The Mazurka is a Polish musical form based on stylised folk dances in triple meter, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat". The Mazurka, alongside the polka dance, became popular at the ballrooms and salons of Europe in the 19th century, particularly through the notable works by Frédéric Chopin. The mazurka and mazurek are often confused in Western literature as the same musical form.
Giuseppe Martucci was an Italian composer, conductor, pianist and teacher. Sometimes called "the Italian Brahms", Martucci was notable among Italian composers of the era in that he dedicated his entire career to absolute music, and wrote no operas. As a composer and teacher he was influential in reviving Italian interest in non-operatic music. Nevertheless, as a conductor, he did help to introduce Wagner's operas to Italy and also gave important early concerts of English music there.
Silas Gamaliel Pratt was an American composer, who often published under the pseudonym V. B. Aubert. Critic Elson described Pratt as "an example of the irrepressible Yankee in music".
Bernardo De Pace was an actor, musician and comedic vaudeville entertainer of the 1910s and 1920s, billed as "the Wizard of the Mandolin". He learned to play mandolin in the Italian tradition under Francesco Della Rosa. De Pace's repertoire and technique was described in the Brooklyn Life as involving "the most difficult violin and piano compositions, executed at inconceivably rapid tempi demanding an uncanny technique seldom heard on fretted instruments". In 1927 the Minneapolis Star said that he had been recognized as one of the best mandolinists in the United States. It added that he was more than a mandolinist, that his skill was in playing on human emotions as few musicians were able.
Jan Gerard Palm was a Curaçaoan composer.
Carlo Munier (1858–1911) was an Italian musician who advocated for the mandolin's acknowledgement among as an instrument of classical music and focused on "raising and ennobling the mandolin and plectrum instruments". He wanted "great masters" to consider the instrument and raise it above the level of "dilettantes and street players" where it had been stuck for centuries. He expected that the mandolin and guitar would be taught in serious orchestral music schools and incorporated into the orchestra. A composer of more than 350 works for the mandolin, he led the mandolin orchestra Reale circolo mandolinisti Regina Margherita named for its patron Margherita of Savoy and gave the queen instruction on the mandolin. As a teacher, he wrote Scuola del mandolino: metodo completo per mandolino, published in 1895.
Charles Émile Waldteufel was a French pianist, conductor and composer known for his numerous popular salon pieces.
Felipe de Jesús Villanueva Gutiérrez was a Mexican violinist, virtuoso pianist and composer. Villanueva remains one of the most well-known figures of the Mexican musical romanticism – flourishing during the historical period known in Mexico as the Porfiriato.
Eduardo Mezzacapo (1832–1898) was an Italian mandolinist, recognized as a virtuoso. He was also a composer, and a performer, organizing and playing in a mandolin quartet in France. Although he died before recording technology, his quartet did get recorded between 1905 and 1910. He was also the founder of l'Ecole de mandoline française.
Bartolomeo Bortolazzi was a performing musician, composer, author, and virtuoso of both the guitar and the mandolin. He was credited by music historian Philip J. Bone as helping to pull the mandolin out of decline.
Giuseppe Branzoli was a violinist, mandolinist, composer, author, educator at the Liceo Musicale di St. Cecilia in Rome, and the founder of the periodical IL mandolin Romano. His compositions were for violin, mandolin, flute and cello, as well as church music.
Silas Seth Weeks was an American composer who played mandolin, violin, banjo and guitar. Although he played many instruments he concentrated professionally on the mandolin. He is considered to be the first African American to play mandolin during its golden period and was considered instrumental in bringing the mandolin to the prominent national standing that it had in the early 1900s. He was the first American known to write a mandolin concerto and led a mandolin and guitar orchestra in Tacoma, Washington.
Carlo Curti, also known as Carlos Curti, was an Italian musician, composer and bandleader. He moved to the United States whose most lasting contribution to American society was popularizing the mandolin in American music by starting a national "grass-roots mandolin orchestra craze".
Oscar Comettant was a 19th-century French composer, musicologist and traveller.
Charles Le Thière was a British composer, arranger and flautist. He was the son of a goldsmith and jeweller Thomas William Tomkins and his wife Eliza Tomkins, who had a store and company in Clerkenwell.
Giovanni Vailati (1815–1890) was an Italian mandolinist who reached the virtuosic-level of playing ability and was able to travel and perform throughout Europe. Entirely self taught on his instrument, he was described by Philip J. Bone as a "natural genius on his instrument, who by his remarkable performances, became known throughout his native land as 'Vailati the blind, the Paganini of the mandolin.'" He is important as one of the first generations of quality performers to use mandolin. He was one of a small number of mandolinists of the 19th century to play the mandolin in the concert halls of Europe after the Napoleonic War, who played with excellence in spite of indifference and diffidence toward their chosen instrument. Pietro Vimercati was another, whose concerts predated Vailati's by about 30 years. Also performing in Europe in the years following 1815 was Luigi Castellacci.
Jean-Baptiste Barrez was a French dancer and ballet master.
Esprit Charles Henri Ghys was a French pianist, organist, composer and arranger of Belgian parentage, who is primarily known today as the first piano teacher of Maurice Ravel.
Marc Burty was a French composer and music teacher for Lycée de Lyon who also went by the pseudonym, Georges Bull, in some of his works. He became interested in the harmonium after building a relationship with Alfred Lefébure-Wély in Paris who introduced him to the instruments, in which Burty later taught the instrument in the Lyon-based institution. He mainly wrote music pieces for the piano and were published in Paris between 1859 and 1900.
