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

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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 (Unpublished Doctoral thesis, City University London)

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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.

BY

PAUL RAYMOND SPARKS

Submitted for the degree _{of Doctor of Philosophy} to The City

University, Department _{of Music.}

Nay 1989

VOLUXE I

A HISTORY OF THE NEAPOLITAN MANDOLINE.

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

Ch. 4 THE MANDOLINE ELSEWHERE IN EUROPE AND AMERICA

4.1 BRITAIN

4.2 PRAGUE, VIENNA, AND GERMANY

4.3 AMERICA AND RUSSIA

Ch. 5 MANDOLINE TECHNIQUE

5.1 THE INSTRUMENT

49

53

61

63

5.2 STRINGING ₆₈

5.3 PLAYING POSITIONS ₇₂

5.4 THE PLECTRUM (QUILL) 76

5.5 QUILL TECHNIQUE ₇₈

5.6 `TREMOLO (TRILL) 83

5.7 CADENCE 88

5.8 LEFT-HAND TECHNIQUES (chute, tirade, _coul6) 90

5.9 PETITES NOTES 93

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

Ch. 6A 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

Ch. 7 INSTRUMENTS RELATED TO THE MANDOLINE

7.1 BISSEX _--165

7.2 COLASCIONE

-165

7.3 CREMONESE MANDOLIN ₁₆₇

7.4 GENOESE MANDOLIN ₁₆₈

7.5 MANDOLA ₁₇₀

7.6 MANDOLONE ₁₇₁

BIBLIOGRAPHY ₁₇₃

TRANSLATIONS OF FOREIGN LANGUAGE CITATIONS 194

TABLES AND ILLUSTRATIONS _,

Fig. 3.1 Pierre Lacour _{-le- Pere --- Portrait , of Andre-}

Francois-Benoit-Elisabeth Leberthonb _viconte

de Virelade (late _{eighteenth century)} 33

Fig. 3.2 Johann Heinrich Tischbein _{- Jeune Fille}

jouant _{de la mandoline} (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 Mercier _{- Portrait of the British}

Royal Family (1733) '49

Fig. 4.2 Published _{mandolin music} listed in the

Handbuch _{der musikalischen} Litteratur 57

Fig. 4.3 Other _{published mandolin music} from Vienna 58

Fig. 4.4 Manuscript _music issued by Johann Traeg 59

Fig. 5.1 Leone - Illustration _{of a mandoline} (1768) 64

Fig. 5.2 Denis _{- Xandoline player} (Methode 1768) 65

Fig. _5.3 Denis _{- alandoline player} (Methode 1773) 65

Fig. 5.4 Corrette _{- Illustration of av ndoline} (1772)66

Fig. 5.5 _{Leone - Seated fenale`"mandolinist} (1768)

Fig. 5.6 Bortolazzi _{- Female mandolinist} (1805)

Fig. 5.7 Illustrations _{of quills}

Fig. 5.8 Quill _{stroking signs}

Fig. 5.9 Denis _{- Avoiding contre-coups de plume}

Fig. 5.10 Denis _{- Different coups de plume}

Fig. 5.11 _{Leone - Varieties of arpege}

73

73

76

78

80

98

99

Fig. 6.1 Mandolin _{repertoire 1750-1813 - Types and}

frequency _{of various forms} 109

Fig. _{7.1 Conti - Illustration of a Genoese mandolin} 169

ACKNOVLEDGEXEJTS

I am greatly indebted to the following _people for their help

and encouragement: in France, Christian Schneider and his

family, Francoise Granges _{and the staff of} the Departement

de _{musique of} the Bibliotheque Nationale, Paris; in the

United States, Norman Levine; in Austria, Ulrike Greiner; in

Denmark, Kurt Jensen, _{and Tove and Peter} Flensborg; in West

Germany, Keith Harris; in Italy, Ugo Orlandi; _and in

England, Eric Clarke _{and Jeremy} Montagu.

I _{am especially grateful to: Stephen Morey of Australia,}

Neil Gladd _{of the United} States, _and Didier Le Roux _and

Jean-Paul _{Bazin of France. all of whom} have been

independently investigating the history _{of the mandolin, and}

have _{allowed me access to their research notes; my}

supervisor at The City University, Richard Langham Smith,

who has patiently and enthusiastically monitored the

progress of this thesis; James and Joyce Tyler of Los

Angeles, for their _expert knowledge _{and assistance}

throughout _{my research;} Hugo d'Alton _of London, _whose love

of the mandolin inspired me to begin this thesis; and most

of all

to Tobey Burnett

for

her support

and encouragement,

which helped me to complete it.

I hereby _{grant powers of discretion}

to the University Librarian _{to allow}

this thesis _{to be copied, in whole or}

in part, without further reference to

myself. This permission covers only

single copies made for study purposes,

subject to the normal conditions of

acknowledgement.

ABSTRACT

VOLUME I- HISTORY

The _{4-course mandoline was developed in Naples in the}

1740's, _principally by _{the' ° 'Vinaccia family. It " is,,}

differentiated _{from the earlier 4,5, or 6-course mandolino}

by its deeper body, _{moveable bridge, violin tuning, higher"}

string tension _{with partial use of metal stringing, and the}

universal _{application of quill'technique. -}

This thesis _{traces the great popularity which the mandoline}

enjoyed throughout Europe, _{especially 'in} France, _-between

1760 and 1785. Italian _{virtuosos, such as Leone, Cifolelli,}

and Nonnini, _{performed at} the _-Concert Spirituel in Paris,

and won enthusiastic _reviews from _musical journals. Many

mandolinists _published tuition books there, _{as well as}

approximately 85 volumes _{of music} for their instrument. The

mandoline was also popular in' Lyon, where Fouchetti _and

Verdone _{were leading players, teachers, and composers.}

This thesis _{also examines the history of-the instrument in}

Britain, Germany, _{Russia, North America, and the Habsburg}

Empire, _{where there was-a resurgence of interest in all}

types _{of mandolin in the late eighteenth and early}

nineteenth 'centuries, _especially in Prague _and-Vienna. Much

new music was produced, including _repertoire items by

Mozart, Beethoven, _{and Hummel. - -}

The evolution _{of mandoline construction, stringing, playing}

technique, _{and style is- discussed, with reference to}

surviving treatises _of the _period. Instruments _closely

related to the _{mandoline are also} described. _---I

VOLUME II _{- THEMATIC INDEX'}

This _{catalogues all known eighteenth and early nineteenth}

century published _{and manuscript music-for mandoline,} listed

alphabetically by _composer. It _{was compiled after a}

systematic _{search of} lists _{of published'music} in _eighteenth

century music journals, _{and after extensive research} in

major music' libraries _{worldwide, using a name} list _of

several hundred known composers for _{mandoline and mandolino.}

Each entry consists of composer's name, dates, full title,

location _{of any surviving copy or copies, date of}

publication (where applicable), number of pages, _and

thematic incipit _{of each movement.} In _{some cases, only}

partial information has been obtainable. _-For completeness,

music for other types of mandolin composed prior to 1820 is

included, though _without thematic incipit.

VOLUME III _{- EIGHTEENTH CENTURY MUSIC FOR MANDOLINE}

The final _{volume consists of a selection of some of the}

finest _pieces from the _{mandoline repertoire; each with a}

short introductory note. They range from solo variations to

concertos and chamber works. Full scores have been prepared

where appropriate.

INTRODUCTION

Until _{recently, very} little _research into the history _and

repertoire of the mandolin had-been conducted. The few

studies that had been written, _-principally Philip J., Bone's

The Guitar _{and Xandolin} (1914) _{and Konrad} Wö1ki's Geschichte

der Mandoline (1939), _{were valuable,} but, dealt _only briefly

with the early mandolin, and tended to be anecdotal rather.

than factual, lacking

, in detail and references, and

frequently inaccurate. In _{recent years, a number} of

articles, particularly those of James Tyler in Early Ifusic

(1981a _{and 1981b), have placed mandolin study} on a more

scholarly footing. However, this thesis is, to my knowledge,

the first _{work to} deal _extensively with the eighteenth

century Neapolitan mandoline, to chart its history and

development, _and to _{present an} exhaustive' catalogue-,, of

repertoire for the instrument.

The brief _{articles about} the mandolin in music dictionaries

all too often fail to differentiate between the various

instruments _{which, share} this name, particularly the two

principal types, commonly known today as the Milanese and

Neapolitan _mandolins. The former _-type, in its _classic

eighteenth century form, resembles a small lute, with a

pear-shaped outline'and rounded back, a flat soundboard with

rosette, a fixed bridge _{, glued} to the soundboard, a wide

neck, and- between four _{and six courses of} double (or

occasionally single) _{gut strings.} The latter type has a much

deeper _round-backed body, _{a canted soundboard, an open sound}

hole, _{a thin moveable} bridge, _{and four pairs of mostly metal}

strings tuned like a violin. These two instruments have

quite distinct histories, repertoires _and playing

techniques.

In-order _{to distinguish between the various types in} this

thesis, _{I shall} follow _{the nomenclature used by James Tyler}

and Paul Sparks in The Early Xandolin (1989), where the

earlier, lute-like instrument is given the Italian name

mandolino (since this was most commonly used by its

contemporary players, makers, and composers), and the later,

violin-tuned instrument is called by the French term

mandoline (since, despite its Southern Italian roots, its

own repertoire was developed mainly in France). Other less

important types, _{such as Genoese and} Cremonese _mandolins,

will be referred' to in full, the term "mandolin" being

reserved for occasions _{when all} types of the instrument are

being discussed.

Material for this thesis has been _gathered from _various

sources. The most important has been an extensive study of

Parisian journals _published between _{1749 and 1795, noting}

all reviews of, and references to, mandolinists, and

obtaining dates of publication for their compositions.

Additionally, _{a wide range of} books dealing _{with music} in

Paris during _{this period was consulted.} This _{mode of}

research was repeated to a lesser extent for a dozen other

European _{cities (and one American), and was supplemented} by

extensive consultation of books concerned with music, _art,

and travel to France and Italy during the second half of the

eighteenth century. Using the biographical list of

mandolinists thus. acquired, about two hundred and fifty

music libraries throughout the world were investigated for

surviving music, wherever possible in person, but in _most

cases via letter, published catalogues, personal contacts

with, mandolinists in other countries, and the index _of

published music issued by RISM (Repertoire International des

Sources Musicales, 1971). The _{main source material} for

stringing and technique was found in the seven Paris, and

one Leipzig, treatises for the instrument, _supplemented by

the _{reading of. a range of contemporary tutors} for _other

instruments, _{especially guitar and violin.}

The mandolin is frequently denigrated _{by musicians, who view}

it _{as a lowly, vulgar instrument without a serious solo}

repertoire, _{redeemed only} by _{an occasional} fleeting

appearance in _{a Mozart opera or a Mahler} symphony. This

thesis demonstrates _{that the various} types _{of mandolin}

played _{an active part} in seventeenth and eighteenth century

musical life, and that the mandoline, during the second half

of the eighteenth century, was widely regarded as an

aristocratic instrument, being composed for by most of the

leading _{composers of} that _period. It _{also refutes a number}

of unfounded but persistent myths about the instrument,

showing that tremolo was a standard technique during this

period, _and that _{all-metal stringing was a nineteenth}

century development.

Libraries _{are referred to throughout this thesis by their}

RIST( _{sigla (a list of those used is}

given in the

introduction _{to volume II).}

As far _{as possible, I have preserved the eccentricities}

of

eighteenth _{century orthography when reproducing titles. For}

ease of reading I have however _{adjusted some of} the _more

wayward _{spelling and accenting} in _volume I _{(volume II}

reproduces them exactly _{as in the original).}

CHAPTER 1

THE EARLY XAIDOLI10

The lute-like forerunner _of the _{Jnandolino was probably}

introduced into Southern Europe in the tenth _{century, and,}

by the thirteenth _{century, was known throughout} Europe by a

variety of names, including quitaire, gyterne, gittern, and

cbitarra (Wright, 1977). At this time, the whole instrument

(round body, _{neck, and peg-box) was carved} from _{a single}

piece of wood, and fitted with between three single and four

double _{gut, or possibly metal, strings.} No medieval music

for _{gittern appears to have survived.}

By the late _{sixteenth century,} the instrument was known in

France _{as the mandore (amongst many other} names), and two

volumes _{of music} for it had been published: Pierre Brunet's

Tablature de Xandorre (Paris, 1578), and Adrien Le Roy's

L'instruction _{pour in mandorre} (Paris, 1585), both now lost.

The various tunings for four and five courselmandore given

by Praetorius (1619) _alternate intervals of perfect fourths

and fifths, e. g. c'-g'-c"-g" and c-f-c'-f'-c". This tuning

distinguishes the French mandore from all other plucked

instruments _of the period. A good deal of music for the

instrument _{was composed} during the _{seventeenth century,}

mostly in tablature, after which interest declined.

In Italy, _{a similar} instrument _{was known as the mandola} by

the late _{sixteenth century.} The first known use of the term

mandolino occurs in an instrument maker's bill dated 1634

amongst the papers of Cardinal Francesco Barberini _-in"Rome

(Tyler & Sparks 1989,14). _{The standard-tuning in} Italy for

a four-course mandolino was _{e! -a'-d"-g".} During the

seventeenth century, _{° a fifth coursetuned} to b was added,

and by the early eighteenth century, _{-an-additional} course

tuned _{to g gave the conventional tuning g-b-e'-a'-d"-g"} for

the _{six-course gut-strung- mandolino, a -tuning which, has}

survived to the present day. "

The _{seventeenth 'century produced numerous -manuscript=and}

published-works formandolino, including _pieces in Giovanni

Pietro-Ricci's Scuola d'intavolatura _{(Rome, 1677), and a}

manuscript of c. 1675-85' in I-Fc (ms. 3802). Amongst-the

most " distinguished makers of mandolini _-was- Antonio

Stradivari, _{two of whose instruments '(1680 and c. -, 1706) and}

seven of whose drawings _of body-patterns _survive (Sacconi,

'1979); During the- second half _of the _{century, obbligato}

parts-for mandolino began to appear in'vocal _{arias, such as}

in the _oratorio Ismaele by Carlo Cesarini (San Marcello,

Rome, 1695), _{and an untitled cantata, ", ` dated 1699, by}

Alessandro Scarlatti. _{An Aria with-mandolin obbligato became}

a frequent set piece in-Italian operas-and oratorios from

this time _{onwards., ' -=--}

The eighteenth century _{was a golden} age for the Jnandolino or

mandola (both-terms`° were used 'throughout ý this period),

producing an enormous number of publications-and manuscripts

for _{the" Instrument', with tablature gradually giving way to}

standard notation. From manuscripts such as the Libro per la

ý,

Nandola deli I11usm° Sig'- Xatteo Caccini _{a di p°} Agosto

1703 (E: Pn, Res. _{Vm b ms. 9) it is clear} that the _mandolino

was frequently played with the fingers of the right hand,

rather than the plectrum which became standard later in the

century. Leading players and composers in the early part of

the _century include Francesco Conti _and-Filippo Sauli.

Probably the _{most celebrated compositions} in _{the- mandolino}

repertoire are the three concertos by Antonio _-Vivaldi,

composed between 1720, and- 1740. Other, outstanding. items

include _{a concerto} by Johann Adolf Hasse (D-ddr: _{Bds ms.}

Landsberg 313/8) _c. 1740, _{a, setý of. twelve sonate a due}

-Nandolini e Basso by F. Giuseppe Paolucci (I: Ac 178/1)-1758-

61, _{and a sonata} by Giovanni Battista Sammartini

(I: Ff ornaciari ) c: _{1750. -A collection} in 1: Gi (l) includes

quartets by Alessandro Rolla, duets by J. K. Stamitz and

Ignaz" _{Pleyel, -, and a concerto by Antonio Maria} Giuliani

(Volume II, includes _{any exhaustive} Iist _{-, of mandolino}

-"

repertoire).

Although _{the mandolino was somewhat eclipsed} by --the

-mandoline during the second half of the -eighteenth-century,

It _{experienced a- resurgence- of popularity-c.} 1800. A-large

collection of manuscript music for mandollno in A: Wgm

contains many- pieces by _-Johann. Hoffmann, including a

concerto with wind and strings, _{- and} two quartets for

mandolino, violin, viola, and cello. _{-- Other} composers

represented include Melchior Chiesa, Giuseppe Blesber and

Johann Conrad Schlik.

I would like to _{acknowledge the assistance given by James}

Tyler in the _{compilation of this chapter, " particularly in}

allowing me access to his _{research notes} into the history

and repertoire of the _{mandoline, prior} to their _publication

in Tyler & Sparks (1989)

CHAPTER 2

NAPLES AND THE ORIGINS OF A NEV INSTRUMENT

The entry of Charles Bourbon into Naples in 1734, at the

head _of his Spanish _{army, signalled} the beginning _{of a}

golden age of Neapolitan culture. Although Naples was the

third largest _city in Europe (after London _{and Paris), and}

the Neapolitan _{kingdom comprised} the _{whole of} the _{south of}

Italy (including Sicily), the _region had languished _under

foreign _rule for _{centuries until} Charles _established it _as

an autonomous kingdom, _{and encouraged} the emergence there of

a distinctive Neapolitan style in art and music. The next

few years saw the building of the San Carlo opera house, the

porcelain factory _{at Capodimonte, and the} enlargement of the

Palazzo Reale, _{while increased artistic patronage} led to _a

flowering _{of Neapolitan painting (Litchfield, 1981).}

In music, a distinctive Neapolitan style of composition was

developing, lighter _{and more melodic} than that then in

favour _{elsewhere in Europe.} Giovanni Battista Pergolesi

(1710-36) is _{today the} best _{remembered of a school of}

composers who developed a form of opera in a Neapolitan

dialect. The four Neapolitan _{conservatoires} became _famous

throughout Europe _{and a period of study at one of them was}

an important step in the career of any aspiring operatic

musician. Throughout the eighteenth century, Naples _exported

a steady stream of composers and singers to other European

capitals, and the Neapolitan style became a principal

influence _{on international musical} taste.

Naples _{has had a long association with. a variety of popular}

-, plectrum-played stringed instruments, dating back to at

. least the fifteenth century, when Arabian, wire-strung long

lutes _{of the , bouzouki type were introduced, there, were}

modified with, characteristics of Italian lute construction,

and became known as colascioni. Metal-strung guitars were

popular in Naples from the seventeenth century onwards,

often strummed with a plectrum as an accompaniment to-song

and dance (Baines, 1966,, 49), A third, instrument was

discussed by' Filippo _'Bonanni in his- Gabinetto _{arJnonico of}

1722, ' where he describes the pandura: _-

Pandura _si dice dalli Napoletani 1'istromento

seguente, la forma di cui 6 poco differente

dalla Mandola, _{mä 6 di mole.. molto piü grande;} 6

armato di otto corde di metallo, e si suona con

-la _{penna, e rende grata armonia.}

The accompanying illustrations in Bonani's _{book are however}

thoroughly _{unreliable and unilluminating -} his _artist's

drawing _{of the pandura} has 10 tuning _pegs.

An important _{" breakthrough`} in instrument _construction

occurred 'in Naples c. 1740 with the introduction of the

broken, _{or canted,} table. Canting _{was accomplished either-by}

bending the _{soundboard over a hot poker, or} by cutting _a

notch along its underside, just behind the bridge, before

fixing it to the body _of-the instrument. The final _shape

distributed the _string tension _{more equally} throughout the

whole instrument than was the case with the traditional flat

table _{and glued} bridge _of the _mandolino. This _{new design}

became _{a common and} distinctive _{, Neapolitan} trait,

particularly on the cbitarra battente , and the newly

developed _mandoline. It _should be _noted that, _-although

earlier instruments with canted table exist, such as the

cbitarrat battente by Jacobus Stadler, Munich 1624 (London:

Hill Collection), _{these examples have clearly been modified}

since their original construction. _`

During _{the eighteenth century, the" emphasis on 'musical}

performance throughout Europe was, expanding from the

intimate _{surroundings of private} houses to the larger _spaces

of the _{ever-increasing number} of public concert halls _and

opera houses. Luthiers responded to this challenge by

increasing the _string tension, _{and often} the _{size, of}

instruments _{so that they could} be heard in these larger

surroundings. Some instruments, _{such as those of} the _viol

family, _{were unable to make the change and, apart from in}

the hands _{of a few virtuosos, never moved , from domestic to}

general public performance. In the _{case of- the mandolin,}

Neapolitan luthiers _{deepened the back (or bowl) of the}

instrument _{and made use of the canted table in order that a}

greater string tension _could-be borne than _{was the case with}

the 'mandolino. _'

Instruments _{of this period commonly have tables made from}

pine, with the bowl _constructed from between _{eleven and}

thirty-five _{sycamore, rosewood, or maple ribs. On the} best

Neapolitan _{mandolines each rib was fluted (that is, scooped}

out after it had been glued in place, so that the back

presented a series of crests _{and troughs).} The pair _{of ribs}

nearest to the soundboard is much deeper than the others and

gives-to the mandoline its distinctive deep curve, much more

pronounced than that encountered on any other type of

plucked instrument. The hardwood fingerboard- found on the

best instruments _{was decorated with} ivory, _and lay flush

with the soundboard at the tenth fret, unlike modern

instruments _where the fingerboard _{runs over} the table _and

stops at or over the soundhole. Metal or ivory frets were

fixed into _{slots on the fingerboard.} The flat _{pegboard with}

sagittal pegs (inserted from the rear) followed the

Neapolitan tradition _{of guitar and- chitarra} battente

construction,

rather

than the scrolled

head and side pegs of

the _{lnandolino. The soundhole was open, and between} it _and

the bridge _{was a protective plate, made of either}

tortoiseshell _{or of a piece of} inlaid hardwood. By fixing

the _strings to hitchpins _{at the base of the instrument, the}

problem of table rupture, which is encountered on the lute-

type _of fixed _glued bridge _at high tensions, _{was avoided.}

The average overall length of the mandoline _{was about} 56 cm,

with a string playing length of about 33.5cm. (Coates, 1985,

136-9 discusses _{mandoline geometry, and the transformation}

of instrument proportions,

mandolines to the corpulent

from _the first Vinaccia

instruments _of the _early

nineteenth century).

However _{the most significant} difference between _mandolino

and mandoline lies not in construction, but in tuning. The

traditional fourth-based tuning _of the _{mandolino, a tuning}

which favours a chordal style of playing, has been replaced

by a tuning in fifths, _{which gives} to the _{mandoline many of}

the _{characteristics of} the _violin. Whereas

-to a

conventionally trained musician the mandolino was a separate

study, the mandoline was easily understood by any composer

or performer familiar with the violin, which had, by the

eighteenth century, become the undisputed king of the bowed

instrument family. As Signor _{Leone of Naples pointed out on}

page 1 of his mdtbode of 1768:

La Mandoline _{s'accorde exactement comme} le

Violon _{en quinte,} il _{ya quelques autres}

Instruments d'une forme _{ä peu pres semblable}

qu'on nome Mandoles en Italie, et que 1'Etranger

confond souvent avec celui dont il sagit ici.

qui est le plus parfait et qui dolt avec justice

participer aux prerogatives du Violon reconnu

pour l'Instrument le plus universel at le plus

etendu.

tnandolino

A

7ý

mandoline

Credit for _{the development of the mandoline is usually given}

to the Vinaccia family, _{although several other} Neapolitan

luthiers _{are known to have been making mndolines at about}

the _same time. The _most important _of these, during the

second half of the eighteenth century, were Donatus Filano

and the Fabricatore brothers. The earliest known surviving

specimen of the mandoline type is a tenor instrument, or

mandola, dated 1744, made by Gaetano Vinaccia and now in the

Conservatoire Royal de Musique in Brussels, _no. 3182

(Baines, 1966, _{gives an} illustration _and description).

Nandola is _used here in its _{modern sense, as an instrument}

with four pairs of strings tuned either like a viola, or one

octave below the mandoline. '-It has no connection with the

older type of mandola described in chapter 1. The earliest

surviving mandoline proper dates from 1753 (Coates, 1985,

136-9).

Although in Naples the _{mandoline was} regarded _primarily'as

a "street" instrument, "art" music was written for it by

many of the city's composers. For instance'during the 1760's

Gasparo Gabellone, Domenico Gäudioso, Emmanuele-Barbella,

Carlo Cecere _and Giuseppe Giuliano, _{' leading composers all}

resident in Naples, wrote mandoline concertos _{and numerous}

other works for the instrument. A school of mandoline

players and composers grew up in Naples, but _{a search}

through the _{records of} the four Neapolitan _{conservatoires}

reveals that it was never formally taught there. Giuseppe

Giuliano _{was considered} to be a leading _{exponent of} the

instrument, _{as Pietro} Denis _{remarks on page 3 of} his Paris

m6thode of 1768:

J'ai'vu ä Naples X" Julien, _{celui, qui, selon}

moi, joue le mieux de la Mandoline....

Travellers _{to Naples mention that the instrument was popular}

at every level of society. Charles Burney, for example, in

his Xusical _{Tour of 1771, noted in his diary} for 23 October

1770:

The Second _{Week at Naples.}

This _evening in the

street some genuine Neapolitan singing,

accompanied by a caloscioncino, a mandoline, and

a violin; I sent for the whole band upstairs,

but, like _{other street music,} it _{was best at a}

distance; _{in the room it was coarse, out of tune,}

and out of harmony; whereas, in the street, it

seemed the contrary of all this; however, let it

be heard _where it _will, the _{modulation and}

accompaniment are very extraordinary (Burney,

1771, _vol. 1,254).

Burney _{noted many examples of mandoline playing while in}

Italy, _{including this serenade in Brescia, 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 _were just _{come from} Russia, _where

they had, been fourteen _or fifteen _years. The

principal singer amongst them, I found, upon

enquiry, to be the Castrato Luigi Bonetto _...

He is _{a native of Brescia; was welcomed home by}

a band of music, at the inn, the night of his

arrival, and by another before his and my

departure, _{consisting of two violins, a}

mandoline, french horn, trumpet _{and violoncello;}

and, though in the dark, they _played long

concertos, _{with solo parts} for the _mandoline. I

was surprised _{at the memory of these performers;}

in short it _{was excellent street music, and such}

as we are not _accustomed to; but _ours is _{not a}

climate for _serenades (ibid., _vol. 1,90-1).

Given the _{relative quietness of the mandoline compared to}

the trumpet _{and French} horn, _{it seems probable here that} the

solo passages _played by the _{mandoline were accompanied only}

by violins and cello, with the wind instruments playing just

the _{tutti passages (a similar arrangement can be seen in}

Piccinni's Ouvertura _{and Sacchini's} Concerto, both in F: Pc).

The _{instrument was widely written for by Neapolitan}

composers, occasionally in operas in Neapolitan dialect, but

chiefly in small-scale instrumental music. However, since

many Neapolitan composers were making their- livings abroad

at this time, their published and manuscript works preserved

elsewhere in Europe can show us more than those found in

Italy itself. Of _all the European _{centres of mandoline}

activity in this period, by far the most important and

thriving _{was Paris, where the} instrument _{was to enjoy great}

popularity during the second half of the eighteenth century.

CHAPTER 3

THE XABDOLD E IH FRAICE

3.1 PARIS

During _{the eighteenth century,} France _{underwent a period of}

massive economic decline, with the French people becoming

increasingly _{unwilling to} foot the bill for _royal

extravagance and the disastrous series of wars in which the

country was engaged. By, the end of the Seven Years War

"(1756-63), fought against Britain and Prussia, France was

virtually bankrupt.

But _against this backdrop _{of national} insolvency, the

elegant life of the titled and wealthy continued unabated,

refusing to recognize the mounting economic crisis in

France. Art, _{and in particular music, was eagerly patronized}

by the _{privileged strata of society.} Opera _{thrived, as did}

instrumental _{concerts, the most celebrated} being _{the regular}

concerts of the Concert Spirituel in Paris, which were held

on days of religious significance _{when opera} was considered

unsuitable (Pierre, 1975, _{gives a full} history of these

concerts). This patronage _encouraged singers, composers, and

instrumentalists _{from throughout} Europe to try their fortune

in Paris, _{and in Lyon which was the second city of France.}

In _{particular, there was an influx of} Italian _musicians,

whose lyrical _{musical style} had become immensely popular in

France, _{where it was termed style galant.}

Paradoxically, in the _{midst of such artificiality and}

cultivation, the idealized image of pastoral life was

exalted by artists and thinkers _{; alike.} Jean-Jacques

Rousseau, for _{example, praised} the _{natural simplicity of}

1'homme _{sauvage, and at} Versailles the _{aristocracy would}

dress _{as shepherds and shepherdesses, and serenade each}

other with music played on pastoral instruments, such as the

vielle (hurdy-gurdy) and the musette (bagpipes).

In 1752 _an Italian _{opera company created a sensation} in

Paris _{with performances of Pergolesi's} La Serva Padrona. The

light _{melodic style of this} Neapolitan _opera buffa, _with its

irreverent _{social comment and colloquial - libretto,}

contrasted sharply with the current French opera style,

dominated by the _ageing Jean-Philippe-Rameau, _{who favoured}

themes drawn from-classical _{antiquity, and a contrapuntal,}

harmonically _{complex musical} language. _{The subsequent guerre}

des bouffons _{was principally a polemic} between _progressives

and conservatives, with most of the young intellectuals of

the day supporting the Italian _cause. Jean-Jacques _Rousseau

was the most articulate of the protagonists, _arguing in

favour _of the Italian _{style, stating} in his Lettre _sur la

musique frangaise that a musical performance:

ne porte ä la fois qu'une melodie A 1'oreille et

qu'une idle ä l'esprit. (Rousseau, 1753,275)

Rousseau had already _{composed an opera of his own,} le Devin

du Village, to _show how this _{new melodic style could} be

applied to the French language.

The French _{were regaining} their interest in Italian _culture

in general at this time, as Claude Bellanger notes:

L'Italie litteraire, _{admiree au} temps de la

Renaissance _et A 1'epoque _{classique, perd son}

prestige au settecento. Mme du Bocage-se plaint

du ralentissement du commerce litteraire avec le

pays de Dante. A partir de 1756, le Journal

6tranger _6tablit des _{correspondants} A Rome, A

Venise, _{A Florence}

... Les articles sur l'Italie

deviennent _{plus nourris}

... La controverse sur

la valeur de la langue italienne, _qui fait _rage

dans la _{peninsule, se reflete dans cette revue}

... (Bellanger, 1969, vol. 1,307).

During _the 1750's _and 1760's, France _{enjoyed an}

unprecedented influx of Neapolitan musicians, chiefly _opera

composers _and singers who worked at both the Comedie

Italienne _{and the} Opera in Paris, _{or at the} Royal Palace _at

Versailles.. In their _{wake came many 'instrumentalists,}

including _{a number of mandolinists who earned their} living

as teachers, performers, and composers of music for their

instrument.

The first _{professional mandolinist} in Paris during this

period was the Roman Carlo Sodi (or Sody), who performed

there _{on 18 October} 1749:

Le Sr. Sodi, frere'de l'excellent Pantomime de

1'Academie Royale de Musique, _y joua de _sa

Mandoline _{avec le succes qu'il meritoit} (Mercure

de France, December 1749, _pt. 1,201).

and subsequently _{at a concert spirituel,} on 6 April 1750

()fercure de France, _{May 1750,188). Sodi worked principally}

as a violinist _at the Comddle Italienne _{and made no other}

recorded _{appearances as a mandolinist, although} he was the

first _{recorded teacher of the instrument in Paris (Deze,}

1759, lists _only Sodi _{as a maitre de mandoline).} During the

1750's the _{mandoline was} less- _popular there than the

colascione, which was being championed in Paris by Giacomo

Xerchi _and his brother, both Neapolitans. The brothers

appeared at the Concert Spirituel in, 1753 and gained a

favourable _review in Xercure de France ( June 1753, _pt. 2,

163). The Duc de Luynes _{also remarked approvingly on their}

performance in his X6moires-(1860) in an entry dated 13 June

1753 (see _ch. 7.2). The brothers _{stayed in} Paris _{and are}

listed in Jdze (1759) _{as mal tres de colascione.} It _{was not}

until the 1760's that the mandoline began to establish

itself _{as the dominant} Neapolitan instrument there.

The year 1760 marked the beginning of the instrument's _great

popularity in Paris, due to the appearance of two leading

players at the Concert Spirituel. At Easter, Giovanni

Cifolelli _performed there:

Le _signor Cifotelli [sic], Musicien de

l'Electeur Palatin, _{a joue une Sonate de}

Mandoline, de sa composition. _{-La Mandoline est}

une espece de petite guitarre: _et le _signor

Cifotelli _{" en} joue _{avec taute 1'habilit6}

possible. (. Pfercure de France, June 1760,237).

Le Roux (1986) _states that the Elector _{Palatin was the}

sovereign of the small duchy of Deux-Pants, near Luxembourg.

Cifolelli's daughter _{became a celebrated cantatrice at} the

Comddie Italienne, _noted for her 'pleasing figure _and

slender, elegant waist' by the anonymous author of Tablettes

de Renommee (1785). Cifolelli _{subsequently settled} in Paris,

where he worked _{as a composer,} mandolinist, and singer. A

fascinating description _of his _{talents appeared on page 78}

of the Journal de Nusique in July 1770:

Nous _possedons depuis _quelque temps _{en cette}

Ville _un Virtuose dont les talens _meritent ä

tous egards d'dtre _{universellement connus.} M.

Cifolelli, Italien, _{a dans sa manibre de chanter}

toutes les _{graces qu'on admire} dans les Artistes

de son pays, sans avoir aucun de leurs defauts;

il tire _{un parti infini} d'un tres-petit _volume

de voix, & son gout exquis la fait paraftre ä

son gre legere ou interessante. I1 ajoute A ce

nerite celui de s'accompagner trds-agreablement

de la _{mandoline, & de composer} de la Musique.

charmante.

The appearance of this panegyric, written by the editor of

the Journal, Nicolas Franery, _{may not} be _entirely

unconnected to the fact that these two men had just

collaborated on the composition of an opera-comique

'1'Italienne', _{which was performed} that _{year at the} Comedie

Italienne.

The second, _{and more important,} appearance in 1760 was that

of Signor Leone (or Leoni) of Naples, who performed one of

his _{own sonatas at} the Concert Spirituel _at Pentecost, _and

appeared again on Corpus Christi where:

Le Signor Leoni _{a jou6} de la _{Mandoline avec}

beaucoup d'habilit6. (Nercure de France, June

'1760,237 _{and July} 1760, _pt. 1).

Leone appeared at a further four concerts in 1766

. (those on

8 September, _{' 8,24, and 25 December} 1766), this tine

eliciting two favourable reviews:

8 December

... M. Leone a execute un solo de

mandoline d'un fort bon genre, && la fois d'un

goat heureux. Cet _artiste a etonne par, son

habilite, _{&a eu un veritable succes,} d'autant

plus flatteur _pour lui, que 1'instrument dent. il

a fait choix nest pas officieux, relativement A

1'etendue du local _{oü il a deploye ses} talens

(Xercure de France, January 1767, _pt. 1: 188-9).

On entendit avec autant de surprise que de

plaisir dann ce concert M. Leone, Professeur de

Mandoline, _executer differents _{morceaux sur cet}

instrument. On ne peut _porter la _{nettete et} la

precision plus loin (L'Avant - Courreur des

Spectacles, _quoted in Le Roux, 1986,11).

Leone does _{not appear} to have _{been resident} in Paris, but

was Jnaftre de mandoline in the household of the Duc de

Chartres during the 1760's. A great deal _of his _mandoline

music was published in Paris, commencing with the first

known Parisian _{mandoline publication,} 30 Variations (1761),

and including his X6thode ralsonnee pour passer du violon ä

la mandoline (1768), the _{most detailed and important of all}

eighteenth century tutors for the instrument.

Leone _called himself _simply X. Leone [or Signor Leonil de

Naples, _and his _{christian name} is _uncertain. The 1983

Xinkoff _{reprint of} Leone's _metbode gives it _{as Pietro,} but

offers no explanation for this. In the Fondo Noseda' of the

library _of the Conservatorio in Milan` _{are several mandoline}

manuscripts entitled Duetto a due Nandolini del Sigr:

Gabriele Leone 1789. Le Roux (1986) _{also suggests} that the

Parisian _{mandolinist and} Gabriele Leone, _a London _music

publisher during the 1760's, were one and the same. This is

certainly possible, as Leone is known to have been in London

in 1766 (Grove, 1954,5: 548). However, it is _significant

that _{no Parisian source of the} 1760's _{or 1770's ever} gave a

christian name and, given that the manuscripts in Milan are

merely much later copies of Leone duets originally published

in Paris _{in 1762, I do not consider the case for Gabriele} to

be proven.

Paris _{was the centre of all music publishing during the}

later _{eighteenth century, and composers} from _{all over} Europe

had their _{works published} there. _{As the market} for _published

mandoline music was always relatively small compared to

those for _{standard orchestral} instruments, the _{works of}

mandolinists, such as Leone's Six Duo of 1762, were usually

described _{on the} title-page _as being _suitable for _either

mandoline or violin, _{and often also} for par-dessus de viole

or flute.

The rise in popularity _{of the mandoline} at this time led to

its frequent inclusion _{as an accoutrement} in _{portraits of}

the _period. A fine _example is Pierre Lacour le Pere's

portrait of Andre-Francois-Benoft-Elisabeth Leberthon,

viconte de Virelade, _{which gives a clear} view of the seated

playing position. (fig. 3.1). However the attractiveness of

the _mandoline became _{of particular} importanct to fashion-

conscious _{women. Francois-Hubert} Drouais' _portrait of Madame

de Pompadour, _{completed in 1764 and now in} the National

Gallery, London, _{is one of the} first _{appearances of} the

mandoline in French _art. Over the next few years it _was

frequently included _in female _{portraits, such as} Johann

Heinrich Tischbein's Jeune fille jouant de la _{mandoline of}

1772 (fig. 3.2, _{sold at} Sotheby's, New York, 19 December

1973), _{where the mandoline} functions _{partly as an}

instrument _{and partly as an ornament.} This _association

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between _{the mandoline and women is highlighted by the title}

of the first tutor to be published for the instrument:

Giovanni Battista Gervasio's Xethode tres facile _pour

apprendre s jouer de la mandoline A quatre cordes instrument

fait _pour les dames (Paris, 1767).

Gervasio, _{a touring mandoline virtuoso and composer, was}

particularly _active in the 1760's, but his only appearance

at a concert spirituel was not until 24 December 1784, when

he played one of his own mandoline compositions (a concerto)

to an unsympathetic audience:

I1 _eat 6t6 ä souhaiter _{que M. Gervasio se fat}

rendu assez de justice pour sentir que la

mandoline ne convient point du tout dans un lieu

oü il ne faut our que de grandes masses; ces

reflexions lui _essent 6pargn6 _quelques

desagrements _{(Le Journal de Paris, quoted from}

Le Roux, 1986,13).

At this time the term _{concerto did not necessarily signify a}

work with full orchestra. Often it _{was used simply} in the

sense of a combined _performance, that is _accompanied by at

least _{one other player. Most eighteenth century compositions}

designated _{as mandoline concertos are, in any case, intended}

to be performed _{with only two violins and basso continuo as}

an accompaniment to the soloist. Although Gervasio published

several works in Paris, London, _{and Vienna,} the bulk _{of his}

very large _{output remains} in _{manuscript collections,}

particularly _{at E: Pc and J: Uu.}

Table _{1 has been compiled from various Parisian journals and}

almanachs, _and from information _{given on} title-pages _of

published music from the _{period, and gives} the years in

which various maitres de mandoline in Paris are known to

have _{been giving} lessons _{on the} instrument. As information

is _{not available} for _{every year,} the table details _only

those _years in _which these _{musicians advertised their}

services.

fig. 3.3 _{(TABLE 1) XA! TRES DE KAHDOLIHE IN PARIS}

ma 1 tre dates _comments

Barrois _{- 1789}

Denis, Pietro _{- 1765-77}

Fouchetti, Giovanni _{- 1770-89}

Also known as Jean Fouquet.,

Frizieri _{- 1775-76}

In England 1775.

Previously in Lyon.

Blind _since

childhood.

Martin _{- 1777-79}

Mazzuchelli _{- 1777-89}

Merchi, Giacomo _{- 1766-89 Resident in Paris}

previously as a performer and teacher

of the colascione and guitar.

Riggieri, Antoine _{- 1781-83} Approximate dates. 'May

have been teaching during _1760's. See

notes on publication dates in Pt. II.

Sodv, Carlo _{- 1759-89} Resident _{in Paris as a}

mandolinist since 1749. He was noted

as blind after 1775.

"(1e) Vasseur _{- 1778-83}

Veginy,

Giacomo

_{- 1768}

Verdone _{- 1788-89} Previously in Lyon.

Vernier _{- 1778-83}