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Thread: Strings and stringing of historical mandolins

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    I've moved a little discussion on stringing of 18th century mandolins over to its own thread from the Bowlback mandolins of note thread (now 153 pages long). What came up concerns an appropriate stringing of the 18th century neapolitan mandolin. It appears that I'm one of the few players who use the stringing : Gut E, plain brass A, twisted brass D and silver/copper wound G courses on my 1770's Vinaccia copy neapolitan mandolin. I've noticed that a number of players are using plain gut A (easier to tune, pleasant sound though leaning towards a lute like sound), and for the D and G, using wound silk strings (Pyramid or Acquila). I've found specific instructions in historical sources concerning what I use but I have found nothing written about the modern type of stringing. I'll admit that I haven't really searched very far because I have logged in enough hours and concerts (and one recording) with the so-called 'historical' strings to come to grips with their technical challenges. I actually find the sound much more complex and interesting than what I would call 'overly homogenized' sound from the modern type of stringing. I'm sure Jean-Paul, Alex, Eugene or Eric might have some information to add. It would be nice if we had a dozen sources all confirming the same thing but we do not have this for 18th century mandolins (and barely for violins for that matter).

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    I don't. As I'd mentioned over there, all I know that's come down from the late 1700s are the prescriptions of Fouchetti and Correte. It seems to me I'd once heard somebody was doing some research into this, but I don't recall who, where I'd heard it, and I certainly didn't hear where (if anywhere) it went. Thinking back, I think it was mentioned to me in passing by citternist Doc Rossi and I think it was in reference to explorations by Carlo Cecconi. But again, I don't know what if anything came of it. Cecconi was co-author on a recent paper to catalogue some mandolins, but I don't think it addressed stringing (I don't have the citation here; do you have it handy if reading, Eric?).

    Of modern recording artists to use early incarnations of Neapolitan mandolin, I believe Capucci, Frati, Galfetti, Lichtenberg, Schneider, and Zigiotti do not use octave basses and you and Ensemble Gabriele Leone are the only of whom I'm aware to have done so.

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    The octave basses is optional if you read the sources mentioned above, at least with Corrette. Where I find myself alone is with the use of twisted brass D strings. Schneider definitely dosen't use it and the other players mentioned above, I really don't know. I sort of doubt it.

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    Hi all,

    I haven't seen the research Eugene, though I would certainly be interested to learn more.

    I'm on my way out the door, and can only offer one data point. #I recently had a 1793 G.B. Fabricatore Neapolitan fully restored to playing condition. #In fact, it was through this instrument that I was originally introduced to this list, and many of you. #In any case, I have it strung with a (presumably) historical set from Dan Larson (gut e's, brass a's, twisted brass d's, and gut/silver g with a brass octave). #

    On this original instrument, I am more comfortable with the sound of this string set than I have ever been before. #In fact, I am not the least bit tempted to change it... I am trying very hard to let the instrument, strings, plectrum, and music guide my playing, rather than the other way round.... If that makes any sense. #In short, count me firmly amongst the "Twisted D, Octave Bass" crowd... though I haven't inflicted my playing on anyone publicly yet... :-)

    I agree though, that the "evidence" is thin around such things. #Though the one 1770s source is rather clear on the matter, the Neapolitan instrument clearly went through a drastic evolution in a relatively short number of decades in the 18th century. #Its stabbing in the dark, but I would presume that stringing probably went through some changes too. Now, as to what those might be...

    Best,

    Eric

    ps - If anyone is interested, I do have permission from the luthier to post some photos of the Fabricatore restoration.

    pps - Ali. #Congrats on the new Axe! #It looks wonderful.



    "The effect is pretty at first... It is disquieting to find that there are nineteen people in England who can play the mandolin; and I sincerely hope the number may not increase."

    - George Bernard Shaw, Times of London, December 12, 1893

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    Default Re: Strings and stringing of historical mandolins

    OK... So it has been over a decade since anyone commented on this thread!

    I find myself in need of new "historically appropriate" 18th-century Neapolitan mandolin strings, and I thought I'd check in.

    Have there been any great strides or discoveries in the intervening 10 years? Does anyone have a good source for historically-appropriate 18th century mandolin strings (at a reasonable cost)?
    "The effect is pretty at first... It is disquieting to find that there are nineteen people in England who can play the mandolin; and I sincerely hope the number may not increase."

    - George Bernard Shaw, Times of London, December 12, 1893

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    Default Re: Strings and stringing of historical mandolins

    Hi Eric,

    In February 2017 the UK Lute Society held a meeting in London on historical mandolins. I attended, as did Beverly and Mark Davis. I wrote a brief article about the meeting in the May 2017 issue of the CMSA Mandolin Journal.

    Among other interesting topics, the meeting included extensive discussion of recent research on historical stringing by Davide Rebuffo and, especially, Mimmo Peruffo. A summary of the meeting and a lengthy article by Mimmo on historical stringing ("The Set-up of 4 and 6-Course XVIII Mandolins: A Few Considerations" appears in the October 2017 issue of "The Lutezine" (pp. 10-32) which is the pdf supplement that accompanied the regular issue of the UK Lute News. PM me.
    Robert A. Margo

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    Default Re: Strings and stringing of historical mandolins

    Oops, that should be Mimmo Peruffo, sorry. Haven't had my morning coffee.
    Robert A. Margo

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    Default Re: Strings and stringing of historical mandolins

    Hello,

    On his aquilacorde.com site, Mimmo Peruffo has listed a set of Neapolitan mandolin strings with an historical setup according to Fouchetti (Paris 1771)

    e Nylgut, a & D brass, G silk core wound with silvered copper wire at a cost of 34 euros

    if that is of interest to you.
    Regards,
    Henry

  9. The following members say thank you to Henry Girvan for this post:

    Eugene 

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    Default Re: Strings and stringing of historical mandolins

    Mimmo's article is _exactly_ what I was looking for. Thanks so much for the reference.

    https://www.fomrhi.org/vanilla/fomrh...rhi%20Q140.pdf
    "The effect is pretty at first... It is disquieting to find that there are nineteen people in England who can play the mandolin; and I sincerely hope the number may not increase."

    - George Bernard Shaw, Times of London, December 12, 1893

  11. The following members say thank you to etbarbaric for this post:

    Eugene 

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    Default Re: Strings and stringing of historical mandolins

    Quoting Mimmo:
    "What Fouchetti wrote about the 4-courses Neapolitan mandolin set-up, generally speaking, is considered unreliable, if not fanciful. A set of strings like those he described appears to be the most bizarre and heterogeneous among those of all the plucked and bowed instruments of his time: different materials on a set of just four courses: gut string, brass wires, twisted brass wires, and wound gut/silk strings. This degree of heterogeneity is absolutely amazing. By looking more closely and by making some calculations, we realise that this set-up gives about the highest perfection possible for that time both from a mechanical point of view and from the acoustic point of view, and indeed with very few other alternatives, if we consider what was available in those times to make strings—keeping in mind that the most desired feature in this instrument was brightness and prompt speaking, as it had to imitate the harpsichord."
    "The effect is pretty at first... It is disquieting to find that there are nineteen people in England who can play the mandolin; and I sincerely hope the number may not increase."

    - George Bernard Shaw, Times of London, December 12, 1893

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