pieces,
duets
of
more
musical
and
solos.
below
12 bars
short
is
and
airs
duration
of
for
collections
dozen
a
to say
in
listed
published
several
true
markedly
length
of
a set
sonatas
in
printed
as
three-movement
(both
a handful
of
counted
six
In general,
and
works
substantial
been
compositions,
quartets,
concertos,
mandolin
The very
as six
as twelve.
minuets
that
has
a set
has been calculated
duets
total
a
items.
composition
complete
separate
editions),
1,380 individual
approximately
Each
these
or
and
less,
excluded.
MAIDOLIN REPERTOIRE 1750 Type and frequency-of
various
(occasionally
DUETS. 2 mandolins
2 or 3 mvt.
Mostly
& violin).
mandolin
but also some shorter
duets or sonatas,
etc.
variations,
minuets,
pieces,
1.
2. XAMDOLIN & BASSO. Those in XSS.
are mostly 3 mvt. sonatas with
accompanying instrument.
unspecified
Xany of the published
works are single
variations,
minuets etc.
mvt. pieces,
(the basso part is occasionally
designated
cystre,
as for guitar,
or cembalo).
viola,
109
1813:
Printed
502
125
forms.
Manuscript
215
120
basso
3. TRIOS. Usually 2 mandolins
(occasionally
violin
cello/
mandolin,
mandolone, or 2 mandolins & flute).
Xostly 3 mvt. sonatas, sometimes marked
"Sinfania".
27
91
for mandolin,
4. CONCERTOS. Usually
2 violins
& basso (occasionally
Sometimes
full
& wind).
strings
or "Overtura".
marked "Sinfonia",
2
28
5. CHAMBER 'WORKS. Various
combinations
by G. F.
of mandolin
mostly
quartet,
Giuliani:
& cello.
Mandolin,
viola,
violin,
& liuto.
Mandolin,
viola/cello,
violin,
2 mandolins,
& cello.
flute,
& liuto.
2 mandolins,
viola,
2 mandolins,
flute,
& viola.
& cello.
Mandolin,
flute/violin,
viola,
(Also 1 Quintet:
violin,
mandolin,
2 violas,
& cello).
0
50
125
2
6. SONGS. Most with solo mandolin
accompaniment. Almost exclusively
popular airs from the opAra comique,
Denis.
mostly arranged by Pietro
7. ARIAS. Orchestral
accompaniment
(N. b. No
with mandolin obbligato.
into
specific
research was undertaken
the frequency of appearance of the
mandolin in C18 opera, which is almost
than the
certainly
much greater
)
figure
given here would indicate.
from student
8. SOLOS. Apart
pieces,
C18 mandolin
there
are few published
Most of the surviving
manuscript
solos.
a second part.
solos appear to be lacking
110
0
37
44
As
table
the
above
repertoire
falls,
distinct
the
with
types
of
is
on
principally
Italians,
were
Paris
Naples,
European
or
all
with
style,
capitulated
its
emphasis
by
by
harmonies.
the
following
content
and
attempt
to
works
this
been
having
music
of
dealt
give
the
an
principal
to
a
the
idea
concentrate
compositions
of
the
composers
time.
111
by the
Italian
single
and
melody,
accompanied
of
mandollne
previous
chapter,
on the
musical
themselves,
relative
for
in
major
light
the
the
the
having,
aspects
in
with
will
of
in
taste
under
virtuosos
composers
Technical
sections
style
composers
ornamentation
excessive
here
mandollne
composer/
on
all
concentrate
of
musical
but
uncluttered
simple
opera
French
capitals,
1760's,
either
in
for
repertoire
majority
8
into
Neapolitan
the
The great
discussion
total
I shall
for
mandolin
be discussed
will
which
so large,
music
1760-90.
or
of
entire
no exceptions,
As the
sections.
mandolin
composed
virtually
each
categories,
following
the
shows,
of
the
mandollne
at
merits
the
and
6.2
DUETS
The duet
form
was by
mandaline
composition
especially
the
this
in
contained
being
printed
the
de viole
The
flute
was
the
frequently
few
in
note)
simple,
manuscript,
notes
mandoline,
the
the
being
of
devoid
for
Published
duets
consequently
difficulty.
technical
shows little
tuned
lines,
in
sign
instrument,
with
chords
duets
and the great
melodic,
the
of having
and not
simpler
as it
appearing
112
be
a
in
which
original
sparse
and
with
the
of them
majority
of
any great
duets,
been conceived
consisting
rarely
are
and which use
primarily
mind,
In
flute's
surviving
sounding
composed
the
and
there
to
were
short,
despite
the
Although
appear
flutes,
two
on mandolines.
market
n alternatives.
by Domenico Mancinelli,
these
as
and the
violin
(then
music.
those
designated
of double-stopping,
d',
than
passages
d'
mandoline
incomplete
are
below
in
music
reco3muended,
chordal
mandollne
below
con
most
occasionally
such as those
compositions
amateur
the
notes
sets
are completely
no
for
for-
accounted
(other
were
of
century,
mandoline
m6tbodes)
encountered
of
which
various
also
use
eighteenth
duets
published
par-dessus
lowest
all
type
popular
most
the
of
exclusively
extensive
in
duet,
No
period.
the
published
two-thirds
almost
far
the
for
music
a fifth-
does of
two single
except
at cadences
(which
as
is
why these
being
publications
for
suitable
instruments,
a
tuned
whether
like
fourths
or violin,
in
for
instrument).
At
nothing
than
a wind
consist
the
of
first
playing
more
mandoline,
in
of
like
the
pardessus
their
most
in
the
-mandoline
de viole.
or
they
may
line
played
an
by a second
thirds
stringed
basic,
a melodic
accompanied
unison
rhythmic
variety
fifths
in
be advertised
could
instrument
and sixths:
mý --r
ý
llr_
1-6-:
Antonio
However
rendered
technique,
such
even
simple
this
from one instrument
1, lst
nvt.
is
writing
by
idiomatic
more
in
Sonatina
Teleschi;
instance
the
the
mm. 1-12.
occasionally
use
of
a"
being
held
tremolo
passed
to the other:
ZI
m4.
Antonio
Teleschi;
Sonatina
113
1. lst
mvt.
=.
13-20.
Airs
from the
duet.
mandoline
as
opdra comique were often
Fouchetti,
the
an
cadence
hands of
imitative
Double
opening.
filling
points,
bass
high
the
out
for
a good arranger,
is
instrument
second
independent
rhythmically
with
In the
transcribed
given
a
frequently
part,
is
stopping
such
otherwise
found
at
necessarily
bare harmony:
pzaý.
II
I-4Z.
9.1
Giovanni
The
dull
less
imaginative
second
dependence
part
an thirds
adds more notes
Ouverture du Deserteur
mm. 1- 16.
Fouchetti;
for
Denis
the
produces
same piece,
and sixths
than Fouchetti,
114
(Monsiguy),
a comparatively
with
in rhythmic
but to less
an
over-
unison.
effect:
He
Iz
Pietro
The
duets
are
high
bass
of
those
the
and
in
unchanged
below
(reproduced
basso,
apart
for
in
movement
from
the
second
mandoline
giving
many
of
exist
virtually
basso.
and
di
Majo
III)
his
sonata
for
115
a
guitar-like
volume
line:
to
only
it
in
octave
a
it
mandoline
full
as
reducing
duets
Francesco
the
of
movement
third
indeed
versions
second
the
or
part
straightforward
than
rather
(Monsigny),
short,
the
use
which
first
du Deserteur
these
of
instrument,
arpeggios,
to
Ouverture
1-16.
=.
successful
most
shadow
Denis;
transposition
duet
is
The
given
identical
mandoline
and
the
bass
of
4
,Y,
d0j.
Francesca
As Karl
age
elegance
points
carefree
a single
spectacle,
instruments
were ideal
fashionable
drawing
But
this
many
collections
more
advanced
musical
and light,
both
for
for
was an
above
plain
Duets
de
Domestic
was valued
gaiety
grand
homophony
two stringed
instruction
and for
the
music
are
room.
level
of
of
pleasing
simple,
duets
which
technique
appreciation.
flourished.
music
melody
this
(1973,545),
complexity.
contrapuntal
beyond
mm. 1-11.
out
chamber
simple
and
Giga,
II - from Les Petites
Ncr'6ations
Mandoline
I. 2nd zavt.
la Campagme III,
Duetto
Basso - from Sonata,
EPn L2757,3rd
=vt. )
Geiringer
when
above
de Majo;
and
Leon6,
116
to
require
a
more
Judge
both
a
much
sophisticated
by his
surviving
and the
compositions
the
his
most brilliant
1762
published
arpeggios,
keys,
all
the
this
most
period,
technically
abound with
double-stoppings,
chromatic
combining
harmonies
to
in
virtuoso
mandollne
duos,
in
quoted
reviews
chapter
of
his
produce
demanding
was
day,
and
advanced
rapid
cross-stringing,
and irregular
3,
scales
set
and
remote
phrase'lengths,
but
effective
passages:
I.
Lean6;
Duo r, 3rd mvt. =.
117
45-67.
I
Leon6;
Duo 111,3rd
mvt.
One of the
finest
duets
from this
the set
six
full
of
in
first
sonates
volume
movement,
sustained
to
find
throughout
the
so
28-50.
period
is
no IV from
by Gaetano Dingli
(reproduced
Imitative
abound
in* the
constantly
being
the
with
between
exchanged
unusual
III).
z=.
entries
upper
two
part
instruments.
contrapuntal
a duet
for
118
a
It
texture
two mandollnes:
is
in
very
being
M4;
ý
014h
Z
I
Duca Cedronio
form,
striving
parts.
In
to
imitation
in
harmonic
outline:
mvt.
makes imaginative
also
this
TV, lst
Duetto
Gaetano Dingli;
two
create
case
inversion
he
uses
to
add
use
equal
and
of
the
duet
independent
double-stopping
interest
to
a
and
simple
LI
PIJZ
Illez
15
Duca Cedronia;
Divertinento
119
8-.
lr-t
=vt.
=.
1-4.
In this
next
he builds
exanple
the third
two instruments,
an the
up a three
being
part
texture
part
sustained
by the two mandolines:
equally
I
Duca Cedronio;
Barbella,
Divertimento
although
twenty
optional
the
second
duets,
bass
madness"
full,
extreme
using
and devils
of wives
Almost
to
Pluto,
between
meeting
the
all
the
longest,
occasionally
as those
In
are
Sabino
described
to
his
it)
"not
to' the
describe
a
and a number
page).
of this
in
wizard,
(1772-3,
movement of
indulges
the
about
duos
central
Juxtapositions
period,
binary
one meets with
by Denis
the
(as Burney
(on next
duets
left
Six
Barbella
key
73-84.
=.
a violinist,
part).
disagreeable
nvt.
including
these
of
lst
primarily
mandoline
with
?-,
form,
a set
on les Folles
12Q
from the
although
of variations,
d'EspaEne,
shortest
very
such
and Leond
Emanuele Barbella;
includes
Tambourin
a superb
in
volume
musical
form
(reproduced
French
Xost
composition.
quick
movements,
one,
although
surrounded
by
rhetorical
intimate
houses,
rather
works
in
Giuliano
in
a
with
a central
two
quick'
ones.
Duet
from
bravura
than public
for
121
two
by a quick
notably
Leone,
favour
slow movement
is
part-writing'
passage-work
that
performance
concert
halls.
a
mandollne
Barbella,
and
of
of either
most
structure,
suitable
Mtbode
example
consist
suggesting
13-27.
=.
his
rare
used
composers,
flourishes,
form
mvt.
or a slow movement followed
free
noticeably
a very
being
some
sonata
standard
11,2nd
en Rondeau
III),
complete
Giuseppe
Gervasio,
Duetto
this
in
and
was
an
private
6.3
MANDOLINE & BASSO
Accompanied
the
of
for
sonata
greater
proportions
the
than
The
it
the
manddline
for
instrumental
in
title-pages,
where
instrument
and,
and
is
making
repeated
earlier,
violin
unlike
use
of
notes,
they
is
do not
high
many
for
than
diversion,
approach
music of the period):
122
more
deemed suitable
for
the
the
with
the
markedly
the
rigorous
positions
style,
in
for
a fifth-tuned
duets,
could
In
else.
arpeggios,
a
reflected
of
movements abound
and
fulfilled
is
of
difficulty
an amateur
conceived
on anything
elaborate
generally
vehicle
being
is
many
more important
quick
It
is
technical
sonatas
this
music
only.
be played
adequately
the
the
the second
'When compared to duet
these
conception,
or violin
effect
in
more
three-movement
sonata
item,
students.
writing
mandoline
full
launching
a
a concert
piece
during
basso
with
accompanied
was
conposer/performer,
and a study
The
and a much greater
duet.
functions;
mandoline
treated
were
duos in Paris
century.
eighteenth
concert
instrument
any
than unaccompanied
seriously
half
for
sonatas
these
continuity
bravura
rapid
not
sonatas,
of
line,
passage-work,
scale
passages,
(although,
pyrotechnics
as
of
noted
virtuoso
SaV
d
Gio.
Battista
Gervasic;
Sonata (Vu
mm. 44-50.
Girao 142),
Q.
f),
6a,
J.6c
Leon6;
Sonata
IV,
lst
mvt.
123
=.
19-23.
lst
xffvt.
I
).
M4;
da440
Giuseppe
However
when
Giuliani;
Sonata
less
In
f orm, this
sonata
unable
to
mask a fundamental
some cases
knowledge,
as in
even
this
lack
betrays
crude
nvt.
dependence
the
and
lst
of
a
use of
33-6.
=.
such
composers,
proficient
tackle
in
E,
an
of
consecutive
second inversions;
A..
--I?
Pietro
-
Denis;
Capricio
124
1, =.
Denis,
is
passage-work
musical
lack
as
26-30.
imagination,
basic
musical
octaves
and
Denis
Although
writing
betrays
century
Italianate
open to
criticism
was
different
of
probably
all
the
on the
qualities
grounds
preoccupied
with
flourishes,
he
of
seems to consist
brief
bravura
and
Fayolle
and
de XUsIclens
Histor-ique
Dictionnaire
Choron
5.10,
fig.
empty and unrelated
the
of
arpeggios
music often
of
by
frequently
virtuosity,
favourite
Justifying
given
was
is
and
As was seen in
and his
perhaps
mandoline
mid-eighteenth
hollow
of
the
a series
his
of
music,
substance.
more than
biography
worst
instrumental
mandolinists,
little
Frenchman,
a
without
note-spinninS
Denis
was
savage
their
in
(1810):
Denis,
Pietro
A Paris,
musicien
sieur
y fit
des 6diteurs
Y trouva
ou, jzdeux dire,
graver,
faire
graver
quelques
pour
sots
mauvals
assez
de sa fagon...
didactiques
L'exdcution
ouvrages
de ces ouvrages
digme de la
typograpbique
est
un porte-faix
et du style;
pas
conception
nleit
fait
pire...
Le
The
few
consequently
and
exist
only
in
in
table
collections
of
airs
full-scale
6.1
most
being
in
it
of
short
the
and dances.
sonatas,
Apart
3-movement
form,
contained
pieces
student
than
marketable
all
almost
Judging
would
as Leon6 and Gervasio,
the=selves,
rather
than
for
their
125
by the
students
by
sonatas
published
or
other
a
few
nature
of
in
or
and
those
minuets
the great
this
such
125
seem probable
of the works which
duet,
the
mandoline
the
for
sonata
from
mdtbodes
are representative
period,
the
made
published'
were
manuscript
noted
pieces
much less
sets
Riggieri,
Leon6
these
basso
and
mandoline
difficulty
technical
greater
that
they
virtuosos
wrote
to
or for
amateurs.
of
perform
Although
many eighteenth
so
published
whether
none of the tutors
to perform
then.
common to
find
for
keyboard
parts,
Call's
sets
the
Beethoven's
as do the sonatas
few of
than
more
an
out,
written
either
fully-notated
Parisian
the
a keyboard
line.
It
figured,
this
solution
faut
renarquer
que la Mandoline
et le Cistre
jamais
le
accompagn6s
mieux
que par
D'orph6e
(Corrette,
1772,
et la Viole
Il
ne sont
Clavecin
preface).
Corrette
later
harpsichord
are a few contemporary
out
keyboard
Vincenzo
part
Paneral's
and Bonaventura
There
popular
are
used together
instrument,
Italian
which
Suonata
pieces
XIV
in
Vienna
with
the
The guitar
in
lighter
Paris
at
the
126
44).
in
so it
for
example,
volume
In Paris
that
tine
six-string
The guitar
may well
There
written-
QXC Noseda P34-13,
1800,
c.
are
on the
stop
a fully
as models;
however.
mandollne
than
with
(reproduced
Xinuetto
possibilities,
parts
(p.
mandoline
can serve
Terreni's
other
choice
earlier.
the
lute
the
use of
when accompanying
bass
was
in performance:
works well
recommends the
Is
realization
the
of
this
of
and,
few
and
guitar
works
bass
unfigured
very
full
have
pieces
implied
although
was
by Hummel and Neuling,
nowadays to assume that
customary
it
century
four
have
variations
However,
give
fully
accompaniment
part,
as to how
much in the way of advice
guitar.
of
mandoline,
a bass
contain
By the end of the eighteenth
accompaniment.
period
for
works
manuscript,
offer
or
keyboard
in
or
century
III),
ms. ).
was a
have been
twenty-five
years
was a five-course
guitars
used
in
Vienna,
which
Another
took
cellists
the
is
cello
corda.
The whole
as
more
harmonic
string
of
the
by the
in
this
but was a true,
realisation,
II,
marked la
is
be played:
was often
albeit
The
2,2nd
no.
terza
(1963,
out
intended
not
subordinate,
G
on the
S. Newman points
the bass part
1770's
line
to add
were playing.
op.
movement can
As William
cello.
and were trained
Leond's
bass
their
to
approach
which they
a
with
Eighteenth
a substitute.
do,
players
guitar.
together
only
also
where the
of
classical
not
cello,
implied
movement (Bailleux),
609),
today's
above the bass line
notes
use of
a
today's
than
instrument
the
but
instrument,
century
extra
is
possibility
keyboard
,
to
closer
were
for
participant
in duos and trios.
when Beethoven
By 1796,
the
the
mandoline,
was the keyboard
part
importance
to
equal
placed
by
reverse
the
on
pour
such
(reproduced
di
in
role
1810
le
clavecin
in
list
volume
to the keyboard:
127
III),
the
Not only
was now of
emphasis
sonatas
is
instruments
in
for
piano
violon
the
ou mandoline.
sonata
con
Neuling's
obligato,
Beethoven's
from
it
in
the
is
sonata
et
and
greater
part
o Violino
Zandollno
as this,
full
keyboard
the
for
it
but
The
mandoline.
pieces
changed.
in full,
out
which often
Hummel's
order;
1813 sonata
secondary
written
in the titles,
accompagnamento
passages
had fundamentally
composers
reflected
four
between
relationship
instrument
accompanying
his
was composing
in
mandoline
In
C major
takes
a
co^ý.
L.
Although
there
van
Beethoven;
these
are
are
Beethoven.
minor,
This
the
14 Nr.
youthful
many passages
is
opening
subsequently
op.
Sonatina
reworked
in
C WoO 44a,
without
pieces
them
in
which
true
particularly
=.
opus
are
of
the
of
the
middle
section
in
the
Allegretto
of
1:
128
35-40.
his
numbers,
unmistakeably
sonata
of
in
which
piano
c
he
sonata
"Z.
cambJ4
f
i4,,
4
L.
van Beethoven;
Sonatina
JJ2 c WoO 43a,
Sonata op-14 no-1,2nd
129
&
mm. 17-19,
63-7.
mvt. =.
6.4
TRIOS
The
trio
published
most 'commonly
mandolines
and basso,
frequent
rhythmic
reminiscent
passage-work
mandoline
added,
rather
than
tr-los,
where
played
on a viola
octave
higher
for
the
in
than
APO
e-..
parts
the
bravura
of
accompanied
indeed,
are,
simply
Six
most
part.
the
bass
high
Italian
the
solo
duets
duos...
voudra en Yaire
lorsqulon
does
written)
implicit
the
and
upper
such as Barbella's
avec une basse ad libitum
ot6z
the
Some trios
sonata.
what is already
in
in
encountered
a bass part
with
style
two
of
part-writing
restrained
with
unisons
duet
of
consisted
line
(to
des
be
bass manner an
no more than
state
in the upper parts:
.-
i-
-AAAM44L&A-11
x
7f
o%aZ
da440
Emanuele Barbella;
130
Duatto
1.t, lat
rvt.
=.
Barbella
However
an
independent
the
work
is
does
part,
the
vouchsafe
occasionally
conspicuous
by
its
VI,
jrt
viola
ab sence
when
as a duet:
played
Id"
--
Bklt
ý
D
^6;; :r_
do-iýb
Emanuele
Five
by
1760-80,
Roeser
bass
do
trios
of
sets
and
almost
the
only
mandoldne
probably
the
for
used,
rhythmic
flourishes
unison
instruments,
only
at
the
cadence
131
figured
the
thirds
bass
points.
to
with
a
by
violoncello
London
entire
in
-
compositions
1765)
c.
entire
sub-dominant,
and
Merchi,
having
or
in
tonic,
the
period
Entertainments
in
pieces
the
lost),
all
harpsicbord
'tbe
simplest
ever
upper
EveninE
(published
only
repertoire;
of
Eas7
Six
Gualdo
two
(now
three
Giovanni
the
Machi
last
bass
unaltered
de
mm. 55-6.
mvt.
during
published
the
The
are
were
Gualdo,
tborougb
keys
Duetto
Barbella,
parts,
so.
Barbella;
mandoline
and
movements
and
giving
are
pass
in
between
sixths
the
These
dominant
briefest
pieces
are
style
in
melodies
the
to
taken
ffalant
four
endless
lightest
of
extreme
an
and eight
two mandolinists
after-dinner
bar
nothing
of
modest ability
drawing
room concert:
to
periodic
measures
no harmonic
accompaniments,
and consequently
surprises,
simple
or melodic
catch
giving
with
unawares
an impromptu
=
ftwý)
6440
Giovanni
Amongst
the
several
which
mind,
numerous
is
reproduced
in
for
IV9 lst
Sonata
composed with
domestic
use.
Gervasio's
Sinfonla
in
III),
full
mvt.
examples
manuscript
were clearly
than
rather
these
of
Gualdo;
volume
132
=.
however,
are
an audience
in
One of
(ZUU
which
the
Gimo
finest
149,
opens with
a
fanfare
tremendous
in
arpeggios
the
from the
chords
parts
upper
first
to capture
designed
a tonic
over
busy scales
pedal,
contrasting
with
This
mandollne.
the attention
is
and
crashing
clearly
music
of an audience:
ml
M2
a
Gio.
F. Giuseppe
Basso
UAc
gestures
rather
in
twelve
N. 178/1),
written
Capella
di
Venice,
and
than
Gervasio;
Paolucci's
was Aaestrb
Frari
Batt16ta
are
bravura
domestic,
Sinfonia
Basso.
Sonate
Santa
also
full
passages
1758-61
Maria
that
this
dei
rhetorical
suggest
In
e
when he
Glariasa
the
of
performance.
4
a due Bandolini
between
at
133
a due Mandolinj
Ist
3mvt. nm. 1-8.
public,
extract,
from
the
part
is
the
held
that
last
movement
given
they
ring
notes,
I,
impetus
rhythmic
added
lower
Sonata
of
the
first
by the
mandoline
addition
of
string
so
on a different
played
on throughout:
C
F. Giuseppe Paolucci;
Although
Italian
the
harmony
composers
to the tonic
minor
of
is
this
to great
usually
period
effect:
134
Sonata no. 1.3rd
simple,
like
nvt.
=.
many
he uses sudden shifts
73-84.
F. Giuseppe Paolucci;
paolucci
the
two
movement
the
he
lowest
As
mandolino.
sco. rda t mra,
Venetian
f#
writes
it
there
is
intended
variant
of
of
is
'no
end
times,
either
mvt. =.
the
that
the
the
mandolin
not known today:
135
the
of
note
with
a distinct
the
or
suggesting
sonatas
mandolin,
third
below
mandollne
these
Genoese
for
between
a semitone
composer's
possible
42-7.
of ýimitation
the
at
several
note
1, lat
use
extensive
however,
parts;
usual
originally
'makes
also
Sonata no.
or
were
for
tuning
a
t
41
F. Giuseppe Paoluccl;
Prospera
the
Chapel
Royal
movement trios
his
style
are
(effectively
frequent
only
musical
known to
Cauciello,
in
in
a
have
slow,
of
unelaborated
measured
the
second
bass
left
part
five
at
three-
Characteristic
(IMc).
semiquavers
3rd mvt. nm. 106-12.
been a musician
1780,
in
manuscript
repeated
arpeggios
the
Naples
Sonata no. l.
in
the
upper
tremolo)
mandoline,
to
of
parts
and
the
requiring
provide
a
im F, lst
rvt.
full
texture:
/"OZ-r
ý)
3r
ov;
Prospera
Cauciella;
136
Trio
=.
28-32.
/noz -7-
Z
Z
/,.
damo
Prospero
the
Although
Asioli
Bonifazio
Innocenzo
basso,
mandolines
(here
bass
and
the
parts
trios
other
left'a
trio
these
Gervasio)
follow
the
movements,
performance
implying
that
very
example
overall
particularly
they
much in mind.
137
violin,
and
a flute
and two
of
several
'man'dolone I
(a
bass
for
a combination
also
high
and
contains
labelled
are
same
have
7),
used.
the'flute),
Vanhall
(for
often
^ and
two
were
a mixture
rEPnm
chapter
trios
pieces
for
accompany
at
Baptist
such
but
to
in
Sinz'cnia;
trios,
one
play
.1in,
vio
'
discussed
Occasionally
mandollne,
mandolines
arpeggios
Johann
for
1-3.
=.
was
combinations
coniPased
the
mandolln'e,
instrument
which
basso,
Macia
In F, 2nd mvt.
instrumentation'
collection
manuscript
for
Tria
commonest
and
mandolines
Cauciello;
composed.
Overtura
by
Eteraidi
structure
as
arresting
were written
with
or
and
other
first
putdic
6.5
CONCERTOS
The tern
second
half
sense,
it
and it
nandolinists
playing
In
composition
which
first
first
part
in
particularly
brilliant
solo
statements
of
construction
the
first
had
commonly
rondo
concertos
date
also
No
nandoline
1780's
works
(the
the
to
Concert
described
soloists
a
and
an
these
from
The
two
great
on
the
elements
of
concertos
concerto
and,
older
the
were
comique
138
century
last
most
mandoline
1770's,
during
they
are
they
concerto,
form.
evolving
of
changed-,
of
of
published
XXIV
thb
although
form
newly
tutti
had
majority
and early
transition,
for
with
the
and
as
allowing
end of
movements
form,
1760's
the
such
vehicles
alternate
sonata
form.
violinists
By the
theme.
main
were,
construction'
to
quick
concerto
Tartini,
episodes
become
of
Italian
of
the
century
the
of
and
of
modelled
contain
by
referred
it
more
eighteenth
ritornello
the
the
largely
the
their
period
was intended
at
or
movements
Geminiani,
virtuosity,
the
playing
sense
one
the
of
last
and
Vivaldi,
musicians
they
when
specific
featured
broadest
group.
accompanying
the
day
the
its
that
concertos
more
a
In
more
this
the
of
Spirituel.
In
or
was probably
critics
music
two
meant
during
meanings
century.
eighteenth
simply
together,
the
the
of
distinct
had two
concerto
until
Corrette
the
mid
(1773)
be described
today
would
least
at
are
nor
Gervasia
by two
and
is
mandoline
Several
first
their
volume
of
models
is
forty
flamboyant
In
solo
keys,
the
tonic
minor.
plays
throughout,
tutti
passages.
by
in
four
Carlo
The first
Cecere
ritarnello
schemej
accompanied
by
the
and
two
is
two
form
G
in
respect
to
the
dominant
if
violins
139
Vivaldi
tutti
these
more
the
remote
minor
has
the
solo
and
mandallne
a
the
in
concerto
1762)
in
its
during
violin
playing
in
the
concerto,
of
full
plays
major,
movement
by
of
mandoline
for
major
opening
second
first
the
performance.
to
(S.Uu,
violins,
forces
modulating
the
from
clear
in
the
Baroque
doubling
niindoline,
reproduced
the
supertonic
the
It
awn in
this
times,
episodes,
As in
for
with
between
mediant,
are
ritornello-
c. 1760,
similar
-Giuseppe
repertoire.
concerto
years'earlier,
domi nant.
major
The
(aUu,
appearing
passage
its
prolific
the
these
retain
movements.
III)
hold
concertos
Gaudioso
Domenico
the
the
of
to
with
Riggieri,
most
mean just
and
period.
and
basso.
does
this
able
well
of
works
and
orchestra,
an
not
these
that
manuscripts
part
violins
the
Barbell-a
this
of
majority
great
accompanied
the
to
contributed
this
Denis,
of
only
composers,
Giuliano
Fouchetti,
represented;
are
there
although
from
manuscript
Leond,
neither
mandoline
The
in
23
Surprisingly
as an overture)
A
similar
episodes,
a
high
bass
line,
less
are
they
exploration,
in
adventurous
make up for
it
their
harmonic
in virtuosity:
vim.
-Z e.-2ý
Carlo
Nany
of
the
Cecere;
Concerto
concertos
in A, ist
are
miniatures,
instrumentation
but
of the concerto
in F by Gregario
bars
of
allegro
2/4
also
in
in
length.
binary
140
mvt.
not
only
The first
Sciroli
form.
13-20.
=.
movement
consists
Together
in
with
of 60
the
26 bars
(to
of
end,
the
six
minutes
if
this
the
and,
framework
is
basso part
in
just
tutti
usual
and
concerto
passages
solo
is
part
in
Ugolini
G by
binary
retains
doubled
is
by
a
by
the
violin.
Concerto,
labelled
in
the
the
(S-Uu,
larger
its
for
largo
first
than
of slightly
form
brief
from
required
Vito
III)
in volume
under
However,
observed.
the
to
Sigue
a more elaborate
plays
concerto
is
form
it
separated
mandollne
are
movement
no virtuosity
but
movements,
binary
performed
preserved;
c. 1760, reproduced
dimensions,
middle
although
mandoline,
The
usually
repeats
all
are
violins.
is
small
conventions
alternate
and a 48 bar
work
entire
the
comprise
which
twice),
be played
within
2/4
grave
outer
which
the
Vhile
the
mandoline
is
part
entitled
Sinfonia,
and indeed
several
clearly
mandoline
concertos
call
themselves
Sin. fonia
or Overtura,
although
there
are no fundamental
musical
differences
between
such
works
works
which
are
either
and
other
concertos.
Two unusual
Antonio
dated
Sacchini
(the
Piccinni
latter
two mandolines,
basso,
and
Sinfonia
known works
presumably
the
for
written
1768,
viola,
are
parts
and Overtura.
this
for
in
preserved
reproduced
are for
Concerto,
are
concertos
F-Pn, one
the
other
bv
in
volume
III).
Both
two horns
labelled
variously
the
Another
same patron.
and
as
These are the only
and
141
Nicola
two oboes,
instrumentation,
by
were
two
both
oddity
is
the
Concerto...
toss
which
ecbo by Eterardi,
from
phrases
to the solo
unison,
the opening
two
the
violins,
bars of
in
playing
mandoline:
"Z
vim.
2-t lý
Eterardi;
By the
1780's
1790's
and
changing.
The
composed
by G. A.
first
movement
the
outset,
form
is
with
by
a first
a
the
Concerto
first
K.
the
restated
at
its
first
concerto
solo
was
concerto,
plays
in
development
142
the
has a sonata
a recognisably
defined
mvt.
soloist
is
of
ist
mandoline
theme
mandoline
of
nature
c. 1785,
Colizzi
although
opening
clearly
...
published
and,
movement
the
eabo,
from
form
the
an embellished
passage.
classical
section
This
design,
and
followed
recapitulation,
final
by
a
lyrical
adagio
and
rondeau:
IL
toloz
Ile,
jq 1,o k
vim-r-,
-0.
---
-
vtmr
vtm
111
'P
llý.
vw
=:
V"5
V4.4
I
G. A. K. Colizzi;
Concerto,
143
lst
lst
mvt.
lavt.
=m. 1-4,
=m. 25-8.
a
The
most
substantial
Bortolazzi
the
1799.
in
orchestral
full
elaborate
for
mandolin
unusual
by
that
undoubtedly
conventional
movements
are
movement,
variations
soloists
is
unique,
pianoforte,
two
bassoons
and double
So exceptional
must
have
group
of
instrument
However,
variation,
and
written
two
bass,
these
this
all
forces,
concerto
friends.
With
so
is
only
brief
given
in the middle
accompanied
the
that
only:
144
is
three
form
first
two
accompanied
group
of
joined
by
horns,
two
by strings.
one suspects
that
he
for
performance
by a
many
soloists,
each
passages
to
movement, the mandoline
lightly
of
The
the
being
oboes,
the
repertoire
sonata
but
-
mandollne
trumpets,
are
rondo
a
Giuliani,
since
-
solo
accompanied
Kozeluch.
enough
a
and
Maria
concerto
in
of
be made of
Antonio
Leopold
entry
for
being
also
concerto
(with
variations
part
by
first
marked
of
set
Hummel for
movement
the
should
mandolins
The most
Vivaldi.
a
mandoline
double
first
first
fermata
century
by
composed
form
a
Mention
two
eighteenth
before
by
orchestra.
concerto
the
with
followed
the
rondo,
that
A sonata
and
is
all
exposition
mandoline
cadenza)
by
is
concertos
mandoline
a full
of
by
the
upper
itseli.
has this
strings
lqllýaltlo
Leopold Kozeluch;
Concertant,
145
2nd invt.
var.
II
mm. 1-8.
6.6
CHAMBER WORKS
One composer,
Giovanni
about
four-fifths
written
during
published,
one,
Thirty-six
at
six
and
a single
and
are
in
one
quintet
fact
century
copies
by
mandolino
a rondo
or
to
set
his
use of
depending
set,
four
Ladislav
There
which
is
also
nineteenth
can be either
In
In
the
former,
the
latter
the
- minuet
mandoline
the
the
case,
and trio
differs
other
a
the
allegro,
sonata-form
andante
on
of
Rolla,
early
and trio.
is
commission
by Jan
quartets
a
minuet
most common pattern
However
to
by
one
and strings.
structure.
usually
quartets
and
Alessandro
four
without
a group
two
and
form of Giuliani's
is
rondo.
Giuliani,
Arauhal,
movement
of
an
movements.
a patron
two by Giuliani.
of
for
of
was
been
1790' s
mandollne
consist
to
three-movement
or
second
the
by
have
by Giuliani
for
nine
attributed
quartets
The overall
first
two
(five
number
quartet
the
music
music
seems to
known
six
The other
tine.
Dussik
two
of
sets
this
or number
for
accounts
chamber
of
during
forty-five
a standard
this
form
the
evolving
the
of
Arauhal),
None
instrumentation
any standard
Giuliani,
mandollne
period.
indeed.
and,
as
the
of
this
experimental
exist
Francesco
from
instruments
involved.
In
and
the
liuto
Vgm
set
for
(mandolone),
mandollne,
the
upper
146
violin,
two
cello
instruments
or
-
viola,
share
the
of
role
echoing
or
principal
doubling
melody
first
phrases
instrument,
heard
one
an the
often
other:
MON
Vi.
VL
L4-
C
G. F. Giuliani;
Quartet
147
no. I (LWgm), 2nd mvt.
mra.
However,
bravura
seniquaver
the
violin,
every
note
hand only,
an the
is
melody
are
passages
their
where
than
easier
the
although
too
is
considerably
some notes
to pluck
the left
with
be effective
to
quiet
to
exclusively
which has either
or play
a technique
given
execution
mandoline,
in a scale,
distributed,
evenly
in
a
quartet:
Al&ý)
V1,
1,11
.
Xany
Giuliani's
of
slow,
extremely
opening
of
Rutc,
the
much
quartet
ostinato
tonic
and
piece
of
so
more
4
is
harmonies,
to
than
QWgm),
and
mandoline
quite
follow:
148
is
change
his
with
suggests
first
extended
in
viola
9-12.
mvt. =.
harmonic
of
rate
no.
dominant
music
have
quartets
where
movements,
J20. I (AW9m), Ist
Quartet
G. F. Giuliani;
duets.
its
parts,
that
The
pounding
and
a
held
lengthy
EIE4
E
G. F. Giuliani;
Quartet
no. 4 (LWgm), 11t Mvt,
149
=.
An unusual,
,
the
feature
development
gives
clef.
Phrases
for
a bass
should
section
the
often
of
Iluto
such
instrument
be played
as
these
in
the
a melodic
this
are
that
it
lower
an octave
is
quartets
first
Giuliani
movement,
in
passage
of
during
that,
such
high
seems probable
than
the
treble
tessitura
that
they
written:
I's
VI"
v
G. F. Giuliani;
Quartet
150
no. 4 (,&Wgm), l6t
mvt- =.
90-7.
Xast
of
correspond
However,
instruments
mandolines,
apparent
instrumental
the
in
of
one
and
flute
instruments,
accompanying
the
moving
often
sets
the
six
them
instruments
has
from
thirds
when the
Fl.
04
It
cd)
151
uses
quartet.
for
role
of
the
melody
rhythmic
flute
two
this
resolves
principal
in
high
three
quartets
the
alternating
playing
string
Giuliani
cello.
by
the
LLs
at
bass,
one
and
imbalance
mandolines,
to
only
to
roughly
range
Giuliani
combinations
enters:
unison,
G. F. Giuliani,
As
mentioned
left-hand
can
instrument
to
play
perform
such
violin
is
part
secondo,
and
written.
In
only
for
with
mandoline
no
the
violin
way to a stream
labelled
in
as
G,
in
whereas
and,
although
playing
the
than
melodic
of demisemiquavers
152
is
the
a
role,
with
illustrated
in F, the
violino
semiquaver
equivalent
first
violin
ou
mandolino
the
chamber
easily,
This
the
use
when
In the quartet
shorter
quartet
cannot
comparatively
by Dussik.
1-8.
m.
difficulty
bow stroke.
notes
zvt.
effectively
scales,
passages
in the two quartets
Ist
mandoline
encounters
fast
very
to a single
many notes
the
techniques
slurring
required
no. J (11s),
because
above,
the
music,
Quartet
part
movement
it
are
soon
from the violin:
is
opens
gives
-1.
I L,
fn&
v/
'a-
Glovaunl
Duss1k;
Quartetto
153
in G, ist
=vt.
SONGS WITH MANDOLINE ACCOMPANIMENT
6.7
brillant,
Cet instrument
il
est tr6s
est charm"
le
doulourla
des
martire
nuit
pr* exDrimer
fes
d'une
fendtres
Maitresse
amans
sous
1772, preface).
(Corrette,
Although
the
two
past
(in,
for
instance,
only
Pietro
Verdi's
Otello),
maftres
de mandoline
the
accompanying
where
publishing
four
of
his
the
second
the
opdra
half
Rodolphe,
simple
settings
adds
which
sketch
played
by
arpeggios,
effective
Denis
to
of
the
singer.
varied
with
The
in
yet
They
consist
pedal
notes
two
from
songs
III
volume
mandoline
the
final
France
were
ariettes
case
by
songs
mandoline
in
part
during
from
Denis'
with
Nonsigny,
to
accompaniments
harmonies,
the
out
of
Gr6try,
contemporaries.
straightforward
sixths.
reproduced
and their
the
was
for
contribution,
in
volume
century
this
century
with
circulation
eighteenth
and
Kohaut
Denis
the
of
in
area
songs
a fifth
songs
one
and
suitability
important
an
of
its
for
Giovanni
eighteenth
of
was the
made
comique,
collections,
and
Most
m6thode.
favour
in
including
Don
the
of
the
over
instrument
Mozart's
volumes
and
mandolin
ideal
the
as
This
Denis
the
of
Denis
argued
voice.
literature
accompaniment
been
has
centuries
serenading
image
enduring
most
are
typical
are
these
simple
mostly
and
to
enough
of
passages
Monsigny's
of
songs,
these
be
guitar-like
in
thirds
Deser-teur
but
sparing
arrangements.
devotes
a discussion
most
of
of
the
the
third
technique
154
part
of
of
his
methode
accompanying
(1773)
oneself
an
the
the
on
application
in
instrument
that
claiming
mandoline,
of
part
this
only
unfamiliarity
limits
players
lack
and
the
use
of
of
the
way:
lamour
dtend
les
Souvent
propre
aussi
racines
fait
de llignarance,
clest
ce qui
que beaucoup
Jusqu'A
de gens ant
prdsent
pr6tendu
qu'an
ne
sai
et s'accompagner
m6me avec
chanter
pouvoit
Ils
les
la lf; ndoline.
ant
mdme negligb
moyens
fal-loit
de 116tude
dly parvenir,
parce qu'il
et
les
l1application
(Denis,
de
pour
connoitre.
1773,1).
The study
of
method
the
mandoline
is
instrument
when the
sound is
le
...
(Denis,
be played
fort
le coup
1).
that
seems to be saying
just
composed
the
before
Die
accompaniment,
komm (reproduced
November
mandoline
while
still
two
1780
voice
parts
soundhole
out,
la
and:
voix
to
155
the
attack
a
with
and
Kd=,
III)
in Munich,
full
add memorable
the song:
should
so that
songs
1781.
provide
note
voice,
in volume
mid-March
forme
qui
mandoline
enters,
Zufriedenbeit,
which
managing
cut
du gosier
short
original
in full
and
the
The resulting
-avec
the
is not masked by the more powerful
Mozart
the
over
voice.
bien
Denis,
to
the
must be plucked:
mandoline
tems que
en'mdme
...
Ubid,
le son de voix
Here Denis
the
used with
marie
son se
1773,1).
the
Secondly,
must be plucked
to
refers
According
many of the harmonics
with
sweet,
he speaks
which
be employed.
to
attack
of
strings
of
and application
Both
mandoline
liebe
have
harmonic
melodic
Zither,
between 8
attractive
background
fragments
to
V. A. Xozart;
The principal
of
the
in
this
difficulty
is
voice
his
a bass
around
the
line,
voice.
overcome the
of the
capacity
bissex
with
solo
mandoline
tessitura.
ariette
(reproduced
leaving
the
Another
problem
(discussed
to play
high
one of
splendid
adding
to
Komm,
ka-zuz4 mm. 9-12.
Zitber
liebe
was the
156
in
(ultimately
development
in chapter
a bass line.
Cifolelli
mandoline
attempt
7),
accompaniment
resolves
volume
free
to
III)
by
weave
unsuccessful)
in Paris
a mandollne
c. 1773
with
the
6.8
ARIAS
of the
The most famous appearance
the
in
in
instrument
the
throughout
examples
Xancini's
opera
Alessandro
and
aetas
(1716).
triumpbans
Handel
(1748),
Deb, vieni
before
arias
beginning
with
Francesco
Sidone
(1706),
Juditba
oratorio
Hasse
(1759),
(June
finestra
alla
use of
mandolin
in
Salieri
and
this
Xajo
1787)
famous names to have contributed
amongst other
arias
Vivaldi's
strings,
from
Grande
from
(1778),
Gr6try
(1760),
such
Palma
il
where
means exceptional,
century,
Scherza
as
Transit
of
eighteenth
such
pizzicato
no
is
from
III),
However,
by
been a tradition
having
there
in volume
over
is
opera
finestra
alla
eponymous hero.
the
accompanying
the
line
obbligato
an
plays
vieni
(reproduced
Don Giovanni
Xozart's
it
Deb,
canzonetta
in opera
mandoline
are
mandolin
was composed late
in 1787.
In
late
of amorous intent,
serenades
usually
scales
playing
vocal
line,
either
the
mandoline
and
arpeggios
a
restrained
to
free
to
the need to support
indeDendent
solo
or
continuo
is
and
these
opera
century
eighteenth
an
the voice,
varied
part
song.
157
allowing
than
is
mandoline
backing
orchestral
obbliffato
are
a slowly-moving
harmonic
a small
play
the
with
against
arias
from
group.
line,
for
The
without
a much more
possible
in
the
The
instrument's
opera
prior
bramate
in
from
full
in
most
celebrated
to
Don Giovanni
il
barblere
III)
volume
Paisiello.
Until
this
opera
enjoyed
and
Count
Almaviva's
by
Rossini's
mandoline
(although
a guitar)
would
was
in
Sivig-lia
di
the
the
Giovanni
Europe,
Rosina
specifically
have
it,
supplanted
throughout
of
serenading
undoubtedly
reproduced
Neapolitan
enormous success
any
Saper
aria
(1782,
1816 version
Beaumarchais
in
appearance
with
a
requests
been well-known
to
Kozart:
A
Giovanni
The acconpaniment
so
that
the
Falsiello;
in
singer
Saper bramare from il
siviglid,
mm. 1-6.
barblez-e
these
arias
is
often
very
does
not
have
to
project
158
di
light,
too
forcefully
uses
.
drowning
and risk
with
continuo
the
out
violins
pizz-zicato
Vivaldi
mandoline.
the
at
octave:
Z
Antonio
Vivaldi;
the
Frequently
Transit
mm. 'l-4.
Aetas
alone
continuo
from
Juditba
remains
silent,
anonymous
late
eighteenth
century
aria,
mandoline
part,
although
the vocal
imitates
part
not
in
harmonic
the
provides
the orchestra
while
support,
Triumpbans,
as in this
where
the
frequently
canon,
at a minim' s distance:
0-4ý
ß'13o
fi-ZT-4ý
II-
6a,
I-Ic!
ý01ýII
Ll
-kp
!
1-
i
brillF--
1i
Anon; aria
C-
1-b;, 1- 1f-1; 11i,
-
S.herzo- 1*,,,( -'a
3
I le -F
Scber-za 1 lalma,
159
e
I !ý =Lf:!
r;
E El
c'Per-
-8------
=.
-I
9-13.
a011.
Gaetano
Andreozzi,
(c.
1800),
and
wind,
these
of
in
his
the
accompanies
and
latter
interjections
partly
passages
from
frena
aria
with
voice
partly
mandoline
he allows
the
quel
rest
only
of
the
6 cara
pianto
with
strings
and
archlute.
the
most
In
sparing
orchestra:
VAS.
ob6es.
cl.
C*rA#.
Fal.
A6. D.
qrcL".
,
Vo
ice.
gamo.
Gaetano Andreozzi;
Frena quel pianto
160
d cara.
=.
39-42.
At
the
given
present,
operas,
century
eighteenth
it
have been consigned,
about
how frequently
them.
However,
from
the
contributed
that
the
half
this
the
known contemporaries,
The
operatic
period,
finest
set-piece,
and
Mozart,
example,
not
to
it
possible
serenade
leading
is
works
a great
although
although
certainly
did
161
their
have
have
to
assume
less
well-
not
yet
been
many more examples.
a
occurrence
he composed
not
in
composers
century
never
was a comm n
ones,
appeared
reasonable
of
most
generalize
opera
eighteenth
scares
whose
serenade,
mandolin
Italian
the
would reveal
rehabilitated,
which
particularly
the
genre,
to
oblivion
mandoline
of
through
a search
is
as most of
second
to
complete
create
the
regular
in
perhaps
form.
this
the
6.9
SOLOS
Apart
from
few
very
short
eighteenth
Pieces
mandoline.
seem inadequate
it
is
it
longer
the
Leon6
the
op6r-a
in
reproduced
entirely
single
of
line
the
of
and,
notes
although
and an upper
part
means that
the
quill
or be played
strings,
difficult
are
unaccompanied
instrument,
to
two
write
compositions
several
full
heavily
held
In
in
the
upper
and
are
an
sets
X6tbode
III)
volume
dominant
performance
his
in
comique
invention
on
solo
includes
considerable
effective
for
there
truly
parts.
variations.
from
use
making
of
pieces
be on adjacent
must either
independent
students,
a bass
play
the
separately,
Most
consisting
to
simultaneously,
notes
century
on a plucked
possible
for
compositions
of
melodies
(one
which
is
show
but rely
part,
tonic
sets
pedals
to
pieces:
vori
Leon6;
de sa modeste
mere,
162
theme mm. 1-4,
1 mm. 1-4.
& variation
too
be
Riggieri
in
(reproduced
melody
These
1770's.
bass
inserted
notes
In
possible.
part
are
others
out
Antoine
Riggieri;
in
fill
the
builds
he
of
a mixture
France
in
mandoline,
harmony
the
out
century
up
the
with
whenever
two-
a genuine
notes
on
different
scales
and
arpeggios
harmony:
the
sketch
for
alternating
with
in
seventeenth
popular
well-written
some places,
texture
strings;
a late
become
to
an La Fustemburg
variations
III),
volume
had again
which
of
a set
published
,W').
At first
final
sight
is
perhaps
variation
variation
Bb chord
the opening
seems
variation
Riggieri
that
La Fustemberg,
so insistent
he really
and the consecutive
to
be
on it,
does
fifths:
163
a
5 =.
6 =.
at the start
the
it
a
of the
however,
misprint;
writing
intend
1-i,
1-4.
six
modal
times,
harmony
oloz
Antoine
In
EPc
Riggierl;
is
La Fustemberg,
manuscript
a
by
6 mandollno
violino
title,
do
these
passages
without
not
a second
of
Francesco
appear
those
as
such
set
10 =.
variation
to
given
24
Sanate
Lecce.
be
below
1-4.
a
Despite
their
solos,
genuine
little
make
di
sola
as
sense
part:
otez-
Francesco
Sonatas
page
Lecce;
basso
with
as
being
sonate
were
for
a solo,
often
mandolino
to
compositions
appear
accompanying
bass line.
no. 2 mm. 12-13,
mm. 9-11.
described
solo,
on the
and
have become detached
164
no. 11
these
from
title-
Lecce
their
CHAPTER 7
OTHER INSTRUMENTS RELATED TO THE MANDOLINE
1 Mamma
twice
Literally
has
six
free
over
neck,
are
bass
twenty
overcome
run
frets
on the
the
is
The
Henri
was designed
Nadermann,
nandolin,
which,
c.
1773.
and 'possesses
run
the
alongside
(g-a-dl-gl-bl-el')ý
six
in
There
fingerboard.
by its
the
and
high
of
and
tessitura,
The blsgex
as being
free
six
three
of
range
inventor
a
bass
strings,
half
octaves,
discussed'
did
ideal
earlier
not ever
achieve
popularity.
surviving
a
an illustration
in
example
1951,
th! B -XusL6e Instrumental,
For further
Paris.
de Xusique,,
see Vannes,
instrument,
7.2
total
problem
Conservatoire
contains
a large
to the mandolin.
widespread
There
like
was advertised
a
regard
with
by J.
a further
which
give
which
built
acconpaniments,
vocal
instrument
(A-B-c-d-e-f)
strings
The instrument
for
and
back
a rounded
this
strings,
by Van Hecke
Paris
It
six
reading
and Baines,
of the
bissex,
1966.
on the
The latter
320 - 21.
nos.
1
Calascinne
colascione
century,
probably
was developed
by Turks
in
Naples
who settled
165
in
in
the
Italy,
fifteenth
and was a
conbination
with
characteristics
often
confused
of
the
5,6.7,
between
neck was fitted
frets
sixteen
Xersenne,
but that
with
single
many different
and the three
The instrument
rustic
paintings,
colascioncino,
features
achieved
the
performances
narrow
strings,
and about
tunings
were used,
the two string
in
It
Merchi
was con
writing
many seventeenth
in
France
was
introduced
brothers,
in
1753,
and a
century
termed
often
version,
popularity
version
to an octave
version
string
and a smaller
century.
Neapolitans,
by
colasclone
long,
very
is
a type
described
of the
cm and the
two or three
says that
fifth.
Mnoir-es,
length
the most common were to tune
eighteenth
It
on the fingerboard.
1636,
to a fifth,
buzuk),
or
construction.
izandora,
The overall
120-150
tanbur
the German name for
8-course
(1790).
(the
lute
calacbon,
or
was usually
lute
Italian
of
with
Albrechtsberger
long
Arabian
the
of
in
the
there
one
mid-
by
of
nted upon by the Duc de Luynes,
the
two
whose
in his
in 1753:
deux Italiens
A la fin de son concert,
qui
...
d'un
instrument
jouent
c'est
une
singulier;
la
fort
dont
de
nanche est
guitare
esp6ce
le
Cet
longue.
instrument
slappelle
il
est nont6 avec deux cordes
calichonchini;
il
A la quarte;
a deux octaves;
on
accord6es
norceau d'6corce
pince les cordes avec un petit
Ils
jouerent
d'arbre
ternin6
un
en pointe.
en duo;
morceau de musique qui est un dialogue
de cet instrument
ils tirent
un grand parti
et
le rendent
ils
agr6able;
ont une
m6ne fort
on peut bien Juger qulil
ex6cution
prodigieuse;
de nouvement qui peuvent
nly a que les airs
Quynes, 1860).
r6ussir
Their
equally
perfornance
at
the
Concert
impressive:
166
Spirituel
in
Paris
was
Merchi
fr6res
jouent
Krs.
de leur
un concerto
le
Calasoncini:
sur
composition
clest
un
& deux cordes,
instrument
mont6es sur le re & le
la,
tr&s-born6;
par cons6quent
mais la mani6re
les deux nusiciens
dont
Italiens
extraordinaire
le
trds-surprenant
jouent,
& asse-z
rend
en
ffercure
de France,
June 1753,
2,
pt.
agr6able
163).
for
In an announcement
Giacomo
1766,
in
London
Room in
he was giving
a concert
Merchi
at Hickford's
he
that
announced
would:
pieces
on a new Instrument
several
perform
the Liutino
Moderno, or
by him called
invented
1955,46).
(Elkin,
the Calisoncino
A few pieces
an the
it
and describes
but
Cremonese
the
mandolino,
and
This
instrument
late
eighteenth
invented
that
to
mandolin
with
reading
instrument),
of
the
had
a
Brescian
single
gut
fixed
than
and
became
167
a
refers
mandolin,
The
strings.
Neapolitan
instrument,
bridge
like
the
block
head.
The
plectrum.
developed
(Bortalazzi
1805)
or
a cherry-bark
was probably
century
(Leipzig,
four
rather
a scrolled
were plucked
strings
For further
1985.
Cremonese
as possessing
was identical
tuning
(Dresden),
Nandoline
as the
instrument
this
including
survive,
Mandolin
Anweisun8- die
Bortolazzils
instrument
see Donald Gill,
colascione,
Cremonese
7.3
the
for
music
by Domenico Colla
sonatas
six
to
of
in
speaks
Cremona
of
moderately
it
in
the
as a newly
popular
in
Vienna.
There
Anweisung
is
an illustration
5.6).
(fig.
on the
There
is
an
c.
1810, catalogue
A manuscript,
attributed
to Francesco
the musician
mentioned
(Italian,
mandolin
title-page
Cremonese
anonymous
1.8)
no.
the
of
in the
Each
Haus, Eisenacb.
7.4 Genoese Xandallix
4.1)
in ch.
Conti
(a descendant
and entitled:
llistesso
della
l1accordo
Mandola
SCOLA del Leutino,
Chitarra
francese
alla
Mandolino alla Genovese (c. 1770 - 80).
can be found
reproduces
work).
in
Although
900
it
of
tuning
above
the
suggested
although
Sachs
different
types
Fadovano,
Senese
existed
presumably
of
mandolin
etc. ),
as individual
in the eighteenth
The following
and not
It
1913.
Sachs,
found
there
types,
is
with
from
this
to
it
the
the
*general
does give
exactly
one
S-b-el-al-d"be
should
examples
he lists
7.1
a
e-a-d'-g'-b'-e'',
modern guitar,
by
with
and terminology,
signs
(fig.
information
concerned
mostly
instrument:
the
of
mandolin
direct
little
della
osia,
Glasgow
Genoese
a
of
musical
Library,
Music
gives
being
explanation
octave
Euing
depiction
a
mandolinist,
the
the
of
of
(Fior-entino,
no
evidence
the
tunings'
noted
the
that,
many
Genovese,
that
these
he suggests,
century.
pieces
by Nicco16
the Genoese nandolin:
168
Paganini
were composed for
1
W
-
+-
\!
_
ZI:
fig.
7.1
-
\\
Francesco
Conti;
attrib.
of a Genoese
mandolin.
169
depiction
Sonata p rovene
di NiccoL3
'Arrigo
Parma).
Boitol,
Xinuetto
p 1'amandorlino
Bibliografico
Ser,enata
(Biblioteca
'Paganinil,
Genoa).
The
sonatas
chords
e
Paganini
di
Musica
(Civica
francese
cbItaz-z-a
Zaneboni
of
Schwerin,
rather
than
have
been
to
appear
XiccolLi
dell'Istituto
Allgemeinbibliothek,
mandolin
(Conservatorio
Museo
Bologna).
11amandor1ino
p
Faganini
Genoese
di
Musicale,
three
Paganini
NIccoI6
(Liceo)
in
be
mandoline,
by
adapted
Musicale
Wissenschaftliche
the
may also
the
di
intended
for
although
several
copyist
for
the
the
the
zandoline.
7.5
Maindnln
It
has
been
instruments
Leon6
day.
or
have,
(1768,1)
Most
liuto
these
that
that
this
called
either
the
of
mandola.
in
existed
confusion
are
different
several
been
times,
various
instruments
instrument
use
either
mandola).
the
notes
of
widespread
in
at
2
ch.
his
own
mandolino
type.
Another
tuned
in
noted
today,
c-g-dl-a'
It
is
eighteenth
by
called
not
this
a larger
is
(tenor
known
century,
name,
which
version
of
mandola)
whether
as
170
no
these
music
or
the
in
still
mandoline,
G-d-a-el
tunings
or
is
were
tutors
(octave
in
for
use
the
have
instrument
Neapolitan
is
mandoline
the
the
above,
mentioned
bearing
instrument
known
As
survived.
earliest
characteristics
Vinaccia,
by Gaetano
a mandola
the
of
dated
1744.
7.6
l(anrinlone
To the
to
the
complete
to
these
However,
notes,
single
in
expect
lower
music
range
mandora
descends
for
instrument
of
manuscripts
for
written
these
the
type
also
contain
the
Prague,
for
frequent
in
earliest
171
Roman
and
where
several
instrument.
the
being
entirely
chords
one
might
instrument.
the
a large
ch.
2.
is
mandolone
may be that
was actually
mandolone.
name
by the
the
an eight-course
described
the
in
century
writing,
to C, and it
parts
line
however
for
parts
cello
the
without
bass
developed
Muzeum in
resemble
parts
to
1973).
contain
works
bass
century
the
play
music designated
NArodni
either
a three-strIng
mid-eighteenth
(Godwin,
the
chamber
manuscript
in
in
the
in
surviving
be found
to
and
refers
nineteenth
instrument
Ferrari
F-G-A-d-g-b-el-al
The earliest
to
or
To most organologists
an eight-course
Gaspar
luthier
to
mandolin
mandolone
late
the
family
orchestras.
mandolin
tuned
in
developed
the
C-G-d-a)
(tuned
mandocello
instrument
refers
mandolinist,
modern
term
the
The
intended
mandola
These
known use of
or
Prague
the
word
The earliest
in
a Neapolitan
Leuto
music for
surviving
Pottava,
con
of
manuscript
48/A
in
the
The
music
in
this
Conservatorio
in
unequivocally
for
an
the
nineteenth
as,
in
even
usually
Ferrari
referred
type
The earliest
Gaspar Ferrari,
to
may well
surviving
an
del
instrument
mandoIcne
instrument
of
is
and
was
the
have been intended.
mandolone
Rome, 1744,
Copenhagen (Claudius,
liuto,
the
a penna /
manuscript
the
century,
be found
Biblioteca
plectrum
eight-course
as
Cbitanra
1760,
c.
no.
ms.
Milan.
mandolone may well
in
133).
172
of
the
which
I am aware is
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by
Nuseum,
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TRANSLATIONS OF FOREIGN LANGUAGE CITATIONS
by this
call
p19 The Neapolitans
to the mandola, but much bigger.
which are struck with a plectrum,
sound (Bonani).
name an instrument
similar
It has eight metal strings
and gives out a pleasing
like
the
The mandoline
is tuned in fifths,
exactly
p22
there are some other instruments
of roughly the sane
violin;
in
Italy,
Xandoles
and which
called
are
shape which
here,
often confuse with the one under discussion
strangers
to participate
in the
the most perfect
type. It ought Justly
which is acknowledged to be the
of the violin,
prerogatives
instrument
(LeonO.
and widely-used
most universal
I have seen Mr Julien,
p24
in
of the mandollne,
player
to
whom I believe
(Denis).
Naples..
time carry only
nust
at
one
p27
...
and one idea to the soul (Rousseau).
be the
one melody to
finest
the
ear
the
the
time
literature,
Italian
at
of
admired
p28
its prestige
in
Renaissance and the classical
epoch, lost
Kme. du Bocage bemoaned the slowing
the eighteenth
century.
the
Dante.
literary
down of
country
of
commerce with
Journal
6tranger
from
1756,
the
Starting
established
Florence
Venice,
in
Rome,
articles
on
correspondents
...
the
the
became more copious
Italy
controversy
on
...
language,
then
in
the
the
Italian
raging
of
merits
(Bellanger).
this
in
revue
reflected
was
peninsula,
Sr. Sodi,
p28
Royal
Academy
there
mandoline
de France).
brother
of the excellent
Paris
[the
Music
of
the success
which
with
Pantomime
from the
Opera],
his
played
he deserved
(Nercure
[sic],
Cifotelli
Signor
of the Elector
a musician
p29
his
Palatine,
of
own composition.
sonata
mandolin
played a
is
The mandollne
guitar,
and Signor
of little
a sort
France).
de
(Xercure
it
Cifotelli
skilfully
played
for
time
had
in
We
have
this
some
a virtuoso
whose
city
p30
known.
be
M.
deserve
to
in
talents
universally
way
every
the
has in his manner of singing
Cifolelli,
all
an Italian,
in artists
with
of his
country,
graces
one admires
which
from a very
He draws infinite
faults;
variety
none of their
it
taste
his
nakes
appear calm or
exquisite
small
and
voice,
that
He
to
this
his
to
of
adds
merit
will.
excited
according
himself
and
upon the nandoline,
most agreeably
accompanying
X. Cifolelli,
as much through
music.
of composing
charming
has excited
the
his
his
compositions,
as through
singing
We cannot
suggest
societies.
admiration
of
many private
him,
hear
to
that
go
and receive
amateurs
strongly
enough
de Xuslque).
from him (Journal
lessons
194
Leoni
Signor
p30
(Nercure de France).
played
the
mandoline
with
great
skill
M. Leon6 executed
a very good mandoline
p30-1
solo
of
This artist's
taste.
skill
was astonishing
pleasing
and he
for
was a genuine success, which was all the more flattering
him because his chosen instrument
is not loud,
compared to
the size of the venue where he was displaying
his talents
(Nercure de France).
In the concert,
both surprise
one heard with
p3l
and
X. Leon6, Professor
of the Randollne,
pleasure
executing
Clarity
instrument.
different
pieces on this
of playing
and
further
(L'Avant-Courreur
des
could not be carried
precision
Spectacles).
p34 One would have wished that M. Gervasio had done himself
that the mandoline, is quite
justice
and realised
unsuitable
in a place where one can only hear large ensembles;
these
(Le Journal
would have spared him some vexation
reflections
de Paris).
to detail
It is
here all
the ancient
not necessary
p37
good and bad, and to deliver
customs,
a long verbiage
of
imagine to be of some use
people falsely
rules which certain
I have seen, in Naples, Mr Julien,
to
whom I believe
be the finest
mandolinist,
and who assured me that
no one
has fixed or decided the strokes
(Denis).
of the plectrum
I can, in six lessons,
the hand and
p37 Besides,
position
that I have proposed,
for the price of
accomplish everything
livres,
thirty-six
payable in advance (Denis).
I determined
to do this,
partly
p38
owing to the lack of
the instrument
teachers
capable of demonstrating
adequately
is not well-known,
in a region
but still
where it
more
because I believed that I had to remedy a defective
treatise
(LecnO.
which has already appeared on this subject
It is a mistake
to think
that
the mandollne
is an easy
p38
Those
to
instrument.
teach
it
in
who undertake
twelve
lessons
principles,
must have got their
and in consequence
from some famous Neapolitan
their
But it is
music,
stroller.
in
them the
to discover
true
much easier
portrait
of a
is even to learn
Quack, and the love of money, than it
how
in so short
(Leond).
to tune the instrument
a time
is not
This instrument
p39
because
four-course
wndollne,
At present
the neck as cften.
type,
more
and is considered
of taste (Fcuchetti).
question
to play as the
as difficult
one does not have to move up
it is preferred
to the other
harmonious,
though this
is a
195
Day, the concert
The first
of November, All Saints
p4l
by Gille.
chair
commenced with a Matet for full
spirituel
de VILLENEUVE, this young person whose talents
Mademoiselle
the Fdte de Cbill7
announced in reporting
we have already
with
composed by X. Frizeri,
performed a mandoline concerto,
of the most skilful
master.
all the art and great execution
She gave greater
pleasure than one could have expected from
lacking
dry,
in
too
is
and too
an instrument
which
hall.
Mademoiselle
de
to be heard In a large
resonance,
talent,
to this
Villeneuve
is not limited
although
she
(Journal
She is also expert an the harpsichord
excels at it.
de Nusique).
1,1770,
there
November
was a concert
loudly
the performance
One applauded
of Mlle
by M. Stritzieri
a concerto
who played
This
to
virtuoso
proposed
and precisely.
but arrangements
did not
play a concerto
on the harpsichord,
(Nercure
de France).
it
permit
Thursday
p41-2
spirituel
...
de Villeneuve,
lightly
[Frizeril
in
Strasbourg
dressed
the
Madame
Favart,
perfectly
p42
Clerval,
M.
holding
husband,
her
a
arrived
with
manner,
by a young girl
the
by the hand and preceded
playing
child
Villeneuve,
de
It
Mademoiselle
a young person
was
mandoline.
daughter
Is
the
She
full
talent.
of M. de
of grace
and
The
Villeneuve,
Director
of the Com6die at Strasbourg.
..
Villeneuve
de
the
Mademoiselle
talent
on
of
superior
de
Nusique).
(Journal
is
to
relate
mandoline
not easy
the mandoline
p42
played
...
which was most extraordinary
M. Aldaye
the younger,
p42
both
on the mandoline
with
France).
and a rapidity
with a facility
de Nusique).
(Journal
aged about 10 years
speed and precision
old,
played
(Xercure
de
for
This
instrument,
a large
as unsuitable
regarded
p42
hall,
a mellowness
and
under his fingers,
concert
achieved,
impossible;
he
one would have believed
a perfection
which
de
Paris).
(Journal
was applauded
enthusiastically
been
for
have
two
there
this
town
some tine
p43-4
they
Venetians
the =ndoline;
called
who teach an instrument
have many male and female
students,
and those
who
already
themselves
to
to augment
their
address
number should
wish
des Jacobins,
House,
the Swiss
near the 'Place
rue Raisin,
They have to remain
for
in
a while
where they
are living.
de Lyon).
our town (Afficbes
In
Sr.
p44-5
twelve-string
Sr.
p45
mandoline
Cremaschy,
mandolin
an Italian,
in this
town
continues
(Afficbes
Dubrec,
the younger,
pupil
ai Sr.
to S. A. S. X. le Duc de Chartres,
196
to teach
de Lvon).
Leani,
maftre
has settled
the
de
In
this
livres
town,
lessons
instrument
and offers
on this
at nine
livres
His
in' town.
a month at his house,
or fifteen
& he believes
principles
are the same as those of Sr. Leoni,
himself
due to the rapid
worthy
of public
attention
progress
de Lyon).
made by those who come to him (Afficbes
Sr.
Verdone,
Italian,
p45-6
musician,
proposes
spending
in this
town,
his services
some time
and offers
persons
-to
to play
to learn
the mandoline;
he asks only
three
wishing
to make good students,
done in
months
as he has already
London and Paris,
with his particular
method of simplifying-,
the principles
To judge his capacity
talent,
all
you
and
...
de Lyon).
to him at his, lodgings
(Afficbes
can listen
Sr. Fouquet,
p46
pupil. of the best Paris
of the
maltres
the
bow to play
to
teach
par-dessus-de-viole,
offers
himself
from Sr. Leoni (Affiches
mandollne,
which he learnt
de Lyon)
the,
Dresden 2 September 1803 ...
About Bortolazzi,
p56
I say nothing
he does aI ot.
mandolin player,
except that
But what a poor tool that only chirps and cannot hold a note
in order to produce a singing melody (AMZ).
Virtuoso
On the
Herr Bortolazzi.
on the mandolin.
p57
heads and
their
shaking
repeated,
mndolin?
many readers
is true
Though it
that
this
So be it.
small,.
grinning.
by few and has
is well-played
limited,
instrument
chirpy
in Germany, Hr. B. gives a sterling
credit
gained little
Tastefully
demonstration,
and feeling.
with imagination
and,
he speaks through,
industry
this
with- unflagging
paltry
instrument.
His concertos
orchestra
are, by their
with full
but his Variations
interest:
very nature,
of little
and
(mostly
similar
with his seven-year-old
son,
small
pieces
his
him well
who accompanies
and also
on the guitar),
improvisations,
and well worth hearing.
are most delightful
Scarcely
to
would be inclined
anyone except
an Italian,
in such a small skill.
Hr. B. has also published
specialise
for his instrument;
pleasing
compositions
others are still
to appear (AM.
Zaneboni
has the honour
that,
to announce
p61-2
-Monsieur
7th January,
des masquerades
in the salla
next Friday
of Mr.
Maddox,
the
he
and
after
comedy,
give
a vocal
will
instrumental
in the course
concert
of which
on the mandolin,
he will
perform
namely:,
many pieces
of his own composition,
1) A symphony for full
orchestra
2) A concerto
for mandolin
3) Mlle.
Vigna will
sing an Italian
air
4) A symphony
5) A solo with variations,
for the mandolin
6) An italian
air
7) A rondo for the mandolin
(Gazette
8) A symphony
de Noscou).
...
197
There
P66
are
mandoline,
and
instrument,
which
(Fouchetti).
ten
the
frets
'fingerboard
onthe
table
several
others
an
are used when one has to change
There is
p67
a plaque
of hard
grdnadille,
palissande
etc. and which
do
put there so that quill
strokes
because beginners are subject to this
the'
of
of ' the
position
wood, such as ebony,
instrument
nakers have
the table,
not scratch
fault
(Corrette).
There are some other instruments
p67
of a roughly
sinilar
form which one calls
Nandoles in Italy,
and which foreigners
here, which is
often confuse with the one under discussion
the most perfect
to participate
in
and which ought Justly
the prerogatives
recognised
as the most
of the Violin,
(LeonO.
instrument
universal
and versatile
the death of Sieur
p67 Inventory
after
September 1785
Neapolitan
Item:
two
...
National) ordinary
ones Urcblve
Franqois Lejeune. 21
mandolines and four
Dupuis,
Marie-Jeune
Inventory
death
the
'wife
p68
of
after
Item: three' four-string
29 September 1801 ...
of Lejeune.
Neapolitan
each, making
=ndolines
reckoned at four francs
twelve francs
Urcblve
National).
Guersan 25 October
the death of Sieur
p68 ' Inventory
after
1770
is a new one
Item:
three
which
of
one
m3ndolines,
. ..
from
Naples
livres;
twenty-four
another
with
case,
at
livres,
from Naples
probably
and
at eighteen
with
red case,
(Arcbive
livres
another
new ordinary
at twelve
one, reckoned
National).
As regards
the e' I,
pt58
use gut
de vicle
cbanterelles
of the par-dessus
taking
strings,
(Foucbetti).
As regards
the
use
P68
quality
of the- strings,
(Corrette).
for the ell strings
cbante. relles
of the guitar
the
the
for eight
days
When they have been cleaned
and softened
p69
In alkaline
to be twisted;
they are put together
one
water,
ior
the
thinnest
two cruts together
strings
of
puts
only
Wfor
three
the first
of violins,
seven
mandollnes,
strings
for the lowest
(Encyclop6die).
Use
As regards
they must be of brass.
the strings,
p70
for the a'. The d' is number 6.
number 5 harpsichord
strings
but two are twisted
the bour-dons,
for each d'
together
bourdons.
but
or S, are also of gut but wound; use violin
for 'the
very fine ones. Some people use wound silk
strings
bou.rdcns; thev sound verv crood (Foucbetti).
Harpsichord
p70
strings
half-wound
and the S fully
for
no. 5 yellow,
wound (Corrette).
1.Cia
the
a' , the
d'
that is
I have spoken of the four-string
mandoline,
p70-1
because they are tuned two by
to say four double strings,
that is to say, to the same sound, excepting
two in unison,
For this,
the thickest
string,
g, where one puts an octave.
to the a' , tuned an octave above the
similar
use a string
thickest
string
g. Sometimes two bourdons are put together,
the other three courses
then they are tuned in unison like
(Fouchetti).
p7l
This
tuning
is
the
=st
common (Corrette).
but
There
much
as on the
violin,
gut
strings,
p7l
are
The double
finer.
on some
which one meets with
wire strings,
lovely
less
sound
they give
a far
mandolins,
are no good;
those
former
than
the
are
with
sort
eight
strings
...
these
Neapolitan;
an
sound unpleasant,
with
called
alone,
left
sound,
so we are
as before
overly-hard,
zither-like
four string
mandolin
with the newly invented
- the Cremonese
is
Brescian
pleasing
and possesses
a full,
or
which
tone (Bortolazzi).
songlike
the guitar,
the leftThe mandoline
is held like
p72
with
four
hand
thumb
the
other
course
under
and the
second
fingers
on the four
easily
rounded
so as to be able to rest
to
When playing
is necessary
courses.
up, it
while
standing
ladies
(which
attach
a pin to
with
affix
a little
ribbon
their
dress
coat
of their
and which men slip
onto a button
to a button
the underside
or jacket)
of the
which is behind
down,
When playing
neck Cof the
mandolinel.
sitting
while
in any manner as long as the fingerboard
is
pass the ribbon
(Corrette).
raised
at the left
side
for ladies,
is
p72 The best position
when they are seated,
to rest the body of the mndoline
the knees, towards
against
but in such a manner that the arm does not
the right
side,
As regards
out too much while one is playing.
men,
stick
they support the body of the mandoline against
the stomach,
side and with the neck raised,
an the right
as we
a little
have said (Fouchetti).
find over
p74 Always take note of the cross that you will
they siznify
that
these
the bass notes;
on such occasions
left-hand
thumb,
which is
must be made wiT.h the
notes
Thus one can easily
the neck of the instrument.
holding
be
difficult
otherwise
very
would
which
passages
manage
(Gervasio).
liberty
have
hand
For
the
as possible,
-.
as
much
o
right
p75
the forearm on the table
and the elbow a
one must rest
little
give the hand a great
outside;
not on17 does this
but it also holds the
deal of ease in giving
strokes,
quill
(Carrette).
instrument
onesell
against
199
The quill
but, an the contrary,
p76-7
must not be stiff,
Playing
imparts delicacy
carved very thin.
to it,
which is
the means of making a greater quantity
of notes. This makes
the instrument
sound sweeter and more gracious
and through
playing
one loses a sort of stiffness
which it [the quill]
has. One must not squeeze the string
naturally
with the
but touch it lightly
quill,
with the end of same. The more
the string
the more the sound
one touches
with delicacy,
be melodious and pleasing.
The quill
will
must be cut down
in this fashion
until
one has given it this shape. One must
cut down the angles of the concave part,
so that the two
flat
sides are equally
and smooth (Gervasio).
It must be elastic,
that is to say neither
too f eeble
p77
nor too stiff,
otherwise
one cannot give farce or sweetness
in playing.
It is wrong to trim
has become a
the quill
when the tip
little
for
beard is always good not least
wispy; a little
(LeaW.
making the notes more solemn and velvety
When one has finished
for fear of losing
the
p77
playing,
between the bridge and the
quill,
put it under the strings,
buttons which hold the strings
(Corrette).
The first
because it
I call
p79
sup6rieur,
the
and the most frequently
used ...
inMriemr
this
less
is
sweet ...
one
...
be employed except where speed demands it;
it
be avoided
in passing
from a lower to a
because this creates the greatest
difficulty
is the richest
second I call
and should not
must above all
higher
string,
(Leon6).
lacking
(mandolinel,
P80 This instrument
a bow, is unable
to sustain
the violin,
nor can it execute a
a note like
it
quantity
of notes in a single
stroke as can the latter;
has this much in common with the harpsichord
and all plucked
instruments
(Leon6).
Because I assure you there are only a very few who can
p8l
play in an arbitrary
way. Moreover, I counsel those who are
to judge for themselves not to mix with
not in a position
them; the remedy will
(Leone).
be worse than the illness
p82 Rule for triplets.
'When the slowness of the movement permits
it,
one needs to
play the first
of the three notes by giving
a quill
stroke
from high to low, to give it more delicacy
but
and grace;
they must be taken otherwise
when the movement is fast,
as
you will
see (Gervasio).
One draws loud or
p82
force that one gives to
the place on the string.
are drawn out below the
to the
bridge,
where
to the
soft
sounds out according
the quill
to
strokes
and according
Where one usually
plays, the sounds
Sometimes one plays close
rosette.
they are tinkling,
or above the
200
where
rosette,
piano (Carrette).
they
are
sweet.
It
is
here
that
one plays
There are those who trill
the notes,
p83
all
except for
because there
isn't
time to trill
quavers and semiquavers,
those,
they trill
In Italy
otherwise
everything.
one calls
Pdtacheux. To play the mandoline like
these sorts of players
fiddler
that is like a village
who plays an all the strings
in the harmony that one
at once. It makes such a confusion
(Fouchetti).
comprehends nothing
The trill,
improperly
is a repercussion
p83-4
so called,
of
the
quill
strokes
an the same note, which serves to sustain
duration
of the note in the absence of a bow; it is useful
the wrist,
from which I conclude
at most only for loosening
that it should not be repeated too often (Leond).
It has been noted that
p84
on the Bandoline
one cannot
To
swell the sound as one does with the bow on the violin.
for
is a
compensate
this,
which
one performs
a trill,
repetition
of the same sound on a note. The execution
of the
trill
depends entirely
This ornament is
on the right
wrist.
very pretty
and can only be performed
on instruments
which
one plays
Nandolines,
with
a quill
such as Bandores,
Cistr, es, and Turkish
The trill,
Vielles.
tz-illo
in
called
the singular
by the Italians,
is
in the plural
and trilli
made on notes of long duration
In general,
the
trill
...
can be made on all final
notes (Corrette).
All
p84
single
for
notes,
ought to' be
example minims,
trilled.
This French word, defined
by K. Rousseau of Geneva,
here that one must agitate
signifies
the string
in a lively
directions,
manner in opposite
that
is to say alternately
from, high to low and low to high,
as possible
as quickly
with the tip
of the quill,
until
up the
one has filled
duration
of the note (Gervasio).
The trille
have
P85
must always
that
is three,
five,
strokes,
seven
the length
the
of the note ...
is a tasteful
t-rille
(Denis).
strokes
number of
an unequal
to
or more, according
tz-ille
of three
quill
f
inish
to
Take
because the
care
with a down stroke
p85
is more brilliant
trill
when executed with an add number of
by this device one makes a silence
strokes;
of a quarter
of
(Corrette).
effect
a beat, which gives a very beautiful
trilles
One can do without
in playing
p85
music by
but in
because they do not use longer notes;
mandolinists
notes
other
are
music,
where long
employed,
one must
the value
substitute
with other notes to fill
and multiply
of the long notes which the composer demands. The trille
this;
is performed
supplies
and, when it
with
a supple
it is most agreeable
(Denis).
wrist,
201
This is performed as on the violin,
by lowering
P88
and
the finger,
through a gradation
raising
of speed, on the
but it
note above that
on which [the cadence] is placed;
must be remembered that, at each lowering and raising
of the
finger,
there must be a quill
stroke which strikes
exactly
together
with the finger,
and that the quill
must not press
too hard upon the string;
whereas on the violin
a single
bow-stroke
this
serves for all the beatings
of the finger:
instrument
than on the
makes the cadence easier
on that
mandoline (Denis).
Of all
Cadence
is
the
the
the
P88-9
most
ornaments,
difficult
One must not
to study.
and the
most necessary
delude
into
thinking
one can perform
oneself
away that
right
it well,
it
(Corrette).
but with tine
achieve
one will
Although
P89
cadences are
mandoline,
one
can ' play
(Fouchetti).
practicable
scarcely
in
them
certain
an the
passages
time
the note after
tz-ill
to
P89 One will
every
remember
to the length [of
the cadence and to tz-111 it in proportion
the cadence] (Fouchetti).
effect
at the
p9O Chords [of 3 or 4 notes] give a beautiful
finale,
and at the end of a melodic phrase.
to
If.
is
play a perfect
unable
at the final
one
note,
it would be
in its place, otherwise
acco.rd, one puts a trill
too meagre, given that the mandoline cannot swell the sound
(Corrette).
as can a violin
The fall
is made when there are three or four notes to
p9l
by giving
only one quill
stroke
play an the same string
the fingers
downwards for the first
and by letting
note,
for
the
fall
the
other notes without
string
vibrating
onto
(Corrette).
strokes
giving any more quill
is perf armed by the f ingers of the lef t hand
p92 The tirade
to each
the string
above appropriate
pulling
with the finger
in the example below it
is
is to say that
that
note,
that made the a,
the g with the finger
to pull
necessary
that made the S, and the e with
the f with the finger
pull
The tirade
the f...
is leaving
the f inger that
is the
is made when the notes
opposite
of the chOte, the latter
Neither
ascend and the former when they descend.
can be
from
to
one string
played
another
when one passes
(Corrette).
This liaison
p92
which one often finds
above notes shows
that those notes which are thus tied =st
be made with the
from high
to low [that
is,
quill
with
one continuous
downstrokel
(Gervasio).
202
One plays
notes coul6es with the sane stroke
of the
p93
When there are bindings
on two or three notes one
quill.
A greater
them with a single
stroke
of the quill.
plays
[of notes] will
not be heard; it is not the same as
quantity
the violin
where one can bind together
a dozen notes under a
bow stroke
(Corrette).
single
The first,
There are two types of petites
notes ...
p94
is made by giving
with
a strong down stroke
which ascends,
finger
fall
immediately
the following
the quill
and letting
the two sounds being made together
with a single
after,
This is called cbdte on the guitar.
stroke.
The second, which descends, is pulled
above
with the finger
the f irst,
the main note,
which is
and it is this
unlike
Meon0.
tirade on the guitar
called
is similar
the
to the ch0te:
de voix ...
The port
p94
difference
given that
only in the number of notes,
consists
in the ch0te one performs many notes without
giving
quill
strokes,
and that for the port de voix one makes only one on
the vibrating
(Corrette).
string
One calls
batteries
two notes on different
p95
it
times;
the
struck
one after
several
other
effective
when the notes
are an two different
(Corrette).
degrees
is
more
strings
Batteries
P96
where the
are quantities
of pairs of notes,
first
is on one string
continuing
and the second on another,
the sane as the following
of the two
example; when the first
notes is the lower, the quill
stroke is down, and up for the
but when the f irst
second note;
of the two is the higher,
the quill
is up and that of the second note is down
stroke
(Denis).
The martellement
This
p100
can be made before
a long note.
is composed of three
the
ornament
petites
notes,
made with
One can also
it
by beating
the
stroke.
same quill
execute
fingers
one after
another
on the
string
as rapidly
as
in which case one gives
a quill
stroke
possible,
only on the
(Carrezte).
minim note
trille
fill
I
Instead
to
the
find
of
using
a
minim,
p100-01
it into two
it more agreeable to make a cadence by dividing
a martellement
on each. One can also
and playing
crotchets,
be they petites
notes or other harmony notes,
use ornaments,
the whole being done in accordance with the knowledge and
N. B. One can also divide
the note
of the player.
ability
with the octave in the bass (Leone).
One calls
together
on two
accord two sounds struck
plol
3
the
different
an
quill
stroke,
sometimes
same
with
strings
found as
These latter
sorts
are very often
or 4 strings.
final
notes of melodies (Corrette).
203
The stringing
being double and unison
p101-02
on the
to draw out two different
it is possible
mandoline,
sounds
at once. To obtain this,
one must first
place the finger
on
the lower note,
that make
very upright
an the two strings
the unison,
then place the upper note finger
in
skilfully
it
the string
such a manner that
only touches
situated
towards the lower part of the instrument
(Leon6).
The work which
I will
p103
publish
after
include
in
for
tuned
the mandoline
pieces
(LeonO.
this
diverse
one will
nanners
having
This piece
tuned one of
p103
must be played
after
lower
the
two thirds
than
the
other
a tone
and a half
(Denis).
Observe that the down stroke in passing sounds both
p104-05
in unison whereas the up stroke
sometimes
of the strings
to the first
type
only sounds one; this gives a preference
Nenuets,
Cbaconnes,
in
for
long
Normally
notes.
indgales
Passacailles,
the quavers
Sarabandes,
one plays
them being dotted in the music (Carrette).
without
had engraved
Denis,
musician,
p125 Mr Pietro
a Parisian
foolish
there,
found editors
there
enough to
or rather
engrave some bad didactic
works of his... the typography
and style;
of these works is in keeping with the conception
(Choron/Fayoile)
have
done
worse
a stevedore would not
p126
never
Viole
It must be said that the
better
accompanied than
d1or-pbde (Corrette).
mandollne and the cistre
are
by the Harpsichord
and the
It is played at night
is very bright.
p154 This instrument
to express the painful
martyrdom of lovers under the window
(Corrette).
of a mistress
ignorance,
the
Often
of
roots
and it is
spreads
vanity
p155
this
even today that
one
which makes many people claim
They
an the mndoline.
cannot sing and accompany oneself
it,
because it
the means of accomplishing
even disregard
to learn (Denis).
requires
study and application
p155
It
marries
well
with
the voice
(Denis).
P155 At the same time as the movement of
forms the sound of the voice (Denis).
the throat
which
At
the
the
P166 13 June, Versailles
end
of
concert,
...
two Italians
it was a type
played on an unusual instrument;
is called
of guitar
with a very long neck. This instrument
the calicboncbinl;
it has two strings,
tuned a fourth
apart;
it has two octaves;
the strings
are plucked with a small
They played a piece
piece of tree bark, shaped to a point.
204
in duo form; they got the best
of music which was a dialogue
from their
instrument,
their
and played it most agreeably;
but one could well imagine that it
was prodigious;
execution
is only in quick music that they would succeed (Luynes).
The Kerchi
p167
composed themselves
with two strings,
but the
limited;
Italian
musicians
(Xercure de France).
brothers
played
a concerto
which they
it is an instrument
upon the calasclone:
tuned to d and a, and consequently
very
manner in which the two
extraordinary
is
it
astonishing
and agreeable
play
205