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*** Table of contents ***
This issue of the "LuteBot Quarterly" is devoted to two charming
plucked instruments: the Calichon and the Mandora
Foreword -- by F. Marincola
Part I -- "Accord Mandorae est una quarta [...] altius, quam Galizona"
(The Mandora is tuned a fourth higher than the Galizona)
by Pietro Prosser <pprosser@tin.it>
I.1 -- Introduction
I.2 -- The Calichon according to Janovka
I.3 -- The Mandora according to Janovka
I.4 -- Other sources for Calichon and Mandora
I.5 -- Calichon versus Mandora
I.6 -- Calichon versus Colascione
I.7 -- Notes
I.8 -- Bibliography
Part II -- About Pietro Prosser
Part III -- Paul Beier's String and Fret Calculator
Part IV -- About Paul Beier
Part V -- The Marco Fodella Foundation Scholarships
Part VI -- About Federico Marincola
Part VII -- 2 Mandora Pieces from Ms. 1272/1 (Frstlich-und Frstenbergische
Bibliothek, Donueschingen - Germany):
* "Leopold", c.40v (Leopold is a character of
the "Teutsche Komoedie")
* "Fantasia", cc.153v - 154r
--------------------------------------------------
Foreword -- by F. Marincola
The following article is a shorter version (in English) of an Italian
article by Pietro Prosser now available online at
http://www.marincola.com/lutebot5/prosser.htm
This English translation was done by me (with Pietro's permission),
with the precious help of the "Lute Evangelist" Michael Peterson
(thank you Mike!!!).
Any mistake in it should be considered my responsibility.
NB. Sorry, due to the normal email problems, I had to remove all the accents
from the non-English words. BTW, in the Italian version of the article (in web)
all the accents should be OK.
----------------------------------------------------------------------------
Part I -- "Accord Mandorae est una quarta [...] altius, quam Galizona"
(The Mandora is tuned a fourth higher than the Galizona)
by Pietro Prosser <pprosser@tin.it>
I.1 -- Introduction
In the last 20 years many lute scholars have inquired about the identity of
the "calichon" and of the "mandora," two musical instruments which were very
popular in some musical environments of Center Europe in the XVIII century.
This paper doesn't pretend to be something new regarding the latest
articles published on this subject [1] , but is written to give a general
idea on a musical phenomenon which is not yet very well known. In fact,
there are still many wrong ideas about the calichon and the mandora, even
among some professional lutenists and musicologists.
At the beginning of the 19th century the composer and guitarist Simon Molitor
(Neckarsulm 1766 - Vienna 1848) published his guitar music "Sonata op. 7"
(Vienna, 1806), and the important guitar method "Versuch einer vollstndigen
methodischen Anleitung zum guitare spielen [...]" (Vienna, 1807).
I consider these 2 works particularly interesting, as they describe the period
between the 18th and the 19th centuries, when the mandora started becoming
obsolete and was replaced by the more practical guitar. Molitor describes the
mandora as a lute-shaped instrument, with 8 courses (the first six fretted on
the fingerboard and the last 2 probably unfretted), tuned like a guitar,
with the lowest 2 courses tuned diatonically, thus:
C- D - E - A - d - g - b - e'.
The instrument could have single or double courses, while the
first course was always single. Molitor mentions a mandora player that he
met in Vienna, saying that he played on an instrument which had the features
and the tuning of the old mandora, but that he preferred to put single strings
on it, like a guitar, as it was more practical.
Since then, as far as I know, no other document is mentioning the mandora
until the beginning of the 20th century, when Johannes Wolf (Berlin 1869 -
Munich 1947) [2] and Adolf Koczirz (Vseruby 1870 - Vienna 1941) published
their studies. Unfortunately, in spite of their best intentions, the works of
these two scholars (especially Wolf) started a long tradition of
misunderstandings. Some of these wrong ideas have lasted until today,
notwithstanding the efforts (not always completely correct) of some
scholars [3], who in the last 20 years of our century have tried to amend them.
In fact, Wolf somehow associates the mandora with the family of the Italian
mandolas of the XVII and XVIII centuries, considering the mandora a treble
instrument (something like a Milanese mandoline). The calichon, on the
contrary, is considered by Wolf a sort of colascione, a bass instrument from
the Italian tradition, as the names of these two instruments sound quite similar
.
On top of this, we also find that the original sources for the mandora and the
calichon use a variety of names to indicate these two instruments, as well as
a great number of different tunings and "scordature" [4], even if the
graphical appearance of the manuscripts and the style of the repertoire show a
great unity.
Some of our modern scholars, while researching these two instruments, have
the tendency to consider mainly the German speaking regions. We surely cannot
deny that the main development of the mandora and the calichon took place
during the XVIII century in the geographical areas that today include Austria
and Germany.
Some English scholars affirm also that the calichon had probably a certain
popularity in England, as in the famous Talbot's Manuscript (1695) we find the
description of a "colachon" tuned like this: C (or A'), D, G, c, e, a.
Apparently these scholars didn't notice that Mr. Finger (owner of the
instrument, and famous for his Grounds) was the instrumentalist and composer
Gottfried Finger. He lived in England between 1687 and 1704, but he was born
around 1660 in Olomouc (Moravia), and he had a German cultural background.
Probably this musician brought to England an instrument from his original
country, and this "colachon," being somehow foreign to the English culture
of the time, excited the curiosity of the English "writer on music" James Talbot
(1665-1708), who compiled the mentioned manuscript.
It is not a mere coincidence that the tuning described in the Talbot's
Manuscript corresponds to the tuning of the calichon mentioned in an
interesting Bohemian document appearing a few years later, the "Clavis Ad
Thesaurum Magnae Artis musicae" (Prague 1701). This treatise was written by
the Bohemian Jesuit Tomas Baltazar Janovka (Kutna' Hora 1669 - Prague 1741),
the organist at the church of Tyn in Prague. This source is most
important, as it describes, among other things, the tunings, the features and
the relationships existing between the calichon and the mandora.
I.2 -- The Calichon according to Janovka
In the treatise this instrument is called "Galizona, aut Colachon". It is
described quite precisely as an instrument with a lute-like shape, but
somewhat more lengthened, and because of this feature it is associated
with the 3 string colascione "Typus trichord Turcici vulgo Colachon"
(described, for example, by Athanasius Kircher [5]). At the end of this
article I will discuss the relationship between the calichon and the
colascione. Janovka describes two sorts of "galizona:" one with six, and
the other with eight courses. The strings of the courses can be double or
single, but the first course (or "cantarella") is always single. In the eight
course calichon the three lowest courses can be tuned according to the
tonality of the piece: the 6th course can be a C or a C#, the 7th a B or a
Bb, the 8th an 'A' or an 'Ab'.
----> You can find Janovka's table of tuning of the 6 course Galizona at
http://www.marincola.com/lutebot5/table.htm
The tonal range of the instrument described by Janovka is somewhat
similar to that of a normal renaissance lute (but had nothing to do with the
3 string colascione, which often had 24 frets!). A surviving instrument
which can match Janovka's description can be found at the
Intrumentensammlung of Graz [6]. It has a very long string length (93,6 cm)
that could be easily tuned at a very low pitch (in A), it has 8 double
courses, and the long neck that can have up to 11 gut frets. It was built
in Vienna in 1704 by Heinrich Kramer.
I.3 -- The Mandora according to Janovka
The mandora is described by Janovka less accurately: he basically says that it
is a sort of galizona tuned one fourth higher (in D, and not in A). The
number of courses, the relative tuning, the "scordature" of the 6th course and
also probably the number of frets correspond to those of the galizona.
Describing the mandora, Janovka says that the first course is single, the 2nd
and 3rd are doubled with unison strings, while the remaining courses are
doubled with octave strings. It is not clear at all if the stringing of the
calichon should follow this same pattern. At the Bayerisches Nationalmuseum
of Munich we can find two paintings by Peter Horemans (1700-1776), dated 1762,
which very carefully picture a variety of instruments, including a baroque
lute and two mandoras.
---> You can find a reproduction of one of these paintings at
http://www.marincola.com/lutebot5/horemans.htm
I.4 -- Other sources for Calichon and Mandora
We also have many other documents (such as inventories, chronicles and
music tablatures) which give us more information about the calichon (which
flourished for a very precise and short period, between the end of XVII and
the beginning of the XVIII centuries) and about the mandora (which thrived
for a longer period, until the end of the XVIII century). These documents,
generally ignored by most of the scholars, are basically from the Bohemian,
Moravian and Slovakian regions, as well as from some other bordering areas
(Oberstrreich, Silesia). The following clues should be sufficient to
suggest that the birthplace of the two instruments was probably not in
Germany as up to now everybody thought but in Bohemia:
* In the inventory of the Catholic Parish Church of Pruske'', in Slovakia, under
the index Instrumentae, 1692, is mentioned a calichon [7]:
* In Bohemia, in the monastery of Hradisko, near Olomouc (the original city
of Mr.Finger!), in the period between the end of the XVII and the beginning of
the XVIII centuries, we can find evidence about the popular use of the
calichon. We even know the name of the person who played the instrument:
Jindrich Starikovsky' from Vyskov (Moravia), who was accepted in the monastery
among the "alumni musici" (internal students with musical offices) at the age
of 17.
* In the inventory of the music and instruments owned by the monastery of Osek
(near Prague) [8], in the years 1720-1730 we find 3 lutes and a "Galizona".
This suggests, among other things, that in Bohemia the use of playing music
with big lute ensembles as accompanying instruments was probably more popular
than what we think now.
If we analyse several musical tablatures which are clearly meant for
calichon (despite a variety of names, like Gallishon, Galishon, Gallichona,
Gallichone, Galichona), we realize that, more or less directly, they are all
contained in a geographic area, which, touching on the west side Bohemia
and Moravia, goes from Saxony to the eastern regions of Bavaria and to the
Obersterreich region. (You can find a list of these sources in the
footnotes 25-29 of my Italian article published in web at
http://www.marincola.com/lutebot5/prosser.htm)
To these tablatures we can add another source, which has not yet been
mentioned in this article [9]. It is a manuscript, unfortunately not yet
dated, from the Benediktinerstift of Kremsmnster (Obersterreich). It is
made up of 22 separate parts, containing a Missa Praesentationis a 16 ,
probably by Felice Sances:
Missa | PRAESENTATIONIS. | a 16. | 8 Voc[um]. 2. Violini 2. Viole
2. Cornetti. 2. Trombonj | 3. Tromboni R[ipieno]. 1. Galizone
1. Violone 1. Organo. | Authore | Del Sig. Felice Sances | Part. 22.
The part for the calichon is a bass line with figures, and is
virtually identical to the "Basso generale" (probably meant for organ and
violone). The index says: "Basso per il Galizone, o Teorba." The range of
this bass part is between E and d', perfect to realize the continuo with a
calichon or a theorbo.
Incidently, if we don't consider the Missa Praesentationis, the
mentioned tablatures for calichon have two features in common:
1) They are dated more or less from the year 1720 to slightly after the middle
of the XVIII century. So they are later than the Bohemian sources,
2) We can easily see from the tablatures that they are meant for a 6 course
instrument tuned in D: D G c f a d' (the 6th and the 3rd courses can be
sometimes tuned in a different way, as often happens with the instruments of
the lute family).
From this we can reach the conclusion that, going to the west, the calichon
was more considered a solo instrument (we have a wide repertoire of solo
tablatures), and it needed to be more agile: so it became shorter, and was
tuned one fourth higher than the Bohemian standard. And, of course, this
process was probably helped by the presence, in the Bohemian, Moravian and
German areas, of the mandora, which was tuned exactly at that pitch (in D).
During the same period, in Germany, we can still find a center of interest
for the calichon. It is situated on the axis between Frankfort on the Main
and Hamburg. The calichon (here called Calchedon, Chalcedon, Calcedon,
Calichon) was used in the 'official music'. We find it as an accompanying
instrument in the church (in more than 500 sacred cantatas by Georg Philipp
Telemann, whose scores are now in Frankfort; and in two concerti grossi of the
same composer, now in Dresden), or as a solo or accompanying instrument in the
theater (in two plays, the first by Johann Sigismud Kusser, and the other by
Reinhard Keiser, performed in Hamburg) [10]. In some social environments of
Hamburg the calichon must have been highly esteemed, especially if the
critic and "writer on music" Johann Mattheson considered it even better than the
theorbo and the lute to play the basso continuo. Saying so, he provoked the
wrath of Ernst Gottlieb Baron, who was an indomitable supporter of the lute.
The quarrel born by these different opinions caused those pungent remarks
against the lute (by Mattheson) which are still troubling the lute players
even today.
Coming back to the mandora, up to now we only mentioned two possible
tunings: in D or A, for 6 or 8 courses (eventually with some
"scordature"). But also for this instrument, careful study of the original
tablatures shows a much wider and varied range of pitches and tunings. In
fact, we find some instruments in E (6 and 8 courses), and also some tunings
for a 9 course instrument. We also have some "uncommon tunings", like the one
in B or an even more peculiar one for a 7 course instrument (which is
halfway between a D minor baroque lute and a mandora).
I.5 -- Calichon versus Mandora
Up to now in this article we have considered the calichon and the mandora as
two different instruments. But in reality their tunings, their morphology
and the style of their repertoire don't show that much difference.
Sometimes even the size could be the same. It is no wonder, therefore, if
in some documents (inventories and tablatures) we find some cases of identificat
ion
of the two instruments (very confusing, especially in Bavaria, where the calicho
n
and mandora become the very same instrument, but were called by different names)
.
The title of one of the manuscripts of Donaueschingen is "Gegenwertiges
gallischon: od(er) Mandorbuch" [11]. We have a similar case also in Dresden:
the manuscript Ms. Mus. 2-V-7 bearing the title "Duetto Mandora 1ma 2da Flut
Travers o Violino e Basso"[12] is arranged in separate parts, and those for
the mandora are called "Gallichona 1ma" and "Gallichona 2da". These
coincidences have already been described by some scholars [13].
Going back to the inventory of Osek's monastry, we see that it contains some
inventory updates, the first starts in the years 1753-1754 and lasts until
the third quarter of the XVIII century, and the second is written in the
beginning of the XIX century.
The first update records 3 lutes, and contains also the sentence "Consignatio
Instrumentorum pro Choro | Figurali. | [...] | 19. Mandora antiqua".
Probably this "Mandora antiqua" is the "Galizona" (now very old)
mentioned in the years 1720-1730. This instrument in the beginning of the
XIX century was completely "worn out", as we read in the same inventory:
"[...] anno 1802: Annotatis supra accesserunt: | [...] | 19. Denstructa Mandora"
.
Probably in these two updates the instrument once called "Galizona" was now
called "Mandora". The later sources show a tuning of the mandora (the term
calichon starts disappearing in the middle of the XVIII century) very similar
to the one described by Janovka: the mandora manuscripts of Eichsttt and
Freising [14] (they are dated until the end of the XVIII century) are mainly
for an 8 course mandora tuned in D. The works by Johann Georg
Albrechtsberger, author of the three famous concertos for Maultrommel (Jew's
harp), mandora, and strings (written for two Benedictine monks of Melk), show
the Austrian habit of tuning the mandora one step higher (in E) than the
Bohemian tradition described by Janovka (in D). This late "Austrian
tradition" will last until the end of the use of the instrument (see Simon
Molitor at the beginning of this article). At this point the mandora, after
having absorbed the identity of the calichon, and after having suggested to
the guitar the addition of the 6th string, will start being more and more
identified with this latter instrument. It will take two more centuries
until we can again appreciate the mandora's separate identity.
I.6 -- Calichon versus Colascione
Let's now face the problem of the relationship between the calichon and the
colascione. Some researches and discography (even ones rather recent)
take for granted the axiom calichon = colascione [15]. On the other side we
have some English scholars who abhor this idea, and consider the similarity of
the two names as an entirely coincidental occurrence [16]. As often happens,
the truth is probably somewhere in between. Let's see why.
First of all, it is undeniable that the word "colascione" shares the same root
word with all the various way of calling the calichon (Galizona, Gallichona,
Callezono, Calchedon, Gallimon etc.). It is also undeniable that Janovka says
"The Galizona, or Colachon musical instrument is very much in use also in
Turkey "[17]. Interestingly, it is also easy to demonstrate that here
Janovka is referring to the authority of the earlier theorists, like Mersenne
and Kircher (who called the colascione "Colachon") [18], and that his true
intention is to actually describe a completely separate musical instrument,
the "Galizona". On the other hand, any description (from treatises, etc.)
of the two instruments clearly shows that the calichon and the
colascione have a different shape. Perhaps they both have a neck that looks
longer than the neck of a baroque lute. But this feature in the calichon is
only an optical illusion: it's neck looks longer only because, having less
strings, it is narrower than the neck of the baroque lute.
Why at some particular point these two different instruments started being
called with similar names?
In my opinion, the reason must be found in the repertoire and in the social
environments where the mandora and the calichon were most appreciated.
Since the beginning of its history the calichon was used to play solos and
ensemble music, and to accompany the voice (Lieder). Usually its repertoire
was easier to play (and to listen to) than the lute repertoire of
the same period. This ease of playing music wasn't considered "a shame" at
all by the lovers of these instruments, but became a real consciousness (and
source of pride): the calichon was something alternative to the lute, and
had its own aesthetical autonomy. The calichon was very popular among the
nobility, and especially among the monks, who were well educated people.
They would often compose music, but didn't need to earn their living in
that manner, and didn't care about having their works published. They were
just enjoying themselves. That's probably why the only surviving printed
source is "Der Musikalische Dilettan" [19]. This important peculiarity of
music for enjoyment of the well-educated is also exemplified by a typical
feature of the repertoire: the arrangement for solo instrument, or for
instrument and voice, of many pieces taken from the "Teutsche Komoedie" of the
beginning of the XVIII century (the German equivalent of the "Commedia
dell'Arte", with borrowed characters like "Colombina", or newly-created ones
like Hanswurst); and from the more traditional Singspiel of the end of the
century (for example, Wolfgang Amadeus Mozart, Peter Winter, Carl Ditter
von Dittersdorf, and others).
In other words, the mandora and the calichon were used to recreate at home
what the intellectual people of the middle and high classes listened to at
the theater. Most of the times these two instruments found their place
"outside" the theater. In contrast, the lute was still a professional
instrument, played "inside" the theater.
Probably the instrument was called "chalichon" to suggest the most typical
instrument of the Commedia dell'Arte "outside the theater": the colascione.
It would take far too long here to describe all the paintings in Bohemia,
Moravia and the Obersterreich that depict a gathering of noblemen and
noblewomen, disguised as Arlecchinos, Colombinas, Hanswurst, and others,
imitating the "Teutsche Komoedie", dancing, eating, drinking, and playing, not
the colascione of the Italian tradition, but a calichon or a mandora [20].

/---------------------------------------\
I.7 -- Notes
1) This article is a partial abstract of my graduation thesis. See PROSSER,
"Calichon e Mandora", 1996. A good general view on the mandora in Austria can
be in: KIRSCH, Mandora in sterreich 1994. See also Gill, "Mandores and
Colachones" 1981 and Gill, "Alternative Lutes" 1986.
2) WOLF, Handbuch 1919 II: at pp. 120-123, mentions some tunings for the
mandora and some sources for this instrument; at pp. 125-127 he gives some
tunings for the calichon and a choice of sources.
3) HODGSON FoMRHI 175 1979 e HODGSON FoMRHI 194 1979. GILL FoMRHI 274, GILL,
Mandores and Colachons 1981, GILL, Alternative Lutes 1986. TYLER, Mandore
1981, LCk, Geschichte 1954, KIRSCH, Eichsttt 1993, KIRSCH, Mandora in
sterreich 1994.
4) In my research, considering also the "scordature", I found approximately
60 different tunings. The complete list can be found in PROSSER, Calichon e
Mandora 1996, pp. 143-8 (APPENDICE A: Tabella della Accordature).
5) KIRCHER, "Musurgia " 1650, p. 477
6) inventory number KGW 355.
7) KALINAYOVA, "Musikinventare", 1994, pp. 145-50.
8) The manuscript is now at the CZ-Pnm, Museum ceske' hudby. All my thanks to
Mrs. Michaela Zackova' Rossi.
9) It is the ms. C 7, 652, described in KELLNER, "Kremsmnster" 1956, p. 230.
10) Respectively "Erindo, oder: Die unstrfliche Liebe" (Hamburg, 1694) and
"L'inganno fedele, oder: Der getreue Betrug "(Hamburg, 1714).
11) D-DO, Ms. mus. 12721, cover
12) D-Dlb, Ms. Mus. 2-V-7, c.1r.
13) For example, GILL, Alternative Lutes 1986.
14) D-Es, D-FS.
15) Not to stigmatize him, but only to give an example, I quote CHIESA,
"Partite", 1981.
16) In private letter Donald Gill wrote to me in 1993: "Your remarks about the
name calissone are wery interesting too, but I am afraid it will be a long
time before the idea of a connection with the Neapolitan colascione disappears
from the textbooks! Incidentally, did you know that the inventor of the
Filofax was David Collichon?"
17) Galizona, aut Colachon, Turcicae etiam Nationi | valde' usitatu
Instrumentum Musicum a' Testu- | dine essentialiter, JANOVKA, Clavis 1701, p. 57
.
18) Respectively MERSENNE, Harmonie 1936 e KIRCHER, Musurgia 1650.
19)Published in Vienna in 1771 by Johann Friedrich Daube. One copy is in now
in A-Wn.
20) An interesting example is the painting bearing the title "Adelige
Gesellschaft mit Hanswurst, Harlekin, Pierrot und Scaramouche", now in Linz ,
Schlomuseum, Inv. Nr. 820-1-G 331.
I.8 -- Bibliography
ALBRECHTSBERGER 1790
ALBRECHTSBERGER, JOHANN GEORG. [...] Anweisung zur Composition, mit Ausfhrliche
n
Exemplen [...], Breitkopf und Hrtel, Leipzig 1790.
CHIESA, Partite 1981
CHIESA, RUGGERO. Prefazione, in BRESCIANELLO, GIUSEPPE ANTONIO.
Diciotto partite per chitarra dagli originali per colascione,
trascrizione in notazione moderna di Ruggero Chiesa, Suvini Zerboni,
Milano 1981, pp. I-IX.
GILL, Alternative lutes 1986
GILL, DONALD. Alternative Lutes: the Identity of the 18th-Century Mandoras
and Gallichones, "The Lute Society Journal", XXVI/2 1986, pp. 51-5.
GILL FoMRHI 274 1980
GILL, DONALD. Mandore and Calachon, "FoMRHI", Communication 274 1980, pp. 61-3
.
GILL, Mandores and Colachones 1981
GILL, DONALD. Mandores and Colachons, "The Galpin Society Journal", XXXIV marc
h 1981,
pp. 130-41.
GORIO, Molitor 1984
GORIO, FRANCESCO. Simon Molitor 1766 - 1848, in "Il Fronimo", XII, numero 46,
gennaio 1984, pp. 33-44.
HODGSON, FoMRHI 175 1979
HODGSON, MARTYN. The Identity of 18th Century 6 Courses 'lutes',
"FoMRHI", Communication 175 1979.
HODGSON, FoMRHI 194 1979
HODGSON, MARTYN. The Development of the Callachon, "FoMRHI", Communication
194 april 1979, pp. 35-7.
JANOWKA', Clavis 1701
JANOWKA', BALTHAZAR. Clavis ad Thesaurum Magnae Artis Musicae, Labaun, Praha 1
701.
KALINAYOVA', Musikinventare 1995
KALINAYOVA', JANA, et al. Musikinventare und das Repertoire der mehrstimmigen
Musik i
n der Slowakei im 16. und 17. Jahrhundert, Slowakisches Nationalemuseum - Musi
kmuseum,
Bratislava 1995 [ed. originale: Hudobne' inventare' a repertoar viachlasnej hu
dby na
Slovensku v 16.-17. storoci, Slovenske' narodne' muzeum, Bratislava 1994 (Musa
eum Muzicum)].
KELLNER, Kremsmnster 1956
KELLNER, ALTMAN. Musikgeschichte des Stiftes Kremsmnster, Brenreiter, Kassel 195
6.
KIRCHER, Musurgia 1650
KIRCHER, ATANASIUS. Musurgia Universalis, Roma 1650. Repr. Olms,
Hildesheim - New York 1970.
Kirsch Eichstatt 1993
KIRSCH, DIETER. Musik fr die Mandora in der Universittsbibliothek Eichsttt,
"Historischer Verein Eichsttt", Sammelblatt, LXXXVI 1993, pp. 85-102.
KIRSCH, Mandora in sterreich 1994
KIRSCH, DIETER. Die Mandora in sterreich. Zur Bestimmung eines Lautentyps des 1
8.
Jahrhunderts, "Vom Pasqualatihaus", Heft 4, Herbst 1994, pp. 63-102.
LCK, Geschichte 1954
LCK, RUDOLF. Ein Beitrag zur Geschichte des Colascione und seiner sddeutschen
Tondenkmler im 18. Jahrhundert, Phil. Diss., Friedrich-Alexander-Universitt zu
Erlangen, 1954, typewritten.
MERSENNE 1636
MERSENNE, MARIN. Harmonie, Paris 1636-7. Rist. a c. di Franois Lesure, Edition
s
du C.N.R.S., Paris 1975.
MOLITOR, Sonate 1806
MOLITOR, SIMON. Groe Sonate fr die Gitarre allein, op. 7, Artaria, Wien [1806].
MOLITOR, Versuch 1807
MOLITOR, SIMON - KLINGENBRUNNER, WILHELM. Versuch einer vollstndigen methodisch
en
Anleitung zum Guitare-Spielen, Bd. 1, k. und k. priv. chemische Druckerey,
Wien [post 1806].
PROSSER, Calichon e Mandora 1996
PROSSER, PIETRO. Calichon e Mandora nel Settecento. Con un catalogo tematico
del repertorio solistico. Tesi di laurea in Musicologia, Scuola di Paleografia
e
Filologia Musicale (Universita' di Pavia), Cremona, a.a. 1995-6.
PRYNNE, Talbot 1961
Prynne, Michael. James Talbot's manuscript: (Christ Church Library Music Ms 11
87).
4: Plucked Strings - The Lute Family, "The Galpin Society Journal",
XIV March 1961, pp. 52-68.
SEHNAL, Hradisko 1991
SEHNAL, JIRI'. Hudba v Premonstratskam Klastere Hradisko u Olomouze v Letach
1693-1739, "Casopis Moravskaho Muzea", LXXVI 1991, pp. 185-225;
republished as Musik in dem Prmonstratensen-Kloster Hradisko
(Hradisch) bei Olmtz in den Jahren 1693-1739, "Kirchenmusikalisches Jahrbuch",
LXXVII 1993, pp. 51-96.
TYLER, Mandore 1981 I
TYLER, JAMES. The Mandore in the 16th and 17th Centuries, "Early Music",
January 1981, pp. 22-31.
WOLF, Handbuch 1919
WOLF, JOHANNES. Handbuch der Notationskunde, II. Teil: Tonschriften der
Neuzeit. Tabulaturen, Partitur, Generalbass und Reformversuche, Leipzig 1919;
facs. reprint Olms, Hildesheim 1963.
------------ Part I is copyright of Pietro Prosser <pprosser@tin.it>, 1999 -----
----
Part II -- About Pietro Prosser <pprosser@tin.it>
Born in 1965, he studied classical guitar at the "Conservatorio di Trento",
where he graduated in 1989. In 1990 he devoted himself to the lute, studying
first at the "Civica Scuola di Musica di Milano" (with Paul Beier) and then
at the "Conservatorio di Parma" (with Tiziano Bagnati and Andrea Damiani).
He has played with many renaissance and baroque professional ensembles in
Italy, Austria (Salzburger Festspiele, Perchtoldsdorfer Kulturtage), England,
Denmark (Sommerkoncerter i Nordsjaelland 1992 e 1994), Czech Republic, Greece.
He has recorded for the "RAI, Radiotelevisione Italiana" and for the labels
Fone', Stradivarius, Bongiovanni, Sarx and Dynamics.
His great interest for the calichon and the mandora led him to perform (in
the first modern performance) several solo recitals and chamber concerts of
XVIII century music using the calichon (also with Peter Schratt of the
"Burgtheater" of Vienna). He also uses these instruments to play continuo.
In 1996 he won the "Premio speciale per la Musica Antica" at the
international competition "Perugia Classico '96". He recently won the first
prize at the national competition of musical performance 'Citta' di Cento'.
In 1996 he graduated with honors and "dignita' di stampa" in Musicology at the
"Scuola di Paleografia e Filologia Musicale di Cremona" (University of Pavia)
with the thesis "Calichon e Mandora nel Settecento: Con un catalogo tematico
del repertorio solistico, 2 voll". Having won two grants at the University of
Vienna, next year he will pursue in the same city the "Wissenschaftliches Doktor
at".
He is holding a seminar of historical performance applied to the plucked
instruments at the "Scuola di Paleografia e Filologia Musicale" of Cremona.
He is researching various lute sources, particularly from Austria and
Bohemia. He has published several articles and participated in national
and international mettings (XIII. sympozium mladych musikologov, Bratislava 199
6).
He is also the secretary of the "Societa' Italiana del Liuto".
Here are Pietro's addresses, if you want to get in touch with him:
Pietro Prosser
via Clementino Vannetti 10, I-38068 Rovereto (Trento), Italy
Tel and fax: +39-0464-432661
E-mail: pprosser@tin.it
Pietro's electronic brochure can be freely requested by email to the
autoresponder <info-prosser@marincola.com>
---------------------------------------------------------------------
Part III -- Paul Beier's String and Fret Calculator
This is a program for Windows 95 or 98 that calculates string sizes and fret
positions for all fretted string instruments. Handles any type of solid
string material such as gut, nylon and carbon, but also copper, brass,
etc., and also includes complete Savarez and Pyramid over-wound string catalogue
s.
Calculates the string equation based on string length, frequency, diameter,
density and tension with the possibility of input from any part of the equation.
Calculates frets on any temperament based on cent values, and includes the defau
lt
temperaments Equal, 1/8th, 1/6th, 1/5th and 1/4th comma meantone.
Lets you define personalized instrument files with complete stringing informatio
n,
and lets you raise and lower the tuning globally or change the pitch standard
from 440 to 415.
Lets you print string and fret charts to the printer or to a text file.
Comes with complete windows help system.
and much more...
To get your free zipped email copy, send a request to <beier@clavis.it>
--------------------------------------------------------------------
Part IV -- About Paul Beier
The American lutenist Paul Beier graduated from the Royal College of
Music, London, where he inherited a passion for research into early
performance practices from his teacher, Diana Poulton. His solo
repertoire extends from the early sixteenth century to the music of Bach
and Weiss, he has performed throughout Europe, North and South
America and has recorded for labels such as Opus 111, Stradivarius,
Glossa, Cantus, Synfonia, Nuova Era, Tactus, Amadeus and Concerto. His
solo recordings have met with notable critical success; recently, for example,
the CD of music by Falckenhagen and Weiss was nominated Le Disque du
Mois by Reprtoire magazine. Founder and director of Ensemble Galilei, he
is also actively involved as a basso continuo player in many Baroque music
groups and has taken part in productions of early opera in theaters such as
La Scala, Milan and the Santa Fe Opera in New Mexico. In 1981 he was
invited to create the lute program at the Civica Scuola di Musica in Milan,
Italy, where he also teaches basso continuo and Renaissance ensemble. A
founding member of the Italian Lute Society, he is a former editor of the
Newsletter of the Lute Society of America, and is presently on the board of
editors of the Lute Society of America Journal.
--------------------------------------------------------------
Part V -- The Marco Fodella Foundation Scholarships
The Marco Fodella Foundation, established in 1995, is dedicated to the
promotion of the cultural, humanitarian and social activities that
characterized the intense life of Marco Fodella, former lutenist and
alumnus of the Civica Scuola di Musica di Milano. These activities include:
the study and practice of early music through the establishment of
scholarships for the Civica Scuola di Musica di Milano (Department of Early
Music), organization of concerts and other cultural events, sponsorship of
recording projects and specialized publications, promotion of research,
humanitarian assistance, youth activities, and any other initiative
appropriate to the Foundation and suitable for pursuing its aims.
The scholarships are for courses in lute, other early instruments and voice
offered by the Early Music Department of the Civica Scuola di Musica and
held in Milan at Villa Simonetta during the school year beginning in
October and ending in June. The scholarships are annual in principle and
comprise:
1) enrollment fees at the Civica Scuola di Musica di Milano
2) accommodation in the city of Milan in a single or double room.
One scholarship is reserved for students of the lute.
The other scholarships are open to students of the following courses
(professors' names in parenthesis): Harpsichord and Fortepiano (Laura
Alvini), Lute (Paul Beier), Natural Trumpet (Gabriele Cassone), Renaissance
and Baroque Harp (Mara Galassi), Baroque Violin (Enrico Gatti, Donella
Terenzio and Dario Luisi), Baroque Organ (Lorenzo Ghielmi), Viola da Gamba
and Baroque Violoncello (Roberto Gini), Baroque Bassoon and Baroque Oboe
(Alberto and Paolo Grazzi), Recorder (Pedro Memelsdorff), Voice (Cristina
Miatello), Traverse Flute (Ezequiel Recondo), Violone (Paolo Rizzi).
Application Procedure
Applications must be sent by registered mail, postmarked before March 31st
and received by the Civica Scuola di Musica no later than April 30th of
each year. Early applications are welcome. They must include the following
six items, sent together in one package:
- A letter illustrating the candidate's motives for applying for the
scholarship
- A detailed curriculum vitae, including date and place of birth, education
musical and non musical), and other personal and professional experiences
- An audio recording (cassette) with a brief programme (circa 30 minutes)
freely chosen by the candidate to reflect his/her level of ability. The
recording of individual works must be "live" and not edited in any manner
- Three letters of recommendation written by musicians or instructors well
acquainted with the candidate's musical qualities and abilities.
Address applications to: "Scholarships of the Marco Fodella Foundation",
c/o Civica Scuola di Musica, Sezione Musica Antica, Via Stilicone 36, 20154
Milano, Italy.
Results will be declared at the end of May and winners must indicate their
acceptance of the scholarship by the end of June. Study in Milan begins in
October of the same year.
The Foundation reserves the right to terminate the scholarship at any time.
Fondazione Marco Fodella
Via Meravigli 18 - 20123 Milano, Italy
E-mail fodella@imiucca.csi.unimi.it
Fax (+39) 02 2953 4588
Tel (+39) 02 2952 1935
http://imiucca.csi.unimi.it/~fodella/francesco.html
--------------------------------------------------------------------------------
Part VI -- About FEDERICO MARINCOLA
I live at the border between France and Italy, but I spend a lot of time
traveling around to play my concerts and to teach. Usually I have a quite
tight schedule, but, if you contact me well in advance, I might be available
for recitals and seminars, or for collaborations with professional
renaissance and baroque ensembles.
Here are my addresses and phone numbers:
email: lute@marincola.com
Lute Page: http://www.marincola.com
snailmail: C.P.50, 18039, Ventimiglia (IM), Italy
French Tel. + 33 4 93 35 66 58
French Fax + 33 4 93 35 56 68
Italian mobile + 39 347 73 09 321
Here is my CV. If you want to check my complete discography, see some press
reviews etc, you are warmly invited to visit my Lute Page at
http://www.marincola.com or you can get my Electronic Brochure
(send an email to info@marincola.com).
----- Curriculum Vitae -----
Born in Rome, Federico Marincola studied classical guitar with Sergio
Notaro, later specializing in the lute with Diana Poulton. Having won
a grant from the Dutch Government, he studied with Anthony Bailes at the
Sweelinck Conservatorium of Amsterdam. Another grant from the British
Council enabled him to study with Jakob Lindberg at the Royal College
of Music in London, where he obtained a Performer diploma in lute, a
second diploma in early music and the Certificate of Advanced Study.
He completed his training with Nigel North and Christopher Wilson.
In the last twenty years, Federico Marincola has been very active as a
performer. He has given many solo recitals and played with singers and
early music groups all over Europe. In 1986, he toured as a soloist in
India, Pakistan, Nepal, Bangladesh and Sri Lanka. He is also in demand
as a "basso continuo" player, and has played in many baroque operas at
some of the most famous opera theaters of Italy (Teatro alla Scala, Milan;
Teatro dell Opera, Rome; Teatro Massimo, Palermo; Teatro Comunale,
Florence; Teatro San Carlo, Naples...). He is the theorbist with the
Cappella della Pieta' dei Turchini, one of the most important baroque
groups in Europe. In July 1998 he was invited by the Lute Society of America
to teach and play at the LSA summer course in Columbus (OH).
With the Italian baroque Ensemble "Arte dell'Arco" he has recently started
a new and extensive collaboration with Christopher Hogwood.
He has made more than twenty CDs with orchestras and small groups,
and has broadcasted in Italy, Switzerland, Austria, Belgium, France,
Yugoslavia, the Vatican, India and Shri Lanka.
With "Verany Disques - Arion", he recorded a CD of pieces from the
"Vincenzo Capirola Lute Book" in 1992 (PV793012), a CD of pieces for lute
and renaissance guitar by the French composer Guillaume Morlaye in 1993
(PV794052) and a third CD of lute pieces by Anthony Holborne in 1995
(PV795112). These solo recordings have been very positively welcomed by
the international press ("5 Diapasons" to Capirola and Morlaye,
"5 Diapasons" and "10 by Repertoire" to Holborne).
Federico Marincola, who is also one of the founders of the Societa'
Italiana del Liuto, uses an instrumental technique which is based on
several treatises and iconographical sources from the 16th and 17th
centuries. He believes that, to give a convincing performance of this
repertoire, it is of paramount importance to have a profound knowledge
of the original fingerings and criteria of interpretation. He also finds
ideas and inspiration for the performance of early music in certain
aspects of the philosophy and astrology of the Renaissance period.
In the last few years he has also turned his attention to the study of
social science: he is convinced that the sociology of music can be a
great help in understanding the "spirit of the age" in which the
different repertoires were produced. In 1994 he was highly commended for
his thesis on the Jesuit opera Apotheosis sive Consecratio SS. Ignatii et
Francisci Xaverii (1622) by Hieronimus Kapsberger, which earned him his
degree in Sociology at the University of Urbino.
--------------------------------------------------------------------------------
----------
Part VII -- 2 Mandora Pieces from Ms. 1272/1 Frstlich- und Frstenbergische
Bibliothek, Donueschingen - Germany (tab source scripts):
"Leopold" and "Fantasia".
These pieces are for a 6 course mandora, but, to enjoy yourself, you can play
them on any other 6 course (or 6 string) plucked instrument,
like a guitar or a lute having the following relative tunings:
G - A - d - g - b - e' for "Leopold" (here the 6th course is VERY high,
so you could re-finger the piece)

E - A - d - g - b - e' for the Fantasia
In my tab source script I decided not to include the original ornaments, as this
signs are
not compatible with all the tablature editors mentioned below. For the ornaments
you
should check the facsimile.
YOU CAN DOWNLOAD THE FACSIMILE OF THESE 2 PIECES from the following URL:
http://www.marincola.com/lutebot5/facs.zip
To turn these Tab source scripts into beautiful tablatures you will need one of
the
following programs, all available in the Internet:
*Tabdos by Wayne Cripps*. To know more about this program and ascii tab scripts,

check the following web page: http://www.cs.dartmouth.edu/~wbc/lute/AboutTab.ht
ml
You can download this software from ftp://ftp.cs.dartmouth.edu/pub/lute/DOS.
This directory contains the OS/2 & DOS version of tab version 3.1h
This version is basically obsolete. You can get the new version by contacting
Rainer aus dem Spring at the e-mail address <Rainer.adS.BERA_GmbH@t-online.de>
as he is distributing and supporting the newest windows 95 versions.
*Fronimo by Francesco Tribioli*, for win 3.1 and win 95. It's an EXCELLENT progr
am,
and also supports tab source scripts. You can download the demo version from
ftp://ftp.arcetri.astro.it/pub/fronimo.
*String Walker for win 95, by Alain Veylit*, another very good tablature editor
that supports
also tab source scripts. You can download it from
http://users.deltanet.com/~alainv/URegStrWkr.zip
GOOD LUCK ;-)))!
----------cut here--------------------------------------------------------------
----------
-t
-f
-5
-F
{Leopold/From Ms. 1272/1, c40v}
{(mandora)/Donueschingen (Germany)}
b
c
0 a
b
1 d
x b
x d
x c
1 a
x b
x a
x d
b
1 c
x b
x a
x d
0ab d
x b
b
1 c
x d
xd
xb
1 d
xa
x c
x d
b
1 b a
xa
x d a
x b
0 a a
1 a
x b
b
b
1 d
x b
x d
x c
1 a
x b
x a
x d
b
1 c
x b
x a
x d
0ab d
x b
b
1 c
x d
xd
xb
1 d
xa
xc
xd
b
0c a
1a
xc
0da a
b.b
0 d
b
1 a
x d
x a
x d
1 d
x d
x d
x d
b
b
1 c
xa
xb
xd
0.b a
1a
b
1 a
x d
xd
xb
1 d
xa
x c
x d
b
1 b a
xa
x d a
x b
1 a a
xd
x c
xd
b
1 a
xd
x a
xb
1 a
xb
x d
xa
b
1 d
xa
x d
x b
1 a a
xd
x c
xd
b
b
1 a
xd
x a
xb
1 a
xb
x d
xa
b
1 d
xa
x d
x b
1 a
x a
x c
x b
b
1 d
x b
x a
x c
0 a a
x b d
bb
Q
e
--------------- cut here--------------------------------------
-t
-f
-5
-F
{Fantasia/From Ms. 1272/1, cc.153v-154r}
{(mandora)/Donueschingen (Germany)}
bb
S4-8
2 c a
xa
x c
xa
2 b a
xa
x b
xa
b
1 b a
2 a
x b
1 c
xf
b
1dd c
xd
xa
x d
b
1ab d
2 d
xa
1 b
2a
xb
b
2 c
xd
x a
xd
2 d
xd
x c
xd
b
b
1 a
2b
xa
2a
xb
x d
xa
b
2 a
xb
x d
xb
2 c
xb
x a
xb
b
1 d
2a
x d
1a
x d c
b
1ab d
2 d
x b
0 b d
b.b
2 a c
xa
x a
xa
2 a b
xc
x a
xc
b
1d a
2c
xd
1a
xd
b
b
1c a
2d
xc
1a
2c
xa
b
1 e c
xc
x a
xc
b
2 c
xa
x a
xa
2 d
xa
x c
xa
b
1 a
2f
xe
1f
2f
xd
b
2 a
xc
x d
xc
2 c
xc
x a
xc
b
1 d
2d
xc
1d
2d
xc
b
b
2 d
xa
x c
xa
2 a
xa
x d
xa
b
1 c
2c
xa
1c
2c
xa
b
2 c
x e
x a
x e
2 d
x e
x c
x e
b
1 a
2a
x e
1a
xca b
b
1da c
2c a
xa
1 a c
2a
x e
b
0 e a
1 f
xa
b
2 a
xa
x c
xa
2 e
xa
x a
xa
b
b
1 b a
2 a
x b
1 c
xa
b
2 a
xb
x c
xb
2 d
xb
x a
x a
b
1 b a
2 c
x a
0 c
b
2 c a
xa
x c
xa
2 b a
xa
x b
xa
b
1 b a
2 a
x c
1 c
x a e
b
1 b a
2 a
x c
1 a
2 c
x b
b
0. b
1 c a
b.b
Q
e
---------------------- cut here --------------------------------
######### end of the "LuteBot Quarterly" #5, Winter 1999 ##########
(by Federico Marincola <lute@marincola.com>)