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While searching for simple jps images of common partial scrolls with square finials for some correspondence in a different forum, I stumbled across this little article: http://lippi.net/mandolino-bresciano...scano/?lang=ko
For the nerds who might care, enjoy. I've mentioned my preference for this nomenclature in the past, citing the organological appendix from Pisani's (1899) method.
I've shared before, but to contribute to the conversation at hand, here's my own ca.1890s mandolino toscano by Bavassano & Figlio.
Attachment 192186
Attachment 192187
(By the way, both images are rotated from the orientation in which they appear when viewing the files directly on my own computer. Weird.)
Thanx, Eugene, for your usual historic postings. I have a rather surface knowledge of the various early Mandolins designs. I have mused that I’d like to have a Tuscan Mandolin, 4 gut strings, tuned in fifths, played with plectrum. I thought Bach & Vivaldi would sound interesting. Perhaps, I’m historically misguided. I could accept correction. Is the 6 string Baroque Mandolin more appropriate? I don’t know if I’m up to learn a new instrument, especially if it’s just for my own private playing. Any recordings you know of the Tuscan?
Thanx,
Joe B
I might argue in favor of playing any music you'd like on whatever instrument you happen to have on hand. If what you have on hand is different from the instrument for which it was written, simply acknowledge it as so. That said, if you want to play something like Vivaldi's dedicated mandolin music, it was composed specifically for five- or six-course mandolino tuned [g], b, e', a', d", g", and his mandolin fits that tuning really easily. If you want to play arrangements of other works, any instrument qualifies for as much arrangement as any other; have at it and have fun! Going earlier, however, the mandolino cremonese/bresciano was also strung in four single gut strings (g, d', a', e") and, like the Neapolitan type that we all know and love, appears to have its origins in the mid 1700s.
Unfortunately, I don't know of any recordings on the ca. 1900 Tuscan type. Zigiotti–Merlante used to have a recording of a Paganini piece played on such an instrument posted to their web site, but that was probably 15 years ago. The recording disappeared certainly by the time they'd released a recording of the Paganini mandolin works played on a Genoese mandolin. However, there are a fair number of recordings of the Cremonese/Brescian type that will at least sound similar. I'm being beckoned to supper, but will try to compile a list soon.
Oops. I'm wrong. I'd forgotten that Alon Sariel uses a Tuscan mandolin as a reasonable facsimile of Brescian mandolin and is good enough to even name it correctly! (Although I am skeptical of his approximated vintage for it.) E.g.,
https://www.youtube.com/watch?v=C1SiX5ZWtMo
. . . and:
Elias, I., A. Sariel, and M. Tsalka. 2015. Paisiello in Vienna. Brilliant Classics, 95301.
Thanx & thanx, Eugene. I was curious on your historical perspective. Of course, I’m always open to find what works for me & have a go at it. I’ve heard the Baroque Mandolin live & on record & been intrigued by the sound. I think the tuning & fingerboard would be more effort than I want to take on. The Tuscan seems a compromise, getting the single gut string sound without learning a new instrument.
The video with Alon is perfect. I like hearing the Tuscan with a String Quartet. It really puts in a context. I like the intimate chamber group sound. I’m glad to see Alon. I’m fortunate to have met him several times & attended a couple of his workshops. He’s a warm engaging chap & a superb player. Best wishes to Alon.
Thanx again, Eugene.
Joe B
Eugene,Quote:
Originally Posted by Eugene
I don't remember seeing this one upon my return visit to Planet oHIo in September 2019. It's probably a good thing since I would probably want to finger pick it or strum it like an ukulele. Looking forwards to the next get together for some beer drinkin', pickin' and grinnin' and maybe some Salmon smokin'.
I'm hip . . . and have a little beer on hand.
I don't recall: when you last visited, this piece might have still been with the guy who was making its case.
Eugene, what is the origin of the square finial? To 21st-century eyes, the square of mother-of-pearl looks like some sort of screen or monitor that will light up with information at any moment.
It's hard to say (or hard for me to say because I don't know). That square finial with the sickle-shaped pegbox was pretty common to a number of necked chordophones spanning the baroque era, including the original fourth-tuned "mandolino" and mandolino cremonese/bresciano. Of course, cremonese/bresciano went kinda extinct, that fourth-tuned baroque-era mandolino eventually evolved into mandolino lombardo which in turn inspired mandolino toscano to place that tone quality into the hands of late-19th-c. fifth-tuned mandolin players—a convergent evolution kinda thing.