Historical mandolins and cultural preferences

[Plamen Ivanov]

Hello,

# # # #I`ll try to make a short resume of Caterina Lichtenberg`s work about Beethoven. First of all I would like to share with you my great pleasure of communicating with her - she is a very kind and intelligent person. This should have something to do with her Bulgarian origin #

# # # #So, the work consist of 6 parts. The first one refers to Beethoven`s travel to Prague and his stay there in the beginning of 1796. There are few undisputed evidences about that - a letter to his brother Nicolaus Johann, the dedication to Comtess Clary in the air "Ah perfido", a ticket to his performance in Prague.

# # # #The second chapter is about the people around Beethoven during this period. It was Karl Lichnowsky, who introduced Beethoven to the Prague aristocracy. Beethoven met people like Countess Clary-Aldringen, which inspired him to write the pieces for mandolin and fortepiano; Josephine Duschek - a popular singer from that period, which performed the air "Ah perfido" for the first time. She was a student of Franz Xaver Duschek, who has also written pieces for mandolin. In the same sketch-book with the air "Ah perfido" dedicated to Countess Clary there are also sketches to the mandolin compositions. Two names more from the people, that were around Beethoven during his stay in Prague - Antonin Sindelar und Agathe Ulrich.

# # # #The third chapter concentrates on Josephine Clary`s person and the family Clam-Gallas. Back to the air "Ah perfido" - on the first page: "Une grande Scene mise en Musique par L.v. Beethoven a Prague 1796"; on the third page: "Recitativo e Aria composta e dedicata alla Signora di Clari di L.v. Beethoven". On the same page of the sketch-book there are sketches to the mandolin compositions first of all the themes of the C-dur Allegro. On the second edition (version) of Adagio ma non troppo the dedication is: "pour la bell J (Josepha) par L.v. Beethoven. It`s about Josephine Clary. She was popular in Prague not just with her beauty and singing abilities, but also with her mandolin playing. According to Wilhelm Krumbach Clary`s mandolin teacher was Johan Baptist Kucharz-concert master of the Prague Oper, who played the mandolin part by the premiere of Mozart`s "Don Giovanni" in Prague 1787. Most probably Beethoven was inspired to write mandolin pieces not just because of Clary`s beauty, but also because of her mandolin playing abilities. In 18. c. was the mandolin beloved instrument among the noble quarters. The mandolin had a lot of upholder in the Vienna cultur area at the end of the 18. and in the beginning of 19. century. Significant are the compositions for mandolin from J.N. Hummel, Leopold Anton Kozeluch, Mozart and others. But the mandolin was also popular in the Prague cultur area and composers like Georg Druschetzky, Franz Xaver Duschek und Johann Baptist Vanhal has written pieces for mandolin. In the estate of the family Clam-Gallas were found works for mandolin by Barbella, Gabriele Leone and Gervasio (which could give us an idea about J. Clary playing manner). Both-Gabriele Leone and Gervasio published in Paris school books (methods) for mandolin. (Some of you guys probably know more about this books and can tell about the type of the mandolin, that they were written for, I know just that they both come from Neapol. That`s a far connection with the type of the mandolin, but...) Another interesting fact - in the time, when the Beethoven`s works were written, in Prague had lived and worked the master instrument maker Karl Hellmer and his son. Their instruments were very splendid ornamented and had an excellent sound. These instruments are considered as some of the most important instruments of that time. (Caterina Lichtenberg don`t mention about the type of these mandolins. I haven`t heard about them too. Your turn again, fellows! It`s just my supposition, that if they were not a Neapolitan type, Caterina would have mentioned this. You know also, that she performs Beethoven`s works on Neapolitan mandolin made in Innsbruck by Johan Georg Psenner in 1775. Obviously the type of the mandolin is out of question for her.) Of course, it`s hard to be proved, if Countess Clary played a mandolin made from Karl Hellmer or his son.

# # # #The fourth chapter is about the already known and discussed two works and the discovery of Dr. Arthur Chitz - other versions of the first two and another three works for mandolin and fortepiano. One of them unfortunately lost again. The five works were included in the so called "Kopistenabschrift", (which is hard for me to translate exactly in English, but anyway it`s about a copy of the works, where they were all gathered together). There were made serious attempts for finding this copy, but in vain. If there is still chance to get any information about it, that should be Dr. Arthur Chitz` daughter, that lives in US, but her location is unknown (note that Caterina Lichtenberg`s work is written 1994. I hope Arthur Chitz` daughter is still in good health condition, but...) #
# # # #In the same chapter there are also thoughts about the place, where the pieces were created. Caterina Lichtenberg starts with the understanding of the music theory, till this moment, that the Sonatina c-moll and Adagio Es-dur (1. version) were written in Vienna and the Sonatina c-dur and Andante con variazioni and Adagio (2. version) were written in Prague. After that Caterina Lichtenberg refers to Douglas Porter Jihnson`s Dissertation "Beethoven`s early sketches in the Fischhof Miscellany", where he makes paper analysis of the sheets and determines, that the sketches for the four mandolin pieces are written on Prague paper. The consistency of the paper shows, that such paper could be obtained by Beethoven only after his arriving in Prague and not earlier (in Vienna). This fact denies also the possibility, that the Sonatina c-moll (WoO 43 a+b) was dedicated to Wenzel (Vaclav) Krumpholz, who was Beethoven`s friend and an excellent mandolin player.
# # # #The same chapter extends to the question of the accompanying instrument. It`s the cembalo by all of the works, but the dynamic indications in the second version of the Adagio show, that it`s meant the Hammerklavier and not the cembalo.

# # # #The fifth part of the work tells us more details about every of the compositions (including the fifth work) for mandolin and also some common characteristics. Full description of the originals (after Dr. Armin Raab`s research), inetersting comparisons between the different versions of the works, copies of different editions, etc.

# # # #The last sixth chapter lists all the editions of the Beethoven`s works.


# # # #Of course, this is just a summary, that can give you a rough idea about the work. I tried to point to some of the disputed moments. The entire book consists of 114 pages.

# # # #Caterina Lichtenberg was just 25 years old, when she wrote this work about Beethoven and I think, she did a great job!

# # # #Nothwitstanding my outstanding positive atittude to Caterina Lichtenberg, I won`t hesitate to ask her some "inconvenient" questions concerning things, that doesn`t sound very convincingly. So, I expect your reactions and comments.


Best regards,
Plamen

[Alex Timmerman]

Hello Plamen,

Thank you very much for all your work and time. It´s really appreciated!

From what you write Caterina´s dissertation does unfortunately not give me any new clues or leads.

Things are still as follows; up to today unfortunately no direct evidence is found for what mandolin type(s) were used by Josephine de Clary (the later Countess Clam-Gallas), her teacher Johann Baptist Kucharz, nor to Ludwig van Beethoven and his dear friend the violinist/mandolinist Wenzel Krumpholz.

I have found several mandolins of the Neapolitan type build by Carolus (Karl) Hellmer from Prague, some of which even pre-date van Beethoven´s mandolin compositions. But as I pointed out in earlier posts here, there is no evidence at all for the Neapolitan mandolin as the instrument intended by van Beethoven for his mandolin works.

It is nice of course that we know that in the library of the Clam-Gallas family works for mandolin composed by Barbella, Leone and Gervasio, are found. It says something about how fast Italian music - which was very much in demand at the time(!) - found its way from France to elsewhere in Europe, but not about how it was played or what mandolin type was preferred (in Prague or Vienna). Or, to be more precise, what mandolin type Josephine played and if she played it finger style or not.
Neither do these particular works give any ideas to when they came in the possession of Josephine de Clary. Remember, when van Beethoven wrote his pieces for Josephine she was only 19 years old. Like the rest of the music (to which is referred in Caterina´s thesis), these particular “Neapolitan” works could easily and perhaps more likely be obtained at a much later time in Josephine´s live (or that of some other member of the Clam-Gallas family). #

As for the Neapolitan mandolins by Prague luthier Carolus Hellmer I can say that they are (to my taste and eyes) indeed excellent instruments and very beautiful; but not because they are (quote): “very splendid ornamented”. In fact those that survived time are, apart from some linings around the sound hole and sound table, strikingly undecorated and of the plainest quality.

Although no connection between Hellmer and Josephine (and all the above mentioned people) is found so far, and contrary to the preference for the sound of gut strung mandolins in that area, it is not inconceivable that after 1796 (read: after 1800) Josephine could have taken up the metal strung Neapolitan mandolin. And than perhaps even one made by Hellmer. Who shall say?

So we are still left only with the music. And that lies in my opinion excellent on the gut strung Milanese mandolin.

A last remark to the question of the accompanying instrument. The dynamic indications in the second version of the Adagio ma non troppo (WoO 43b) show only that this particular van Beethoven piece could also be played on a Hammerklavier. Yet he indicated the accompanying instrument in this second and ´cleaned´ version again with “Cembalo”. Perhaps Josephine had a special preference for that instrument in combination with her mandolin?


Greetings,

Alex ©

[billkilpatrick]

alex - i'll be reading (studying) this chain for a long time but could you tell me where you got your stunningly beautiful instrument?

covetously yours - bill

[Eugene]

Thank you, Plamen! #This was very enjoyable. #Of Leone, I will say his advanced music was built around the Neapolitan instrument, and I don't think it would be very convincing on a different mandolin type. #Leone loved devices like "split strings" where a fretted note is often harmonized with an open string on the same course, swept arpeggios that seem best suited to fifths and the open strings of the Neapolitan mandolin, and frequent harmony that makes more sense (to me, at least) on a low g in octaves. #This, of course, doesn't mean performers in Prague couldn't have interpreted these works on a different mandolin type...or that they only would have favored one type of mandolin.

[Plamen Ivanov]

Thank you, Alex and Eugene, for your response! No need to thank me. It`s Caterina Lichtenebrg, that did the job. I did nothing.
I`m going to ask her about more information or sharing thoughts about the type of the mandolin.
Here is my opinion. Yes, there are not direct evidences about the mandolin type, that J. Clary has played and even less about what kind of mandolin had Beethoven in his mind, although for me there is connection between both things. But there`s something, that we call inner conviction. That is not sixth sense. Just on contrary - it`s based on some known facts, although they are not direct evidences or not direct connected with the object of exploration. We speak for valid supposition. These are juridical terms and I`m not even sure, if I translate them right in English. Anyway, for me the more probable type should be the Neapolitan type of mandolin. This is in connection with the known facts and my opinion, that the pieces seem to be very suiatble to be performed on Neapolitan mandolin. About composer`s relation to his works, regarding the reflection of the instrument`s specifics in the piece and the possible variants, I agree absolutely with Mr. Walz` opinion shared in this topic. I also like the examples, that he gives. Once again, that`s just my amateur opinion.

Best,
Plamen

[Alex Timmerman]

Hello Billkilpatrick,

I found this wonderful Mandolino Milanese at an auction in Amsterdam more that 15 years ago.
During the viewing hours I could give it a thouruogh look and there was nothing that disturbed me. The instrument was in playing condition. You can probably imagine that once her lot-number came near, my heart was beating in my chest and understand that I felt mighty lucky that I had her in my last bid!


Since then I still feel very fortunate to take care of her.


Best,

Alex

PS. talking about tunings:
The four double gut-strung Mandolino (the earliest model of that type (±1640) and Mother of all mandolins) is tuned in fourth, from the lowest to highest string-pair this results in: e'e'-a'a'-d"d"-g"g".

The Roman/Neapolitan mandolin (and other more modern types like the (flat) American or modern German boooowwwl-back mandolins) are tuned in fifth, from the lowest to highest string-pair: gg-d'd'-a'a'-e"e".

The same letters, only the other way around.

This coincidence was also mis-interpreted, in one of the earliest music sources with tabulatures for the Mandolino, by an Englisch scholar in an article about the Mandolin, some 10 or more years ago.
Unfortunately it is through this writing that there are still people who believe that the Mandolino first (early 17th century) was tuned in fifth - like a modern mandolin - than changed into the quarter tuning on five double strings, kept it while a sixth string was added (a third below the fifth string pair) and than - with the birth of the double metal-strung Roman/Neapolitan mandolin (±1740) - changed back to it´s tuning in fifth! How things can go...

[Alex Timmerman]

Hello,

Since this Topic is about to be removed from the message board due to no replies, I thought it could be a good idea to save it a bit longer by sharing with you how one can also look at van Beethoven´s choise for the accompanying instrument in his mandolin compositions.

It is also my intention - as a kind of counterweight to bias against new and well-founded ideas in this matter - to give some objections to Plami´s (and Caterina´s) rather definite statement (quote): "The same [fourth] chapter extends to the question of the accompanying instrument. It`s the cembalo by all of the works, but the dynamic indications in the second version of the Adagio show, that it`s meant the Hammerklavier and not the cembalo".

The other way of looking to this subject is done by giving Viennese chamber music - composed just before and around 1800 - in which a harpsichord is involved, a closer look.


It than becomes clear that dynamic signs like p (piano) and f (forte) etcetera written down in music for harpsichord (Cembalo), was much more practised than is known or believed.

A good example is found in the Divertimento composed for ´Clavicembalo, Viola et Basso´ by the composer Johann Baptist Wanhall who coincedently also wrote several mandolin and guitar compositions in chamber music setting.
At the opening of his Divertimento he starts of with a big f in all three instruments (see illustration).

Why Wanhall indicated a forte at this place will probably never be understood well, since nowadays we tend to think (and asume) that no dynamic expressions are heard while playing an harpsichord. About wether at the time the idea of ´no dynamics possible´ on harpsichords had already established itself in the heads of the musicians, we will unfortunately never get an answer.

Nevertheless we are stuck with dynamic signs in harpsichord music that are seen as very important (also as proof) while the composers indication in the very same music about what instrument is to be used is seen as insignificant.

There is of course also the possibility that these p and f signs are to be taken as a kind of body language for the performing musicians to express the musical emotion in a more visual way to their listeners. At least it could help the harpsichord player to make his instrument ´heard´ more. Not that I want to emphasise this possibility but it could perhaps be a thought... ?


Wanhall (also Vanhall) was born Nechanice, Bohemia in 1739 and came in 1760 to Vienna where he worked with Carl Ditters von Dittersdorf. Like so many artists of his time he travelled to Italy (1769), and stayed in Florence, Venece and Rome for longer and shorter periods. In 1780 he returned to Vienna where was friends with Haydn, Mozart and Pleyel. Wanhall was quite a prolific composer writting lots of chamber music, concertos and operas. Often in which wind instruments have a key role to play.
Like Haydn - in his later live - Wanhall earned his money as one of the very first independent musicians; living from his art, by selling his music and teaching. He died in 1813 in Vienna.


Greetings,

Alex ©

[etbarbaric]

Hello Alex,

I am no expert on early keyboard instruments but "clavicembalo" makes me think of what we call a clavichord today. With its strings struck by brass tangents (rather than plucked with a plectrum), the clavichord should certainly be capable of some dynamic range (within the limitations of a fairly intimate setting).

Beethoven is also known to have owned a clavichord so he would at least be familiar with the instrument. Richard proposed this possible solution when we discussed these pieces during a recent visit.

Would a clavichord also have been possibly referred to as a cembalo? Would clavicembalo mean clavichord, or cembalo or possibly that either would suffice?

Eric

[etbarbaric]

Also, my family's very simple harpsichord has a damping mechanism that slides felt pads against the strings at the pull of the lever. Though this changes tone color a bit, this certainly makes it possible to play "loud" and "soft" on the harsichord.

Eric

[Alex Timmerman]

Good morning Eric,

The Clavichord would indeed be a good alternative and nice possibility to perform the Baroque music with for mandolin accompanied by some kind of an unspecified (figured) "Basso".
I know the combination quite well since I used to play the lute together with a colleague of mine on the Clavichord. A really great ´small´ instrument! And besides the possibilities of playing piano and forte well on it, the only keyboard instrument (amplified instruments excluded) on which a vibrato (like on bowed- and plucked instruments) is possible.

But in the Divertimento example by Wanhall surely the Harpsichord was meant by the name ´Clavicembalo´. And that seems likely to me not only because in this Wanhall composition it had to ´compete´ with the Viola and a Basso, but also since it was quite fasionable in that time to write down at the cover and in the music of the compositions it´s title and instruments in the Italian language.


To those who are not that familiar with the keyboard instruments we are talking about, I like to point out the following:

The name Clavicembalo is joint together from ´clavis´ meaning keys and ´cymbal´ as that was the old European term for the dulcimer. The Clavicembalo (Italian for Harpsichord) differs from other keyboard instruments because of the way it´s strings are set in motion: they are plucked by means of small quill on each key.

The difference between a Clavicembalo and a Clavichord is that the latter instrument sets it´s strings in vibration by brass tangents which are inserted in the end of the arm of the keys instead of plucked by a quill as seen in the Clavicembalo or like with the a Hammerklavier (Piano forte) through a hammer that falls back immediately after it has hit a string.

The brass tangents of the Clavichord, after hitting the strings, do not fall back in the rest situation, they keep contact with the string as long as the player keeps his/her finger pressed at the key. This is why the sound can be regulated. So it all depends on how hard the key tanglet is hit by the fingers to require a louder and softer sound. Vibrato is possible by little up and down movements of the finger on the key. #
When a key is released, the sound of the string is dampened by a cloth behind the line of the tangents. That is why it´s sound is so soft and charming.

The name for the Harpsichord is found in other countries as Clavecin (Fr), Clavicymbel, Kiel-Flugel (Ger), Arpicordo, Cembalo, Clavicembalo, Gravecembalo (Ital) and I have underlined those that are of interest here for our subject.
In all instruments of the Harpsichord family the strings (instead of being struck by tangents as in the clavichord, or by hammers as in the pianoforte) are plucked by a quill that is placed in the centre of the tongue of a jack or placed upright on the back end of the key-lever. When hitting a key the jack is thrown up and passes the crow-quill catching the string to sound.


So, as far as I am concerned we are still dealing with the Harpsichord as the accompanying instrument in the mandolin compositions by Ludwig van Beethoven.


Best,

Alex

PS. Interesting that you mention the damping mechanism of your families Harpsichord (quote): "Though this changes tone color a bit, this certainly makes it possible to play "loud" and "soft" on the harsichord". This mechanism was known at the time and is known (to me) as the ´lute´ or ´harp´ register on the Harpsichord. Of course this can be used to great effect in the van Beethoven mandolin pieces.

[vkioulaphides]

... and W/Vanhall also has a lovely —and difficult to play!— Concerto for Double Bass, not to mention several chamber works with double bass, that echo the charming aura of the Central European Vorklassik. Lovely, lovely music...

P.S. Back to work! (Alex, you know what I mean

[Alex Timmerman]

Oh Victor,

That´s a nice thought...

Maybe I should arrange that for you to play with Het CONSORT when we come over to New York! (wishful thinking of course, haha )

Cheers,

Alex.

[vkioulaphides]

Not so wishful, Alex. (Well, the part about the bass concerto, yes— that IS wishful, perhaps too much so.)

But, on the other hand: In my work in arts management, we (vis a vis my employer) produce 100-120 concerts a year. I can envision some day when you bring Het Consort on an American tour and, of course, make one stop on our series in New York.

Obviously, you would need several other engagements, since we (or any other, single presenter/producer) cannot possibly afford to pay for all your airfares, accommodations, etc., etc. Still, perhaps with some help from the Dutch Consulate, KLM, Shell Petroleum... who knows?

[Jim Garber]

Maybe I should arrange that for you to play with Het CONSORT when we come over to New York! (wishful thinking of course, haha )

Wishful thinking, Alex? Let us know when and we will make the arrangements.

Jim

[Jim Garber]

Once again... Victor and I are simultaneous in our thoughts and postings! Perhaps yet another reason we need to play those duets.

One day, maybe even sooner than Het Consort comes here?

Jim

[Alex Timmerman]

Well, it would be really something to look forward to!

Perhaps we could make something special out of it in the sence of - what already more people here at the board have expressed having an interest in - a kind of meeting of us all for some days or so.

Of course with concerts, lectures, a nice exhibition of the bowlback mandolin displaying it´s true History etc. etc.




It even fits to our Topic here of Cultural and Historic preferences !



Don´t these things start with dreaming...


Best,

Alex


PS. perhaps somewhere in 2005?

[Bob A]

Speaking of dreaming, I have a lottery ticket worth 170 million in my pocket (if it wins!). Needless to say, there'll be a lot of mandolin promotion coming along when my ship comes in. Also it will pay for the big mandolin book. And a meeting of the full board.

Or not. But it's only 50 million to one odds. Worth a couple of dollars, just for a few days' worth of daydreams.

[Plamen Ivanov]

2005? OK! Having some experience in organizing fairs, seminars, etc. i think it`s better to start preparing this meeting earlier. May be it will be good to open a new topic, especially for that purpose. What do you think?

Good luck!

[Alex Timmerman]

Hello,

I couldn´t resist visualizing this drawing for you all. It does have some resemblance to the famous Ludwig van Beethoven painting by Joseph Carl Stieler, I would say.

If it is our Louis, he sure looks more happy than on most of his other portrets. But that is ofcourse due to the mandolin he is holding and composing for.


Greetings,


Alex

Photo and drawing: Copyright 2004 by Alex Timmerman ©

[Plamen Ivanov]

Hello Alex,

That`s already a knock-out argument for your "gut strung Milanese mandolin" assumption! What`s next - a Beethoven statue with a Milanese mandolin in the centre of Zwolle?!

Just joking, my friend! Hope you are not angry about that. But I think the picture is a little bit misleading though. I respect the drawing abilities very much, because I`m a terrible painter.

Good luck!

[Alex Timmerman]

Hello Plami,

Well that´s a good idea!

But no, the place for such a statue would not quite be at it´s place in Zwolle.

I think Prague would be absolute great and one in front of the house at 285 Lazenska Street, where van Beethoven stayed in 1796 and composed his mandolin pieces.

Or, if that proves to be impossible, perhaps Vienna would be nice! A statue in at the Währinger Street in front of the Palais Clam Gallas (now the French Cultural Institute). Wow!!!


Cheers,

Alex #

[Plamen Ivanov]

Exactly!

You will have the chance to discuss the Beethoven matter in person with some of the biggest mandolin people in October, including Prof. Wilden-Husgen and Caterina Lichtenberg, right? Please, send them my regards!

Greetings to you and to the "Consort"! Still enjoy the CDs very much! And in your book there were two unknown words even for a Professor in Flamish philology! I guess these are some specific mandolin terms. He was impressed from the book itself as well!

Sincerely,
Plamen

[etbarbaric]

Ah Alex, your artistic talents are truly amazing. I have to say that I rather like this view of Beethoven... though I'd really like to get a look at the inch-thick book of mandolin music that rests under his left elbow in your drawing! :-)

I have been exploring Beethoven's mandolin music (and that of Mozart) on the instruments in fourths (on a 5-course double-strung mandolino, and a 6-course single-strung Milanese mandolino) both played with the right-hand fingers. I have to say that I still find it a very compelling solution, and one that I personally favor over the plectrum-played instruments in fifths for a variety of reasons.

The Mozart songs (Die Zufriedenheit and Komm Liebe Zither) are simply wonderful to play on the 5-course mandolino played with the fingers. The Don Giovanni Aria (Deh viene alla finestra), with its theme that moves in intervals of a fourth, seems custom-made for a six-course mandolino (also played with the fingers). This piece fits the mandolino tuning beautifully with each separate exposition of the theme starting on an open string, allowing for wonderful consistency of tone.

Early in this discussion, I decided that I really wanted to try these pieces on a realistic Milanese mandolin. Unfortunately, I was unable to find any modern luthiers building historically-accurate copies of Milanese mandolins. As luck would have it, our own Alex Timmerman graciously allowed his own original Milanese mandolin to be closely copied by the luthier Sebastian Nunez. Though I've only had it a few weeks, this instrument seems a great success and I owe Alex a great debt of gratitude for letting this copy come into being.

Here is a photo of the original and the copy in Sebastian's shop. I can post additional photos of the construction if people are interested.

Eric

[Alex Timmerman]

Hello Eric,

Here I am very happy to quote you:

The Mozart songs (Die Zufriedenheit and Komm Liebe Zither) are simply wonderful to play on the 5-course mandolino played with the fingers. The Don Giovanni Aria (Deh viene alla finestra), with its theme that moves in intervals of a fourth, seems custom-made for a six-course mandolino (also played with the fingers). #This piece fits the mandolino tuning beautifully with each separate exposition of the theme starting on an open string, allowing for wonderful consistency of tone.

In fact that is how I play them nowadays: fingerstyle and on a gut-strung Mandolino.

There are - like is the case with the van Beethoven mandolin music - again more reasons that point towards the gutstrung Mandolino as the favoured mandolin type for Mozart´s mandolin music than there are in favour for the Neapolitan mandolin. If you are interested, I´ll post my Mandolino fingerings (left ànd right hand) of all the Mozart mandolin works for you.

Georgious new Milanese mandolino you have! The looks of it is very nice and - as I played it right after it was finished at Sebastian Nunez´ in Utrecht, the sound is absolutely wonderful! Very ´open´ and well projecting!
And that was already the case with nylon strings...

Knowing that you like gut strings far better on these instruments, you probably have changed the strings for gut now, so I wondered how it sounds now?

I am really happy that you wanted a close copy of one of the very view known originals of this Mandolin type and that you choose to copy mine. Isn´t one of the reasons of ´saving´ all these wonderful instruments that makers can copy them?
And even more exited that you ´feel´ the possibilities of the music and this particular mandolin type so well.


Many greetings,

Alex

[etbarbaric]

Hi Alex,

Yes, I put gut strings on immediately... (plain gut for the first through fourth courses, Dan Larson's "gimped" pistoy's for the fifth and sixth courses). For some reason, though I don't mind synthetic strings on my lute, I just can't tollerate them on the mandolinos. The sound quality that gut produces is simply essential on these smaller, higher-tension instruments. Now... if I could only find a .40mm gut chanterelle that would survive longer than a couple days... On the plus side... I'm getting very fast at string changes! :-)... Fortunately, gut comes up to pitch very quickly when compared to nylon.

This Milanese instrument is lightly-built and projects very well (as you note). I do use nails now, but I keep mine trimmed fairly short. With this approach, I get a good clean "pop" from this instrument. This is the same quality I found on my original (restored) Cremonese mandolin and I think its an essential contributor to tone production on mandolinos.

Feel free to contribute your fingerings if you like as it is always interesting to see how someone else approaches a given piece of music. For myself, I found the Mozart pieces very straight-forward and natural on the mandolinos in fourths... and *very* fun to play with the fingers!

Eric