The
mandore, also called
mandola, is a small member of the
luteLute can refer generally to any plucked string instrument with a neck and a deep round back, or more specifically to an instrument from the family of European lutes....
family and was in use in Europe during the
RenaissanceThe Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Florence in the Late Middle Ages and later spreading to the rest of Europe...
. It was a forerunner of the
mandolinA mandolin is a musical instrument in the lute family . It is descended from the mandore, a soprano member of the lute family...
. It is not to be confused with certain other similar instruments which have also borne the name
mandoraThe mandora or mandore refers to various types of lutes. At first, in the Renaissance, the term was applied to the treble lute and in such usage it is difficult to distinguish from the mandola, the simple lute that is the ancestor of the mandolin...
or
mandolaThe mandola or tenor mandola is a fretted stringed musical instrument. It stands in the same relationship to the mandolin as the viola to the violin, the pairs of strings being tuned in fifths to the pitches of the viola , a fifth lower than a mandolin...
.
The mandore differs from the Neapolitan mandolin in not having a raised fretboard and in having a flat
soundboardA soundboard is an Internet-based program that plays various short audio clips. The selection of sounds available are usually collections of voice clips, snippets of music or sound effects. Another variety of soundboard is that of virtual instruments - programs outfitted with clips of individual...
. It was also strung with gut, whereas the modern mandolin is usually strung with metal.
In the 18th century,
mandoraThe mandora or mandore refers to various types of lutes. At first, in the Renaissance, the term was applied to the treble lute and in such usage it is difficult to distinguish from the mandola, the simple lute that is the ancestor of the mandolin...
was the name of a six-course lute instrument of about 70 cm string
length, tuned F - G - c - f - a - d' or G - A - d - g - b - e' (rarely with two or three additional bass courses).
Discussion
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The
mandore, also called
mandola, is a small member of the
luteLute can refer generally to any plucked string instrument with a neck and a deep round back, or more specifically to an instrument from the family of European lutes....
family and was in use in Europe during the
RenaissanceThe Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Florence in the Late Middle Ages and later spreading to the rest of Europe...
. It was a forerunner of the
mandolinA mandolin is a musical instrument in the lute family . It is descended from the mandore, a soprano member of the lute family...
. It is not to be confused with certain other similar instruments which have also borne the name
mandoraThe mandora or mandore refers to various types of lutes. At first, in the Renaissance, the term was applied to the treble lute and in such usage it is difficult to distinguish from the mandola, the simple lute that is the ancestor of the mandolin...
or
mandolaThe mandola or tenor mandola is a fretted stringed musical instrument. It stands in the same relationship to the mandolin as the viola to the violin, the pairs of strings being tuned in fifths to the pitches of the viola , a fifth lower than a mandolin...
.
The mandore differs from the Neapolitan mandolin in not having a raised fretboard and in having a flat
soundboardA soundboard is an Internet-based program that plays various short audio clips. The selection of sounds available are usually collections of voice clips, snippets of music or sound effects. Another variety of soundboard is that of virtual instruments - programs outfitted with clips of individual...
. It was also strung with gut, whereas the modern mandolin is usually strung with metal.
In the 18th century,
mandoraThe mandora or mandore refers to various types of lutes. At first, in the Renaissance, the term was applied to the treble lute and in such usage it is difficult to distinguish from the mandola, the simple lute that is the ancestor of the mandolin...
was the name of a six-course lute instrument of about 70 cm string
length, tuned F - G - c - f - a - d' or G - A - d - g - b - e' (rarely with two or three additional bass courses). With the former tuning, the instrument was called
Calichon or
Galichon in Bohemia.
Around 1800, a mutual interchange between the mandora and the guitar took place. The guitar, which had so far been tuned in reentrant tuning (e' - b - g - d' - a), took over the 6th course and the tuning of the mandora (e' - b - g - d - A - G, later also e' - b - g - d - A - E), whereas the mandora took over the stringing with single strings instead of courses, which had meanwhile been instroduced to the guitar. The so-called wandervogellaute has been a late heir to that development.
Music for the mandora was usually notated as tablature.
Composers
- Renaissance mandore: Martin Agricola
Martin Agricola was a German composer of Renaissance music and a music theorist.He was born in Schwiebus in Lower Silesia. His German name was Sohr or Sore....
, Pierre Brunet, Adrian Le RoyAdrian Le Roy was an influential French music publisher, lutenist, guitarist, composer and music educator.-Life:Le Roy was born in the town of Montreuil-sur-Mer in northern France to a wealthy family...
, Ottomar Luscinius, Sebastian VirdungSebastian Virdung was a German composer and theorist on musical instruments. He studied in Heidelberg as a scholar of Johannes von Soest at the chapel of the ducal court. After being ordained, he became chaplain at the court in Heidelberg. Verdung sung in the choir as a male alto until 1505/1506...
et al.
- 18th century mandora: Johann Georg Albrechtsberger
Johann Georg Albrechtsberger was an Austrian musician who was born at Klosterneuburg, near Vienna.He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna and became one of the most learned and skillful contrapuntists of his age...
, Giuseppe Antonio BrescianelloGiuseppe Antonio Brescianello was an Italian composer and violinist.His name is mentioned the first time in a document from 1715, in which the Elector of Bavarian appointed him violinist in his court orchestra in Munich...
, Johann Paul SchiffelholzJohann Paul Schiffelholz , was a German Baroque composer who is an important composer for the variety of baroque lute called a mandora , as well as writing the usual trio sonatas etc for the violin family instruments.Guitar versions of the mandora music are published by Suvini Zerboni as well as...
et al.
Literature
- Leipzig Mandora Book. Tree Edition, Lübeck 2007
- P. Prosser: Calichon e mandora nel Settecento: Con un catalogo tematico del repertorio solistico; Diss. University of Pavia, 1996
- D. Kirsch: Die Mandora in Österreich zur Bestimmung eines Lautentyps des 18. Jahrhunderts; Vom Pasqualatihaus 4 (1994), p. 63–81
- D. Kirsch: Musik für Mandora in der Universitätsbibliothek Eichstätt; Sammelblatt Historischer Verein Eichstätt 86 (1993), p. 14–19
- D. Kirsch, L. Meierott (Edd.): Berliner Lautentabulaturen in Krakau; Mainz, 1992
- P. Prosser: Uno sconosciuto metodo manoscritto (1756) Considerazioni sull’identificazione della mandora nell XVIII secolo; in: M. Tiella, R. Romano (edd.): Strumenti per Mozart; Rovereto, 1991; p. 293–335
- J. Klima: Gitarre und Mandora, die Lauteninstrumente der Volksmusik; ÖMz 18 (1963), p. 72–7?
- R. Lück: Zur Geschichte der Basslauten-Instrumente Colascione und Calichon; DJbM 5 (1960), p. 67–75
- A. Koczirz: Zur Geschichte der Mandorlaute; Die Gitarre 2 (1920/21), p. 21–36
- E. Pohlmann: Laute, Theorbe, Chitarrone; Bremen, 1968 (19825)
- Ernst Gottlieb Baron
Ernst Gottlieb Baron was a German lutenist and composer.Baron was born in Breslau. He studied law in Leipzig, but later became successful as a performer on the lute. In 1735, he took up an appointment as theorbo player at the court of King Frederick II of Prussia.Baron is best known for his...
: Historisch-theoretisch und practische Untersuchung des Instruments der Lauten; Nürnberg, 1727