...the trademark and unfair competition law too!http://www.mandolincafe.net/iB_html/...cons/laugh.gif
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...the trademark and unfair competition law too!http://www.mandolincafe.net/iB_html/...cons/laugh.gif
Hello!
That`s the book, that I mentioned about. It`s printed in 1907 (may be earlier. 1907 is the year, when it was filed in the library). The author is Mr. N.A. Miloshev. I don`t know anything about him. “School book for Mandolin”, “Suitable for self teaching”.
It starts from the very beginning with the simple definition: “The music is an art to produce and join the sounds so, that they bring pleasure to the ear.” We could add "...and to the soul." perhaps. Some basic explanations about the notes, the violin key, etc.
The explanations to these pictures are on the previous page:
“How to hold the mandolin. One has to get used to play sitting and standing. While sitting, the mandolin has not to be leaned on the thigh. (?) The link hand holds the neck of the mandolin with the thumb and with the forefinger, so that the fingers could loosely press the frets from 1 to 7. The palm of the hand should not touch the neck. The right hand plucks the strings with the pick (mediator), which should be hold with the thumb and the forefinger. The right forearm rests on the end of the mandolin and should be pressed so that while picking or tremolling neither the arm, nor the instrument has to be moved. The picking should be made only with the wrist and it has to be absolutely free."
Alex, don`t you think, that the guy from the picture looks like L. Embergher?
A graphical description could be seen on this page. In brackets you can see the French word “La touché”. And after that in brackets again (Cordes de Mi, de La, de Re, de Sol). One may suppose that Mr. Miloshev has used a French (Belgium) mandolin instruction book for a basis. Any ideas? Ranieri? Or a Pettine connection? The pick shown on the previous picture looks like a Pettine pick. Wasn`t he also an intercessor of the standing playing position?
Then different explanations and studies are following. Also a lot of well known opera pieces from Verdi, Bizet, Donizzeti, Glinka, Tchaikovski, Bellini, Toma, Gunout, Mascani.
Don`t have time to check the correct spelling of the names. I apologize.
Good luck!
Plamen
https://de.wikipedia.org/wiki/Heinri...28Gitarrist%29
Heinrich Albert (1870-1950) According to Michael Reichenbach, Albert's music will be available when it enters the public domain in 2021. He did use pseudonyms like "Alberto". The reason I'm posting this is because it doesn't fit into my category of Italian composers who immigrated to America. I'm uploading his mandolin trio (minus the vital guitar part, unfortunately). If anyone finds the date of publication or knows of any recording source, please post it. Thanks. Sheri
P.S. Luigi Giorno (whose mandolin is featured on the cover of my "Italian Mandolin Heroes in America" played this in Philadelphia. Obviously, judging from the title there were plenty of mandoli-playing Italians from Monaco (note, the famous Grimaldi family).
Thank you for that, Sheri! It's nice to know that our mystery mandolin pedagogue is none other than Heinrich Albert, well known to classical guitarists as the editor of most of the classical-period chamber music that was available to us up until 1970 or so. Many of us have used his editions of important works by Boccherini, Giuliani, Matiegka and many other early 19th century composers. (Well, important for guitarists at least.)
Heinrich Albert did indeed also go by the name of "Francesco Alberti", and he did indeed also write at least one mandolin method (listed by Michael Reichenbach here), but according to Alex Timmerman he was not the "A. Alberto" who wrote the mandolin tutor discussed in this thread -- see Alex's posts at #15 and #17 in this thread where he discussed the respective identities of "A. Alberto", "Heinrich Albert" and "Francesco Alberti".Quote:
Originally Posted by Bruce Clausen
Martin
Hmm, I wonder. The Wikipedia article tells us Albert published early compositions under the name Enrico (sic) Alberto, and founded before 1900 the Milan Mandolin Club, and that after 1900 he was established as a guitar and mandolin instructor in Munich. He is credited there as the author of the Neue Mandolinschule (Leipzig, 1913), the method listed by Michael. And I agree with your earlier posts noting the German content of the little "Alberto" self-instruction book. I'd think Heinrich Albert is the obvious suspect, unless some other information about that author exists. (And I think that was Sheri's assumption too. Is that correct, Sheri?)
Oops. I see this now in Alex's post #15. Would be very glad to know the source of this information.Quote:
Originally Posted by Alex Timmerman
Italian online libraries offer the alternative "Enrico Alberti" and that may be how many Italian musicians remember him.
Yes, indeed -- my own initial suspicion in my opening post was the same as yours and Sheri's: the material is much more German than Italian so a pseudonym for Heinrich Albert seemed likely. However, Alex's post is very specific so I have to assume he has some solid information to this effect.Quote:
Originally Posted by Bruce Clausen
Martin
PS: Thanks to Sheri for the Albert mandolin march. Nothing by him in Nakano or the Biblioteca della chitarra e del mandolino, but IMSLP has a Scherzo grazioso for romantic mandolin quartet (link). It's from 1908 and public domain in the US, but not the EU (as Sheri has said, his compositions will become PD in the EU at the end of 2020, 70 years after his death in 1950).
It seems that it's easy to conflate names and especially Anton (né Antonio?) Alberto and Heinrich Albert (Enrico Alberti) (both guitarists). Until we can get bio facts for Alberto, we should be wary.