ETUDE
January 1943
volume LXI
number 1
page 63, 66

Mandolin Music

By George C. Krick

AMONG the musical instruments of the present day, which especially commend themselves to public esteem and general consideration, is the mandolin. Indeed, its possibilities are so far reaching, its charm so alluring and its study so interesting, that one can never regret having chosen it for serious application. For some years the mandolin was a great fad, and as long as it was so considered, never rose above the mediocre in the plane of music producing instruments. However, since during the past forty years some of the most cultured and influential musicians have become interested in it and applied themselves so diligently to attain a mastery of it, the mandolin has gradually advanced in favor until to-day it occupies its place as a legitimate artistic instrument. While Italy still outranks all other countries in the number of outstanding mandolin virtuosi ,our own country may well point with pride to a number of artists who made mandolin history and in addition enriched the mandolin literature through many original compositions for their chosen instrument. We have always stressed the fact that the mandolin is at its best in the performance of original music written by a composer who at the same time is a master of the instrument and well knows its possibilities and also its limitations.

At the present time the literature for mandolin is so vast, that it is not necessary for a public performer to borrow from the music for violin or other instruments, when building a repertoire for concert purposes. For the young student there are methods and books of etudes galore, and it is now our purpose to point out to the beginner as well as the advanced player what we think is best from the pens of the leading composers of mandolin music

Suggestions of Value

Among the American mandolinists Giuseppe Pettine stands foremost, and as a composer of mandolin music he has no peer. His “Method in Four Volumes” is most comprehensive and properly graded, starting with Book 1 for beginners followed by Book 2 containing more advanced technical matters; Book 3 is devoted to the study of the duo style for unaccompanied mandolin, Book 4 deals with all the difficulties of the right hand, showing a complete system of the mechanism of the plectrum. Another volume deals with the study of right and left hand harmonics. The “Duo Primer” consists of a collection of well known melodies arranged in the duo style and is intended for beginners.

For concert purposes there is the “Concerto Patetico” in three movements for mandolin and piano, a beautiful work; also Fantasia Romantica, Fiori appassiti Impromptu, Barcarola in duo style and a number of shorter compositions. For the young student there is quite a long list of attractive pieces in easy and medium grades.

Valentine Abt, well known mandolin virtuoso, has to his credit some beautiful compositions for concert use. The most important are, The Butterfly, The Brooklet, Fantasia, Golden Rod, Barcarolle, Hark the Choir, Impromptu, In Venice Waters, Serenade, Morceau de Salon, and some transcriptions such as Carnival de Venice, Hauser’s Cradle Song, Dancla’s Fifth Air Varie, Chaminade’s The Flatterer, and Ries’ Perpetuum Mobile. For the student we have the Abt “Mandolin Method” in two books and three books of technical exercises.

In Duo Style

Aubrey Stauffer confined his playing mostly to the duo style for unaccompanied mandolin and his “Book of Thirty Progressive Studies” contains some excellent material to develop this phase of mandolin technic. For concert purposes he compiled a Book of “Forty Grand Mandolin Solos” and another of “Forty-two Mandolin Solos,” all in the duo style.

One of the most interesting folios is that compiled by B. W. De Loss and is arranged for mandolin and guitar. Aside from an original Concert Waltz by De Loss, there are transcriptions of pieces by Franz Drdla, M. Moszkowski, Carl Bohm, Drigo and others. Both the mandolin and guitar parts require players of more than average ability. For advanced players we also recommend “Mandolin Players Pastime,” a collection of fifteen well known classics, attractively arranged for mandolin and piano.

Teachers looking for study material will find the Bickford “Mandolin Method” in four volumes one of the most comprehensive works for this instrument. From beginning to the end it covers every possible phase of mandolin technic. The “Method in Three Volumes” by H. F. Odell is also one that has been popular with teachers for a number of years. To list here all the compositions by the leading Italian mandolinists would be beyond the scope of this article, so we shall confine ourselves to the works of those who have gained international reputations.

Carlo Munier has to his credit “Method in Two Volumes,” five books of “Mandolin Studies,” four volumes of beautiful duets for two mandolins and a “Book of Trios” for three mandolins. His concert solos with piano accompaniment include First Mazurka de Concerto, Bizzaria capriccio di Concerto, Capriccio Espagnola, First Aria Variata, “Concerto in G major,” Second Mazurka Fantasia, Valzer Concerto and Love Song, a duo for unaccompanied mandolin. There are also three quartettes in the classic style for two mandolins, mandola and mando cello and numerous other compositions for mandolin orchestra.

Rafaele Callace has written two mandolin concerti with piano accompaniment, three preludios in duo style and a great number of shorter concert pieces, also a “Mandolin Method in Four Volumes.”

The following list contains further material for concert purposes.

V. Arienz – “First and Second Capriccio di Concerto.”

G. B. La Scala – “First and Second Tarantella,” “First Concerto in A minor” and Fantasia Mazurka.

S. Leonardi – Souvenir de Naples, Mazurka Variata, Angeli et Demoni, Fantasia.

E. Marucelli – La Giostra Mazurka, Moto Perpetuo, Capriccio Zingaresco, Polonese di Concerto, Valzer fantastico, Scherzo Militare.

E. Mezzacapo – Aubade, Mignardises, Polca de Concert, Napoli, Tarantella, Andante and Polonese.

S. Ranieri – “Concerto in Re Majeur,” Allegro – Maestoso, Romance – Allegro Giocoso, and a “Method in Two Volumes.”

This select list of study material and concert numbers for mandolin has stood the test of time and is well worth the attention of serious-minded mandolinists. Aside from the music mentioned there are numerous other compositions by various writers in this and other countries and most of these may be found in the catalogs of American Music Publishers. As stated before we believe it best for mandolinists to concentrate mostly on original music written especially for the mandolin. However, there are some violin solos among the lighter classics that can be played effectively on the mandolin. The selection of these should be made judiciously, and their successful performance depends mainly upon the technical proficiency and musicianship of the performer. He should always exercise good taste.