A mandolin is a stringed musical instrument in the lute family and is generally plucked with a pick. It most commonly has four courses of doubled strings tuned in unison, thus giving a total of 8 strings, although,there are 4 string, 5 string, 6 string, 5 double string, 6, and even 4 a triple string course versions also exist. A variety of string types are used, with steel strings being the most common and usually the least expensive. The courses are typically tuned in an interval of perfect fifths, with the same tuning as a violin. Also, like the violin, it is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.
María Rosario Pilar Martínez Molina Baeza, professionally known by her stage name Charo, is a Spanish-American actress, singer, comedian, and flamenco guitarist.
In music, a method is a kind of textbook for a specified musical instrument or a selected problem of playing a certain instrument.
Ernest Shand was an English performer and composer for the classical guitar, and a music-hall singer and actor.
Salvator Léonardi was a mandolin virtuoso, teacher and composer. He taught in Egypt, Malta, London and Paris for more than 20 years, and also toured as a performer. Léonardi learned mandolin and guitar from an uncle, but went on to become a professional musician, studying the violin at a Naples conservatory. He won awards as a solo mandolinist at international music competitions in Florence and Rome.
Pietro Armanini was an Italian mandolin virtuoso who was born in 1844 and died on 8 September 1895 in Bordeaux, France. As a professor at La Scala, he was one of the most famous exponents of the Milanese mandolin and the first to bring his instrument professionally before the English public.
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.
Ferdinando de Cristofaro was one of the most celebrated mandolin virtuosi of the late 19th Century. He was also a classical pianist, teacher, author and composer, who performed at the chief courts of Europe, and received the royal appointment of mandolinist to the King of Italy.
Jean Pietrapertosa (1855–1940) was a composer and virtuoso of the mandolin who performed in Paris in the 1880s. He taught the mandolin and wrote a two-volume mandolin method book, Méthode de mandolin, published in Paris in 1892. He also organized a mandolin orchestra.
Herbert J. Ellis was a banjo player, a mandolinist, guitar player and a composer. Music historian Philip J. Bone called him "without question the most fertile English composer and arranger for mandolin and guitar." He was the author of a banjo method, a guitar method, and a Tutor for Mandolin (1892), which he wrote while still in school.
Giovanni Fouchetti (1757-1789) published one of the earliest method books for the mandolin, c. 1771. According to Philip J. Bone, Fouchetti was also known as Fouquet, and he lived in Paris during the 18th Century. He was a professor there in 1788. He is also credited with creating a Parisian school of mandolinists, along with Eduardo Mezzacapo, Gabriele Leone, and Gervasio.
Samuel Siegel was an American mandolin virtuoso and composer who played mandolin on 29 records for Victor Records, including 9 pieces of his own composition and two that he arranged. Siegel was the first mandolinist to record on Emile Berliner's phonograph disk-records. He was labeled "America's Greatest Mandoline Virtuoso" and "The King of the Mandolin" in the May 1900 Banjo World.
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.
William Foden was an American composer, musician, and teacher. Foden is considered America's premiere classical guitarist during the 1890s and the first decades of the twentieth century.
Ugo Orlandi is a musicologist, a specialist in the history of music, a university professor and internationally renowned mandolinist virtuoso. Among worldwide musicians, professional classical musicians are a small group; among them is an even smaller group of classical mandolinists. Among members of this group, Ugo Orlandi is considered "distinguished." Music historian Paul Sparks called him "a leading figure in the rehabilitation of the eighteenth-century mandolin repertoire, having recorded many concertos from this period."
Gabriele Leone was an Italian musician and composer who lived in Paris during the middle and later part of the 18th century. A virtuoso on the violin and mandolin, he wrote an early mandolin method, Analytical method for mastering the violin or the mandolin in 1768 and composed for both instruments. He was an early teacher of the duo method, an advanced technique which would reappear in the 20th century, taught by Giuseppe Pettine in the United States.
The mandolin has had a place in North American culture since the 1880s, when a "mandolin craze" began. The continent was a land of immigrants, including Italian immigrants, some of whom brought their mandolins with them. In spite of the mandolin having arrived in America, it was not in the cultural consciousness until after 1880 when the Spanish Students arrived on their international performing tour. Afterwards, a "mandolin craze" swept the United States, with large numbers of young people taking up the instrument and teachers such as Samuel Siegel touring the United States. The fad died out after World War I, but enough had learned the instrument that it remained. The mandolin found a new surge with the music of Bill Monroe; the Gibson F-5 mandolin he played, as well as other archtop instruments, became the American standard for mandolins. Bowlback mandolins were displaced. The instrument has been taken up in blues, bluegrass, jug-band music, country, rock, punk and other genres of music. While not as popular as the guitar, it is widespread across the country.
Following its invention and development in Italy the mandolin spread throughout the European continent. The instrument was primarily used in a classical tradition with mandolin orchestras, so called Estudiantinas or in Germany Zupforchestern, appearing in many cities. Following this continental popularity of the mandolin family, local traditions appeared outside Europe in the Americas and in Japan. Travelling mandolin virtuosi like Carlo Curti, Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early 20th century. This "mandolin craze" was fading by the 1930s, but just as this practice was falling into disuse, the mandolin found a new niche in American country, old-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised awareness of and interest in Early music.
