Sonate da mandorlino

This blog post again focuses on some material which is digitally available.

The manuscript is preserved in Louisville, School of Music, in Louisville, Kentucky with the shelf mark of RICASOLI Profana 238.

The link to the digital version goes to IMSLP:

It’s a really interesting manuscript which add to the repertory but also brings up some interesting questions.


Dating the manuscript proves hard. It is anymous and there are no easy identifying marks. From the style of writing and music we can easily put this past the mid-18 century (most likely from around the 1780s) but it might just as well be somewhat more recent.

Regionally the fact that we at least know that the manuscript originates from the Ricasoli family helps link it solidly to Florence.


Even though the title promises “sonate” the actual content are mainly minuets (27) and some (3) counterdances, mostly for two, some for one “mandorlino”. The style is rather simple, with parallel acompaniment.

Minuè (2 mdl)

p. 3: 3/4 in D

Minuè (2 mdl)

p. 4: 3/4 in D

Minuè (1 mdl)

p. 5: 3/4 in G

Minuè (1 mdl)

p. 5: 3/4 in D

Minuè (1 mdl)

p. 6: 3/4 in G

Contradanza (2 mdl)

p. 6: 2/4 in A

Minuè (1 mdl)

p. 7: 3/4 in G

Contradanza (1 mdl)

p. 7: 6/8 in G

Minuè (1 mdl)

p. 8: 3/4 in G

Minuè (1 mdl)

p. 8: 3/4 in G

[Untitled, minuet (1 mdl)]

p. 9: 3/4 in F

[Untitled, minuet (1 mdl)]

p. 9: 3/4 in C

[Untitled, minuet (1 mdl)]

p. 10: 3/4 in G

[Untitled, minuet (1 mdl)]

p. 10: 3/4 in A

[Untitled, minuet (1 mdl)]

p. 10: 3/4 in C

[Untitled, minuet (1 mdl)]

p. 11: 3/4 in G

[Untitled, minuet (1 mdl)]

p. 11: 3/4 in F

[Untitled, minuet (1 mdl)]

p. 11: 3/4 in C

Contradanza (2 mdl)

p. 12: 2/4 in C

[Untitled, minuet (1 mdl)]

p. 13: 3/4 in C

[Untitled, minuet (1 mdl)]

p. 13: 3/4 in G

[Untitled, minuet (1 mdl)]

p. 13: 3/4 in F

[Untitled, minuet (1 mdl)]

p. 13: 3/4 in A

[Untitled, minuet (1 mdl)]

p. 14: 3/4 in Bes

[Untitled, minuet (1 mdl)]

p. 14: 3/4 in G

[Untitled, minuet (1 mdl)]

p. 14: 3/4 in C

[Untitled, minuet (1 mdl)]

p. 15: 3/4 in F

[Untitled, minuet (1 mdl)]

p. 15: 3/4 in C

On p. 27 the tuning is given, matching the Neapolitan mandolin’s tuning. That was also clear from the chords written in the pieces.


The interesting thing about this manuscript are pretty much plain for all to see. First of all the mention of yet another alternative spelling for the mandolin. Next, about 30 until now unknown pieces for our instrument. And of course the link towards a Florentine family of nobility is perhaps the most intersting of all. Whereas in the 1700s we have Florentine noblemen playing the Milanese baroque mandolin, this is proof that almost a century later the Neapolitan mandolin has taken over.

Anonymous, Alemãda


My next blog post is about a manuscript from the Biblioteca Nacional in Madrid (shelf mark MP/3180/20) which is also digitally available though when last checked gave a blank page:


The manuscript consists of 11 parts written in ink on 13 pages of 22 x 32 cm.

The parts are: flute, 1st and 2nd clarinet, 1st and 2nd horn, oboe, 1st and 2nd violins, mandolin, bass and bassoon.

The library dates the manuscript as “circa 1780”. Personally I find that rather, both the musical style and the extensive orchestra would suggest this is probably an insertion for an opera (probably an opéra-ballet) from France in the early 19th century, up to anything like the 1820s.

We assume it’s French based on the French annotations and descriptions of the instruments. It also fits stylistically with the genre of an opéra-ballet.

Sadly the library doesn’t list any acquisition history.


The piece is a rather boorish dance which might be either used evocatively in an opera or as the place for a ballet scene.

Some fragments are in a different key for the same part, whereby the final version clearly was D major in 2/4 beat. The older version was in Es major. The mandolin part and some other parts are only written in the D major version and should be considered more recent additions.

The mandolin part is solo, not unison with other parts, though sometimes in parallel with other parts. The structure of the works seems to alternate between mandolin and flute as principal instrument to carry the melody.

The composer uses his extensive orchestra in alternating the ensembles.

1st section: clarinets, flute, oboe + violins

2nd section: flute solo + 1st clarinet + oboe + horns + violins + bass + bassoon

3rd section: mandolin solo + 1st clarinet + flute + violins

4th section: 1st clarinet + flute + oboe + horns + violins + bass + bassoon

5th section: mandolin + clarinets + violins

6th section: 1st clarinet + flute + oboe + horns + violins + bass + bassoon

7th section: flute solo + 1st clarinet + violins


Research on this piece is at the moment rather inconclusive. Further reserarch should first of all focus on identifying the composer and the pieces background. Once we retrieve that we might learn a great deal more about this piece and the role the mandolin played in it.

POSTSCRIPTUM (20170411): New sources have come to light, it seems likely that I have now found a score overview of the piece; further investigations are sure to follow.

Anonymous (Miroglio?), Huittième suite des Amusemens des Dames

A discovery that had me gasping for air for a minute was the retrieval of a surviving copy of one of the earliest prints for Neapolitan mandolin in Paris.

We knew this particular print had been published in Paris in 1765 but so far no one had found a copy.

Thankfully I stumbled on a copy during some routine research in the Colonial Williamsburg Research Department, historical collection with the shelf mark of M287.M676 H9


The print was originally published at the Bureau d’abonnement musical in 1765, engraved by Mme (Marie-Charlotte) Vendôme. The author is anonymous on the title page (Mr. ***) but it has been suggested in the past to be Jean-Baptiste Miroglio (ca. 1725-1785). The print consists of 13 pages. The library gives no clear acquisition history.








Pour deux Violons, Mandolines, ou Pardessus

de Violes

PAR MR. ***

Prix 3lt12


Au Bureau D’abonnement Musical Cour de L’ancien Grand-

Cerf St. Denix

Et aux adresses Ordinaires de Musique

de l’Imprimerie de Récoqualtiée      A.P.D.R.     Gravée par Made. Vendôme.





p. 2: 2/4 in D


p. 2: 3/4 in D



p. 3: 3/4 in D


p. 3: 2/4 in D



p. 4: C barré in D

Minuetto. 2e MInuetto

p. 4: 3/4 in D



p. 5: 2/4 in c

Aria Graziosso

p. 5: 3/8 in c


Aria I Tedesco Presto

p. 6: 3/8 in C

Aria II All°

p. 7-8: 2/4 in A

[Aria III]

p. 7: c barré in A

[Aria IV]

p. 7:  c barré in C

Aria V Minuetto

p. 8: 3/4 in A

Aria VI Forlana

p. 8: 6/8 in A

Aria VII Minore

p. 8-9: 6/8 in a

Aria VIII Allegro

p. 9: c barré in A and a

Aria IX Grasiozo Pastorella

p. 10: 3/8 in G

Aria X Balletto

p. 10: c barré in G

Aria XI

p. 11: c barré in g

Aria XII Grasiozo

p. 11: 3/8 in g


p. 12: c barré in G

Aria XIV

p. 12: c barré in F

Aria XV

p. 12-13: 3/4 in F

Aria XVI Minuet°

p. 13: 3/4 in F

Aria XVII MInuetto

p. 13: 3/4 in F

All writing is in the style of the typical simple duets of the later 18th century. No real idiomatic use of mandolin technique.


The writing of the print is in the rather simple, gallant style so fashionable in Paris during the 1760s. The music is indeed interchangeable between several lead instruments but mandolin did indeed gain some popularity and hence the market of prints was starting to target the instrument. The music is certainly a welcome addition to the repertory and for scholars it is clearly a famous find as it is one of the first Paris prints for the instrument.

Anonymous baroque manuscript

During my routine research I came accross a rather big manuscript of music for mandolin which certainly deserves our attention.

The manuscript is preserved in the University of Texas at Austin, The Harry Ransom Humanities Rearch Center, with Shelf mark Finney 39.


The manuscript consists of 9 fascilces, all written on in ink on 61 folios (16 x 23×3 cm).

The library doesn’t state a clear date. From the style of music it is clear that even the oldest parts are probably from possible the last part of the 17th century but more likely the early 18th century (first quarter), the older parts seem most likely to come from the second quarter of the 18th century. The most recent part of the manuscript, the vocal music, seems to match the mid-18th century.

There are no sure ways to put this manuscript in a specific regional setting. The manuscript is probably Italian, and the style is more northern Italian than southern Italian, but that’s about all we can assume from the content and style.

However the later added vocal pieces do mention composers which were mainly active in Florence. One instrumental piece added to the vocal part actually also matches the violin part of the Matteo Caccini manuscript which seems to corroborate this link to Florence.

We have no clear acquisition history except for one previous owner, Theodore Finney, an Amercian musicologist who later on donated the manuscript to the library.


1/ Scala + Solo dances for mandolin solo – Copyist A

f. 1r-3v – p. 1-6

“Scala per il Mandolino”

f. 1r – p. 1: lists the different strings (cordone, mezzana, sottana, canto) and the notes / frets.


f. 1r – p.1: 3 (3/4) in C


f. 1v – p. 2: C barré in C


f. 2r – p. 3: C barré in F


f. 2r – p. 3: 3 (3/4) in C


f. 2v – p. 4: C barré in F


f. 3r – p. 5: 3 (3/4) in F


f. 3r – p. 5: 6/8 in C


f. 3v – p. 6: C barré in C

2/ Sinfonia 1 for mandolin + B.C. – Copyist A

f. 4r-10r – p. 7-19


f. 4r-5r – p. 7-8: C in C


f. 5r-6r – p. 9-11: 3 (3/4) in C


f. 6v-8r – p. 12-15: C in C


f. 8v-10r – p. 16-19: 12/8 in C

3/ Sinfonia 2 for mandolin + B.C. – Copyist A

f. 10v-16r – p. 20-31


f. 10v-11r – p. 20-21: C in C


f. 11v-13r – p. 22-25: C in C


f. 13r-14v – p. 26-28: C in C


f. 15r-16r – p. 29-31: 3/8 in C

4/ Minuets, gigues, gavottes, allemande, balletto, veneziana for mandolin solo or mandolin + B.C. (probably arrangements) – Copyist A

f. 16v-34v – p. 32-68


f. 16v-17r – p. 32-33: 3/4 in C


f. 17v-18r – p. 34-35: 3/4 in C

[Corelli op. 5, V, nr. 5] Giga (SOLO)

f. 18v-19r – p. 36-37: 12/8 in g

Giga (SOLO)

f. 19v-20r – p. 38-39: 12/8 in D


f. 20v – p. 40: 3/8 in g


f. 21r – p. 41: C barré in g


f. 21v-22r – p. 42-43: 12/8 in G


f. 22v-23r – p. 44-45: 12/8 in Bes

Giga (SOLO)

f. 23v-24r – p. 46-47: 3/8 in g

Giga (SOLO)

f. 24v – p. 48: 12/8 in g


f. 25r – p. 49: C barré in C


f. 25v-27r – p. 50-53: 12/8 in a


f. 27v-29r – p. 54-57: 12/8 in G


f. 29v – p. 58: C in a


f. 30r – p. 59: 3/4 in G


f. 30v – p. 60: C in D


f. 31r – p. 61: 3/4 in C


f. 31v-32r – p. 62-63: 3 (3/4) in C


f. 32v – p. 64: 3/4 in C


f. 33r-34v – p. 65-67: C in D


f. 34v – p. 68: C in G

7/ Gigues, gavotte for mandolin + B.C. – Copyist B

f. 35v-38r – p. 70-75


f. 35v-36r – p. 70-71: 12/8 in D

[Corelli op. 5, X, nr. 4] Gavotta

f. 36v – p. 72: C in F

[Corelli] Giga

f. 36v-38r – p.72-75: 6/8 in F

8/ Gavotte, minuet for mandolin + B.C. – Copyist A

f. 38v-40r – p. 76-79

Presto. Gavotta

f. 38v-39r – p. 76-77: C barré in a


f. 39v-40r – p. 78-79: 3/4 in Bes

9/ Gavotte, gigue for mandolin + B.C. – Copyist B

f. 40v-42r – p. 80-83


f. 40v-41r – p. 80-81: 3/4 in g


f. 41v-42r – p. 82-83: 12/8 in e

10/ Gigue for mandolin + B.C. – Copyist A

f. 42v-44r – p. 84-87

[Corelli, op. 5, III, nr. 4] Giga

f. 42v-44r – p. 84-87: 12/8 in C

11/ Vocal pieces for voice in G-clef + B.C. – Copyist C

f. 44v-52r – p. 88-101

Del Sigr. Bizza

f. 44v-45r – p. 88-89: 12/8 in C

Del Sig. Chinzer

f. 45v-46r – p. 90-91: 3/8 in Bes

Canzonetta dal Sigr Orlandini

f. 46r-49r – p. 91-95 (f. 46v-47r blanco): C in Bes


f. 49v-51r – p. 96-99: 12/8 in e

Dal Sigre Celestino Ligi

f. 51v-52r – p. 100-101: 3/4 in g

12/ Minuets for mandolin (?) + B.C. – Copyist C

f. 52v-53v – p. 102-104


f. 52v-53r – p. 102-103: 3/4 in A


f. 53v – p. 104: C in G


The collection on the one end consists of some solo dances for four-course baroque mandolin (Milanese tuning). The repertory doesn’t match any of the sources I compared it with so far but it would be really interesting if we could find a correspondence.

The two “sinfonia” pieces are probably the most interesting from a musical perspective. Both are actually nice sonatas for mandolin and basso continuo, and these pieces are quite fitting on four-course mandolin. The second sinfonia actually sort of reminds me of a sonata by Signorelli which has a really similar style in its opening piece. Though I won’t try to claim the sinfonias are by him without any further proof, it seems this is certainly a plausible hypothesis that might deserve further investigation.

The link to Signorelli in the case of the sinfonias is not a hard one, and as he has no clear link to Florence it only becomes harder to link him to it. As far as we know he also played the viola d’amore, came from Milan or was active in Milan. This does not place him too far from Florence but without further real links it is not something we can claim.

The rest of the manuscript is a collection of dance suite pieces from the later baroque era. The few we have identified are by Corelli and from his well-known opus 5. The others remain unidentified. Some pieces are solo-voiced but these can be assumed had a continuo bass originally – one of the Corelli sonatas is without its bass for example. We can assume all of these pieces are arranged music from other sources such as violin or flute sonatas and the like. The Corelli sonata arrangements are pretty easy: they follow the original quite close and where the music goes below the lowest string the melody jumps an octave higher.

The collection certainly deserves further study and I would prefer it if we could arrange for a joint effort. Perhaps we will still have some interesting discoveries when we identify more of the pieces of this huge collection.

Copyists A seems to have written the oldest pieces. But he also wrote some of the more recent pieces where copyist B has joined occasionally.

Copyist C who wrote the vocal pieces seems to have added the most recent part of the manuscript. Chinzer (1698-1749) was linked to Florence mainly but also to other Tuscany cities as Lucca, Pisa and Pistoia.
Orlandini (1676-1760) is again also linked to Florence and Tuscany, though he also had a link to Bologna. Especially after the 1730s he became a principal figure in musical circles in Florence, especially highly regarded for his dramatic music.
Celestino Ligi: I haven’t found a lot of information about this composer but he appears alongside with Orlandini in some aria manuscripts. He is also listed as a Florentine composer in some sources.

The vocal pieces seem hence to have been added around 1730-1750 or later or at least were composed at earliest around 1730.

Anonymous, Sinfonia

The discovery I enjoyed most – at the very least in musical sense – was an anonymous mandolin concerto from the mid-18th century.

It is preserved in Stockholm in the Musik- och Teaterbiblioteket under the siglum O-R. In the old catalogue it was listed as a lute / oboe concerto which explains why it has stayed under the radar for so long.


Alas, the provenance of this piece is an unsolved puzzle. We can only make an educated guess until some further hard facts are retrieved.

Stylistically and from the writing we can assume a date no earlier than the 1730s and no later than the 1770s but in my personal opinion this piece is probably dating from the 1750s.

We also have no sure regional provenance of the manuscript. The musical style and annotations are Italian but that on its own is of course not certain proof. The style has a certain “baroque” and northern Italian flavour to it and does not not compare well to the later concertos for Neapolitan mandolin.

There is no clear acquisition history from the library.


All three movements have the following parts written as a score:

–          Mandolino

–          V.V. (Violins 1 & 2)

–          [no description, bass clef, without figuration]

1/ Allgo.

Fol. 1r-8r: Allegro in 2 (2/4) in G major.

There are lots of articulation signs. The mandolin usually stays mute during tutti but sometimes the mandolin has a unison with the first (and/or second) violin. Lots of appoggiatura signs, dynamical signs. Tutti or solo sections are sometimes written specifically.

Sotto voce is called for in one occasion (broken chords in mandolin solo).
In one place there is a unison section for the whole score as a transition passage.
The score mentions a Da Capo though it is unclear whether this would be a full repeat; more likely what is meant is a repeat of the first tutti and / or first solo passage.

2/ Cantabile e Gustoso

Fol. 8v-11v: Cantabile e Gustoso in C barré in g minor

Listed sotto voce for the violins at the beginning of the movement, which is logical as the piece is meant as a contrast to the other movements.
Especially striking are the diminished melodic phrases which emphasize the tragic and dramatic character of this piece.

This second movement contains some of the most clear idiomatic writing for the mandolin part found in the whole concerto.

3/ Allo. Gustoso (Balletto)

Fol. 12r-18v: Allo. Gustoso (Balletto) in 3/8 in G major

The third movement is again in a lively character. The mandolin solo plays unison from the start.

Especially noteworthy are the passages where the mandolin part does not reach the bottom g whilst playing unison with the violins. Also some unison parts are slightly different in the mandolin part when the violins use the open a’ string. All of this might be interesting material to consider when identifying the type of mandolin this piece was written for.


I am quite proud of this find – it was partly triggered by the last edition of the internation symposium on mandolin history in Germany. I always thought this piece was already found by other researchers but clearly that was not the case when I discussed it with my peers last year. I hence was quite keen to get a reproduction when I got home from the symposium.

The main reason why it has stayed under the radar for long is that the piece was listed as “flute concerto”. Indeed, when looking at the title there seems to be some confusion over the principal instrument to be used. It apparently at first reads “oboe”, which was crossed out and replaced by someone else to become “traverso” (flute) and that’s how it was long listed in the catalogue.

However, if you take a look at the instrumentation assigned next to the score it reads “mandolino”. This of course is not enough to make any assumptions but looking at the music in the mandolin part we clearly see some writing which is idiomatic for plucked string instruments rather that wind instruments. Some parts of the music are also rather lower than optimal for flute and oboe. Though no notes are actually out of the possible range of either oboe or flute, it seems somewhat uncomfortable. It may of course have been performed or arranged to be performed on either of those instruments; or the concerto may also have been an arrangement of a concerto originally for flute or oboe. In fact it doesn’t really matter too much – as the source preserved the music in a form idiomatic for mandolin so we can only assume this to be the best instrument to perform the music.

The mandolin type this concerto was written for is somewhat of a riddle. There are no real chords though there is of course some idiomatic writing in terms of “chord-like” writing such as arpeggios. It’s next to impossible to make out whether these are most suited for plectrum or finger style played instrument as there are no clear markings, but I would see these arpeggios as more favourably for a plectrum-played instrument.

The passages where the unison makes the mandolin part slightly easier than the violin part are puzzling. Perhaps it was technically too challenging for the player, or perhaps the tuning got in the way of things?

In terms of range the instrument seems to have a certain lack in the lower region. No notes go below middle c (C4). In some cases the mandolin actually goes an octave higher when in unison with the violin part(s) when these go below middle C. This is certainly encouraging the view that the concerto was written for a 5-course baroque instrument like the Milanese mandolin, or possible the Genovese instrument.

A second hint that might hold a clue about the type of mandolin used is found in the writing itself – often the beginning of a melodic passage start with open strings corresponding with the Genovese or Milanese instruments. It’s not real proof but can certainly be taken aboard.

More weight is added to the scale when looking at the actual passages of more idiomatic plucked string instrumental writing. Trying to play these on Neapolitan, Milanese or Genovese tuning easily points out that the piece is somewhat difficult on a Neapolitan but not all that difficult to play on a Milanese or Genovese mandolin. Especially some grips with fifths point this out, rather uncommon on the Neapolitan mandolin in the middle of an arpeggio except when a barré is possible. Fifths are quite common on instruments tuned in fourths as that will allow for easy fingering.

Though there is no way to assign the instrument with certainty, I would hence suggest this concerto was not written for the Neapolitan type of mandolin. It’s even less certain to assign it to either the Milanese or Genovese type after that, but I would suggest that the Genovese holds a couple of cards over the Milanese in the lower string arpeggios. As we have so little knowledge of the Genovese instrument I’m rather cautious to put this forward but it seems something worth considering. I’m really looking forward to receive further feedback and start some interesting discussions with my peers on the upcoming edition of the symposium. 😉

Certainly noteworthy is that today’s audiences received the concerto rather enthusiastically. It shouldn’t be seen as a concerto where the soloist has to excel in vrituoso playing – and reminds more of the concerti grossi and further origins of the genre where alternating ensembles helped create musical structure.

Lastly let me link you to some Youtube recording of a performance of this piece (students of the conservatory mandolin class of Gerda Abts and myself as the soloist). Though performing the orchestral parts on bowed rather plucked strings and with a full basso continuo will make a difference, this will give a good impression of the music.

Anonymous, Sonata di mandolino

My next post is focusing on a small preserved fragment of mandolin music. It is entitled “Sonata di mandolino” and has two movements.

The manuscript is a folded leaf, written in ink, of 23 x 30 cm. It is preserved in the State University of New York at Buffalo, Music Library with shelf mark Treasure Room M02 Aa so LIB – MUS017.

The source is also digitized and can be found online at:


Unfortunately there are few clues to date the manuscript or try and pinpoint its provenance on a map. The library itself states it is from the 18th century – though this is correct it is a bit of a wide time span.

We can only guess by looking at the style of the music and that points towards something probably from the mid-18th century. Personally I doubt this was composed before ca 1720 or after ca 1760. Still a wide timespan but at least not as wide as a whole century. 😉
However, please note that this is just an educated guess – no more, no less.

Though the manuscript is clearly having Italian writing on it, this doesn’t always mean it was actually composed in Italy or by an Italian. It is the most logical though as French, English or German sources usually don’t use the name “mandolino” but use variants of the name. It remains to be seen if we might not trace the origins with further investigations but at the moment we’ll have to make due with “probably Italian”.

Manuscript content

The content is what appears to be either an incomplete sonata for mandolin. It is written for “mandolino” and unfigured bass.

1/ Allegro 2/4 in C major (f. 1)

2/ Andante Grave C in D major (f. 2)

No real chords are used but there are some passages of parallel thirds which in my experience are quite common on the Milanese baroque instrument but not on the Neapolitan mandolin (after all, it is easier with an instrument tuned in 4ths).

The range of the instrument does extend to the low g, so if it indeed is for a Milanese baroque mandolin, it must be the six-course one. That would fit nicely with the proposed date of mid-18th century (even though we know that the 4-course type still existed, the 6-course type was becoming predominant).

The music makes use of some techniques often found in late baroque music and the harmony used seems to stick more with the baroque tradition than the early classical. The piece does ask for a continuo as the bass in itself doesn’t fulfill the need of accompaniment, another argument to place this piece in the second quarter of the 18th century.

Though the Allegro is not the most thrilling music, the Andante Grave has some more interesting musical development in it and might be worth trying out.

As we are clearly missing out on the third (of even further) movement(s) – these pieces might never reach the stage where they will be played or published. But for those adventurous enough to try and play from the sources, just follow the link given above and try it out for yourself. You’ll have to find a sufficiently experienced continuo player though. 🙂

Cafaro, Il trionfo di Davide

In a series of blog posts I will try to shed some light on some of the discoveries of the past year. I didn’t always find the time to blog about these straight away, but with the upcoming international historical mandolin symposium coming up I’m preparing presentations anyway. 😉

The first in the series is about the use of mandolin in an oratorio. I must admit that it’s not a real mandolin aria as the role of the mandolin is limited – but the importance of the discovery lies more in the circles in which the instrument was used.

The source is a manuscript in two volumes (I: 111 f., II: 119 f. of 22 x 28 cm) and is preserved in the French National Library (Bibliothèque Nationale de Fance, Paris). The shelf mark is Richelieu – Musique – magasin de la Réserve MS- 1673. It is actually also digitally available through the digital counterpart of this library, Gallica:

The mandolin is used in a da capo aria in volume 2. (The link above goes to volume 2.)


It’s always a pleasure when the provenance of a manuscript is so clear. The manuscript dates the first performance and other sources confirm this to be in 1746. The composer is Pasquale Cafaro, who was a student and later teacher at the Naples Conservatorio della Pietà dei Turchini. He even succeeded di Majo as the maestro di capella of the Chapel Royal of Naples. He was quite renowned for his operas, oratorios, motets and masses.

The manuscript even has some history to it – it was once owned by a Giovanni Battista de Benedictis. However, the library does not list anything else about the acquisition history.

Mandolin aria?

The first indication is found on f. 92v of volume II, at the bottom of the page. The writer of the manuscript made a point of announcing the next pieces, so in this case there is a note “Siegue Davide col Mandolino”.

When we turn the page to f. 93r, the instrumentation is indeed changing with at the top of the score “Mandolino”, followed by unison violins I & II, violetta, Davide, and the bass. The aria has a tempo mark of “And.e” (Andante) and the strings have the indication of “p° assai”. The violins I & II actually are indicated to be in unison with the mandolin part straight from bar 2 onwards. As you might notice, this means that the mandolin is probably only used as an extra bit of flavour in the orchestral sound – rather than having a separate part and role in the aria.

After a short instrumental introduction the singing starts. The lyrics aren’t always clearly readable but I have tried to decipher them as best I could. “Cambia in amore, gran dio d’Abramo, l’empio furore del nostro chè della mia cetera al suono amabile si venda docile quo fù Mosè.” This piece ends on f. 94v (“Subito Coro”‘). There can be little doubt that the “cetera” mentioned in the lyrics convinced Cafaro to use a mandolin. Of course he might have thought of other plucked string instruments, but not all would fit his purpose and the mandolin does have a tradition of being used in oratorios.

The part of Davide is in the same rythm as the mandolin/violins and is actually also in unison. The writing does bear all the hallmarks of what made Naples’ vocal output so famous in the 18th century. This small first phrase of the aria is located on f. 93r-94v.

This initial aria singing is followed by a chorus on f. 95r-96r which has violin I, II, violetta, vocal parts are Gionata, Micol, Samuele and Saulle, and there is also a bass, this time with figuration. This little chorus is a de facto repeat (though somewhat reworked) of the first part of the aria by Davide, followed by a short instrumental ending. The bottom of the page has the clue “Siegue subito Davide col Mandolino”.

The first phrase of the aria is an Andante in 3/8 beat in C major.

The contrasting middle section is from 96v-98r (Davide) and 98v-99v (chorus). Here we swith to an Allegretto in 2/4 beat in G major (though it does flirt with g minor at points). At the end we find some figuration in the bass so perhaps even the Davide arias might be performed with a full continuo section.

This aria part again starts with an instrumental introduction followed by the vocal part of Davide. “Fà che è sua lege Dio d’Israele Ci sia fedele Qual fù Noè Ah le suè furie Dio degli eserciti Il cor di Saule Non sfoghi in me”.

Again a chorus follows with the same instrumentation and again it reworks the first phrase of the aria part by Davide and a small instrumental end. The note again reads “Siegue subito Davide col Mandolino”.

As can be expected, the subsequent aria part by Davide is the real da capo of the first aria part (f. 100r-101v) again followed by a chorus (f. 102r-103r) to conclude the piece to then switch to a recitativo. “Rendi placato qual cor stegnato E l’arme siegua di Giosuè È docce il tuo Davide Dio di vittorie Aura ri fuggio Se non in te”.


Even though the musical contribution of the mandolin is rather limited (unison with violins and/or Davide), this piece is an important scoop. It is by my knowledge the first piece we can certainly link to on of the Naples conservatoriums in the 18th century. That in its own right merits this piece a place in mandolin history.

On the subject of the mandolin type used, it is rather difficult to make out. Even though one would suspect a Neapolitan mandolin might be considered, we’re not 100% sure when that instrument was invented (usually supposed to have happened at the same time of the creation of this piece). It might be more logical to assume that Cafaro stuck to the traditional mandolin type used in so many early and mid 18th century arias, the Milanese baroque mandolin tuned in fourths.

It is my hope that this little contribution might start further investigations into the use of the mandolin by other Neapolitan composers and the conseratories, and maybe also can either elaborate on some of my work on this piece.

Ortesia Caccini’s sonata manuscript

The Libro per la Mandola by Matteo Caccini

For the benefit of those unaware of the Libro manuscript, I will briefly describe it and will give some references for further study. The title page reads “Libro per la Mandola dell Matteo Caccini | A di p.o Agosto 1703“.  The manuscript is preserved in the Bibliothèque Nationale de France, Paris, under the siglum RES – VMB – MS9. It contains some solo dances for four-course Italian baroque mandolin tuned in fourths (a tuning chart is provided on fol. 16v) in normal notation (treble clef) with occasional chords. Some composers are mentioned by name (Ceccherini and Cappellini). For a more detailed description you can read up on some further details in: James Tyler & Paul Sparks, The Early Mandolin, Early Music Series 9, Oxford, 1989, p. 23-25. A modern edition of the music has been provided by Marga Wilden-Hüsgen (published by Grenzland-Verlag, KM-2086). The manuscript contains tuning charts and music for other instruments as well: one is for psaltery, one for what is presumably violin and which would match with the music in the rest of the manuscript.

The manuscript copy of the Libro

Some mandolin scholars have already found the second manuscript linked to this Libro: the manuscript RES – VMB – MS8 in the same library starts with a copy of the same mandolin pieces and are in the same hand. The rest of this manuscript contains vocal pieces which are in a different and more recent hand.

MS 8 fol. 1r: Minuet = MS 9 fol. 1r: Minuette
MS 8 fol. 1r-1v: Burè = MS 9 fol. 1r: Burè
MS 8 fol. 1v: Minuet = MS 9 fol. 2r: Minuet
MS 8 fol. 1v-2r: Saltarello di Meccoli = MS 9 fol. 2r-2v: Saltarello di Meccoli
MS 8 fol. 2v: Aria di Veneziana = MS 9 fol. 3r: Aria di Veneziana
MS 8 fol. 2v: Aria di Veneziana = MS 9 fol. 1v: Aria di Veneziana
MS 8 fol. 3r: Aria di Veneziana = MS 9 fol. 1v: Aria
MS 8 fol. 3r: Passaggio = MS 9 fol. 3r: Passaggio
MS 8 fol. 3v [untitled] = MS 9 fol. 3v: dal Sigre P.P. Cappellini
MS 8 fol. 4r: dal Sig P.P. Capellini = MS 9 fol. 4r: dal Sigre P. P. Cappellini
MS 8 fol. 4v: Alemanda di P.P.C. = MS 9 fol. 4v: Alemanda di P.P.C.
MS 8 fol. 5r: Alemanda di Niccolo Ceccherini = MS 9 fol. 5r:  Alemanda di Niccolo Ceccherini
MS 8 fol. 5v: Fuga [incomplete] = MS 9 fol. 5v: Fuga di Niccolo Ceccherini
Next pages: 1 page “Cadenza per il Basso Continuo” (fol. 5v), all the rest is vocal music, usually with figured bass – and some blank pages are left at then end of the manuscript.

Questo libro di sonate… by Ortensia Caccini

A third manuscript which has correspondences with the Libro, has so far not caught the eyes of mandolin scholars. The manuscript is also preserved in the Bibliothèque Nationale de France (VM7 – 4905). The title of this manuscript is Questo libro di sonate | e della Ortensia | Caccini. The title page contains some further inscriptions and sketches. Most of the manuscript is filled with vocal music, with occasional instrumental parts which are clearly for harpsichord. One piece is either instrument or vocalization, written in alto clef; but most of the music is in soprano clef with figured bass.

The manuscript is digitalized by the library and is accessible online:

Even though most of the manuscript is vocal music, there are a couple of pages in this manuscript which deserve our attention. First and foremost, a tuning chart on fol. 1r, written in treble clef. The tuning of the instrument here is clearly that of the four-course Italian baroque mandolin (which Matteo Caccini calls mandola), tuned in fourths: e’-a’-d”-g”. This page will be looked at in more detail below.

Some music for the instrument of the tuning chart can be found on the following pages, always in treble clef and if there are chords they fit the tuning: fol. 9r, 31v-32r. These pieces are easily identified – and they correspond to the first pieces of the Matteo Caccini Libro:

(Ortensia Caccini) fol. 9r: Minuet = fol. 1r: Minuet (Matteo Caccini)
(Ortensia Caccini) fol. 31v: Bure = fol. 1r: Burè (Matteo Caccini)
(Ortensia Caccini) fol. 32r: Minuett = fol. 2r: Minuet (Matteo Caccini)

In my opinion these pieces for Italian baroque mandolin were added to the manuscript later on. It odd though that the tuning chart gets featured on fol. 1r, this might mean that the manuscript was first conceived to contain mandolin music. However, we see tuning charts for instrument without music for the instrument in some other manuscript. For example, the Matteo Caccini Libro  contains a tuning chart for psaltery without (to our knowledge) music for it.

The pieces of music mentioned above are put in place on what clearly were blank spaces left after writing in the vocal music. Making use of leftover space in an existing manuscript is an often encountered practice.

There are some similarities between the hand who wrote the Matteo Caccini manuscripts – but, though it’s hard to be conclusive, I would say it’s unlikely to be the same copyist. The hand in the Ortensia manuscript seems less experienced and makes some mistakes (using the typical + sign for corrections, happens more than once). I therefore consider the pieces to be copied in from one of the other manuscripts rather than the other way around. However, Ortensia got married in 1704  to Giovanni Vincenzo Del Vernaccia, so it can’t have been copied very long after the creation of Matteo’s Libro – which is dated on its title page as written on the 1st of August 1703.

Of course, as there is no new mandolin music in Ortensia’s manuscript we could be quick to dismiss the manuscript as an interesting source… But the tuning chart on fol. 1r actually does contain something I’ve not seen in other manuscripts. It seems to be more of a scale exercise than a pure tuning chart, and the numbers under the notes seem to be fingering rather than tabulation. That of course could help musicians to understand how the pieces in these three manuscripts should be played.

The Caccini family

The fact that we now have a third manuscript with a provenance in the same household reinforces that the Italian baroque mandolin surely held a prominent place in the Caccini family. This manuscript also further confirms that the Matteo Caccini of the manuscript was indeed a nobleman from Firenze – as we can trace the family genealogy and that of his sister Ortensia (1684-1753). If Ortensia wrote manuscript herself then it’s reasonable to assume the mandolin parts were added around 1703-1704 when she would have been around 20.
Matteo died in 1717, after which the younger brother Francesco (1680-1749) took over the family estate. After the death of Francesco, Ortensia inherited, thereby uniting the family estates of Caccini and Vernaccia for her children. At that time Ortensia was granted a higher status in nobility (an azure ball with three golden lilies was added to the family heraldic weapon – interestingly enough this is called “the round shield of France”, connecting the Caccini/Vernaccia family to France).

It seems that some parts of the family archive have been preserved (Biblioteca Roncioniana, Prato) – so further background information about the family can certainly be obtained. Though it will probably not contain information about the music practice or musical preferences of the family, perhaps these documents can help us grasp how influential the family was. And that in its turn can help us understand the importance of the mandolin in the Firenze noble families and their musical culture.


James Tyler & Paul Sparks, The Early Mandolin, Early Music Series 9, Oxford, 1989.
Catalogue of the Bibliothèque Nationale de France, Paris.
Online digital version of the manuscript by Ortensia:
Itialian unified information system for archives:
Online site of the Prato library containing the Caccini archive:
Description of the archive in the Prato library:
State archive of Firenze:
(All online sources were last successfully accessed on the 1st of October, 2013.)

James Oswalds “Mandelin”

On Thursday July 12th 2012 I presented a short lecture on the subject of the James Oswald’s “Mandelin” during the “Zomerseminar voor Mandoline en Gitaar” (Summer seminar for mandolin and guitar). The lecture mainly focused on demonstrating how to perform research into the history of plucked string instruments. An article pushibled in MandoGita later summarizes some aspects of the lecture and already focused a bit more on the basic point: which instrument did James Oswald mean when he put the term “mandelin” on his title page?

This blog series will focus a bit more on the actual case study, and will weigh the different options with more details than I could during the lecture or article. In this first blog, I will just give the general context – I’ll point you to the music and explain a bit more about the background.

I came accross the divertimento bundle by Oswald from several sources. First of all, because it showed up in some bibliographical research about the mandolin. Secondly, because Paul Sparks already mentioned it in The Early Mandolin. Third and not least, because of the excellent article by John Goodin which popped up doing some background research. I was especially drawn to the subject because of his final phrase: “The Mandelins in question could have been any of a number of instruments available to Oswald in mid-18th century London and I certainly welcome speculation on that point from the many true scholars of the early mandolin.”. A good cue to stick my musicologically skilled mandolin nose into the affair, I thought.

Some background information is required though I will not go as far as quoting all the information available. James Oswald was born in 1711 in Scotland. After some time as a dancing teacher in Dumfermline (Fife), he moved to Ediburgh (in 1736). In this city he developed into an accomplished singer, composer and even organiser of concerts. He next moved to London in 1741 and even started his own publishing house (in 1747). Especially the bundles entitled The Caledonian Companion was well received (numerous volumes and editions). Towards the end of his life he even achieved the title of court composer of chamber music (1761). Oswald was a member of the secret society of composers called The Temple of Apollo (which also attracted such members as John Reid and Charles Burney).

As other authors have mentioned, Oswald seems to have conciously published some music anonymously or under nicknames. Even Geminiani, who had some music published by Oswald and even lived in the same street, seems to have been tricked by this (he mentions his praise for the composer David Riccio, which was one of Oswald’s nicknames).(1) All this makes it rather difficult to prove the exact author of some of the music Oswald published. Rob MacKillop and John Goodin come to the conclusion that the bundle of 18 divertimentos were most likely composed by Oswald himself, and I have not yet seen any reason to doubt that assumption. Therefore we will continue in the further writing to assume Oswald as the composer and not just collector or arranger of the pieces.

James Goodin has made such a modern edition of the 18 divertimentos by Oswald available online via his site mandotopia.
Even though I have gone through the trouble of getting a copy of the original, this edition should be fine for musicians. (Though I will eventually focus some attention to the fact that most musicians don’t always follow the typical conventions of the 18th century, for example when playing grace notes.)

In the next blogs of the series, I will first give some further general information about the music before starting the discussion of the possible mandolin types Oswald might have meant.

(1) Already mentioned by John Goodin’s article: he references this back to John Purser, Scotland’s Music, Edinburgh,  1992, rev. ed. Edinburgh, 2007.

The Mandolin Aria

One of the other operas that have a mandoline “serenading aria” that is sometimes still performed is the Giovanni Paisiello version of Il Barbieri di Siviglia. That opera is of course most performed in the version of Rossini. Though Rossini’s version originally didn’t supercede its predecessors popularity, it became predominant over time. Needless to say that I’m not against Rossini’s version of the opera or the way he wrote his serenade – but no-one can blame me for having a personal favoritism for the Paisiello version in full as well as the mandolin serenade in particular. I’m glad it occsionally gets some limelight as it sheds light on some aspects of 18th century opera and is generally very enjoyable.

Paisiello’s aria is a typical canzonetta and is (almost certainly) for the Neapolitan mandolin, which is quite different from the Mozart aria which is (almost certainly) for Milanese or Lombardian mandolin. (For those who have missed that fact, I will most likely share some thoughts about Mozart’s mandolin aria in a separate blog post.)

If you haven’t already heard the refreshing music of Paisiello… make sure to check it on Youtube – I’ve included a link to a decent version.

Saper Bramate

The text is the typical sweetening poetry – fully in line with the main character who tries to convince his beloved to choose him (the count is in disguise as a student, so his beloved would choose him because of love rather than his wealth). This is a good example of the commedia dell’arte style of the storyline – with rather grotesque characters.

The opera was written by Paisiello during his stay at the court of Catherine II in Saint-Petersbourgh. The libretto is based on the play Le barbier de Séville by Pierre-Augustin de Beaumarchais. The full title reads “Il barbiere di Siviglia, ovvero La precauzione inutile” (the barber of Seville, or the useless precautions) – and it’s a rather typical comic opera for its time. The premiere in Russia was on 1782, but in the year after his home-town Naples followed, and soon the opera spread all over Europe. It stands to reason that the main reason for Mozart to include a mandolin aria in his Don Giovanni is the unrivalled success of the Paisiello opera.

The aria has enjoyed some life of its own accord outside of the opera, after the usage of it as part of the film music by Stanley Kubrick in Barry Lyndon. The music is instrumental in this case – and it was used in the scenes where Barry is cheating at cards.

Barry Lyndon music

Lyrics (and very free translation – any native speakers are invited to improve this 😉 ):

Saper bramate bella il mio nome ecco ascoltate ve lo diro
io son Lindoro di basso stato nè alcun tesoro darvi potro
ma sempre fido, ogni mattina
a voi mie pene, cara Rosina, col cuor su’ labbri vi cantero
If you yearn to learn my name, beaty, listen and I will tell,
I’m Lindoro of low status
without a single treasure to share,
Every morning, I will sing to you about my sufferings, singing with my hearth on my lips.

Speaking for myself, I really enjoy this little serenade, both musically and theatrically it really adds a lot to the opera. Of course, it’s not the most impressive piece of music by the count – just a simple serenading canzonetta – but it fits its purpose in the opera and the mandoline accompaniment is really nicely written.

I hope this post will get some people to think twice about the mandolin aria / serenade as well as bringing this subgenre to the attention of some opera lovers. 🙂 Enjoy!