234:, has a vaulted body (shell) constructed of separate ribs, a flat soundboard with either a carved rose or one which is inset into the soundhole, and a bridge (without a saddle) consisting of a wooden bar acting as a string-holder glued to the soundboard. Unique to this instrument is the neck, which is long enough to allow for ten to 12 tied gut frets. The pegbox is either straight and set at a sharp angle to the neck (much like a lute pegbox), or gently curving and set at a shallow angle, either case being fitted with laterally-inserted tuning pegs (although sometimes a flat pegboard with sagittal pegs is found). The strings were of gut and are strung either singly or, especially on Italian instruments, in double courses. However, on German-made instruments, the first course (highest in pitch) is usually single (a chanterelle) and often has its own separate raised peg rider/holder attached to the pegbox. The number of courses varies from six to eight. Open string lengths tend to be fairly long (62–72 cm) on German instruments, but shorter (55–65 cm) on late Italian ones, probably because they tended to be tuned to a higher pitch.
72:
52:
37:
1842:
1852:
1066:
109:
292:, all in manuscript (none printed) and nearly all of Germanic origin. These contain solos, duets, song accompaniments, and chamber music. Few studies have appeared and very little of the music has been transcribed and published: critical editions are especially rare. Many have no composers attributed but in recent years studies of concordances are beginning to uncover music by composers such as
350:) and strings have been performed and recorded. Today there are various modern lutenists who play the mandora and some of these historical works have been recorded. The mandora has also been used in contemporary music, the British lutenist and composer Chris Hirst uses the mandora extensively in his works, often in combination with diverse instruments like the cello, cor anglais and melodica.
183:. Tyler disputed that it was mainly used for continuo, saying it was used "both as a solo and as a continuo instrument". The instrument was popular in the 18th century and there are various surviving instruments and manuscript sources (see below), mainly from Germany. The mandora often had only 6 courses, resulting in a simpler technique than the complex and difficult 13-course
573:... It was probably originally made for seven or eight courses (pairs) of strings, but in the seventeenth century the neck, bridge, and pegbox were replaced or modified to give the instrument a Baroque configuration. In the nineteenth century, the neck was reduced, fixed frets were added, and the instrument was changed to six-strings, like on a guitar. ...
269:(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, as had been introduced to the guitar. The so-called wandervogellaute has been a late heir to that development.
419:
Der rotbraun lackierte Korpus des ziemlich einfach gearbeiteten
Instruments ist aus 9 breiten SpĂ€nen von geflammtem Ahornholz zusammengesetzt. Die RĂŒckseite des gewinkelten Kragens ist mit durchbrochenen Schnitzereien im Renaissancestil verziert. Dieses Instrument verfĂŒgt im Gegensatz zur Barocklaute
240:
who produced mandoras in the first half of the 18th century were Gregor
Ferdinand Wenger in Augsburg, Jacob Goldt of Hamburg, Jacob Weiss of Salzburg, David Buchstetter of Regensburg and Mattias Greisser of Innsbruck. Italian-style instruments are represented by Martino Hell of Genoa, Enrico Ebar of
244:
At least 50 original instruments survive in collections around the world. Examples are found in museums in Berlin, Claremont (California), Copenhagen, Edinburgh, The Hague, Leipzig, Milan, Munich and Paris, New York and St. Petersburg. Many of these instruments are found in a more or less unaltered
275:
Two tunings are reported: a âgalizonaâ or âcolachonâ is tuned A'( or ) –B'( or ) –C–D–G–c–e–a, and, under a separate heading, âmandoraâ is given as D ( or ) –E ( or ) –F–G–c–f–a–d' (i.e. the same tuning but a 4th
253:
In the 18th century, mandora was the name of a six-course lute instrument of about 70 cm string length, tuned high-to-low d' - a - f - c - G - F or e' - b - g - d - A - E (rarely with two or three additional bass courses). With the former tuning, the instrument was called
279:
The playing technique for the mandora involves the same basic right-hand finger style as for all 18th-century lutes and, because of the tuning intervals of the upper five courses, a left-hand technique that is similar to that of the 18th-century guitar.
631:
P. Prosser: âUno sconosciuto metodo manoscritto (1756) Considerazioni sull'identificazione della mandora nell XVIII secoloâ, Strumenti per Mozart, ed. M. Tiella and R. Romano (Rovereto, 1991), 293–335
214:
suggested that it was used in
Boheman musical circles. The mandora was still in use in the early 19th century, particularly in Vienna and the Bavarian town EichstÀtt. The Viennese guitarist
134:
generally refers to a bass lute from the 1700s, with a vibrating string length of 72 centimeters or greater, used in
Germany and Bohemia. It could be either single- or double-strung.
663:
659:
D. Rebuffa: Giuseppe
Antonio Brescianello,"Partite e Sinfonie per gallichone solo"(ca. 1740),World premiere recording with an original calichon by G. Wenger, 1754, CD Tactus, 2023.
724:
1420:
187:, so was more suitable for amateur players. Similar instruments were also in use in northern Italy, although generally referred to as "liuto" (lute) rather than mandora.
305:
332:
579:
An example of
Renaissance lute which was once modified to Baroque lute in the 17th century, then again modified to lute guitar in the 19th century.
566:
641:
D. Kirsch: âMusik fĂŒr
Mandora in der UniversitĂ€tsbibliothek EichstĂ€ttâ, Sammelblatt Historischer Verein EichstĂ€tt, liiivi (1993), 14–19
241:
Venice, David
Tecchler of Rome, Antonio Scoti of Milan and, toward the end of the century, Antonio Monzino and Giuseppe Presbler of Milan.
1100:
1670:
647:
D. Kirsch: âDie
Mandora in Ăsterreich zur Bestimmung eines Lautentyps des 18. Jahrhundertsâ, Vom Pasqualatihaus, iv (1994), 63–81
607:
R. LĂŒck: âZwei unbekannte
Basslauten-Instrumente: der italienische Colascione und der deutsche Calichonâ, NZM, cxxvi (1965), 10–13
1665:
592:
E.G. Baron: Historisch-theoretisch und practische Untersuchung des Instruments der Lauten (Nuremberg, 1727/R; Eng. trans., 1976)
218:
mentions the mandora several times in his early 19th century writings and says that by that time mandoras had 8 single strings.
51:
265:
Around 1800, a mutual interchange between the mandora and the guitar took place. The guitar, which had so far been tuned in
71:
653:
P. Prosser: Calichon e mandora nel Settecento: Con un catalogo tematico del repertorio solistico (diss., U. of Pavia, 1996)
554:
512:
1881:
628:
D. Gill: âAlternative Lutes: the Identity of 18th-Century Mandores and Gallichonesâ, The Lute, xxvi (1986), 51–62
420:
nur ĂŒber sechs bis neun Saitenchöre. Das bevorzugte Dilettanteninstrument bezeichnete man in einigen Quellen auch als "
708:
1053:
487:
1685:
1645:
1375:
1093:
1690:
1214:
755:
1126:
1345:
1302:
1118:
320:
1655:
19:
This article is about a bass lute after 18th century. For a treble lute since 17th century or before, see
662:
M. Gioielli: 'Quattro Colascionate', Utriculus, X, n. 39, luglio-settembre 2006, pp. 18–39. at
1700:
601:
R. LĂŒck: âZur Geschichte der Basslauten-Instrumente Colascione und Calichonâ, DJbM, v (1960), 67–75
394:
1886:
1845:
1748:
1563:
1086:
1043:
613:
M. Hodgson: âThe Identity of 18th Century 6 Course âLutesââ, FoMRHI Quarterly, no.14 (1979), 25–7
310:
1530:
679:
Sayce, Lynda (October 2003). "A forgotten lute: a painless introduction to 18th century lute music".
337:
1400:
932:
604:
J. Klima: âGitarre und Mandora, die Lauteninstrumente der Volksmusikâ, ĂMz, xviii (1963), 72–7
1794:
1650:
316:
191:
24:
1825:
1583:
1558:
906:
301:
1257:
395:"ULEI:M0000502 Laute, Museum fĂŒr Musikinstrumente der UniversitĂ€t Leipzig, Inventory number 504"
1855:
1832:
1809:
1804:
1440:
1415:
1325:
1204:
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343:
324:
276:
higher) or E–A–d–g–b–e' (identical to that of the modern guitar)
36:
1675:
1660:
1573:
1365:
293:
1320:
505:
Enrico Radesca da Foggia e il suo tempo: Atti del Convegno di studi, Foggia, 7-8 Aprile 2000
479:
473:
148:
was rarely encountered before the 18th century. Then, it referred to a large bass lute. The
1450:
1048:
952:
503:
Meucci, Renato (2001). "Da 'chitarra italiana' a 'chitarrone': una nuova interpretazione".
20:
686:
616:
M. Hodgson: âThe Development of the Callachonâ, FoMRHI Quarterly, no.15 (1979), 35–7
598:
A. Koczirz: âZur Geschichte der Mandorlauteâ, Die Gitarre, ii (1920–21), 21–36
441:
Georg Kinsky: Musikhistorisches Museum von Wilhelm Heyer in Cöln, Bd. 2, Köln 1912, S. 98.
8:
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https://www.youtube.com/watch?v=moHvD38PFeY&list=PLUDMbaBFXpFy6F7zKHv2KW_e_emTKCy2D
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D. Kirsch and L. Meierott, eds: Berliner Lautentabulaturen in Krakau (Mainz, 1992)
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D. Rebuffa: Mandora e Calichon, in "Il Liuto", L'Epos, Palermo 2012, pp. 397-423.
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A video of an early 19th century type mandora, as described by Molitor in 1812.
411:
Andreas Ferdinandus Mayr / Hof- Laut- und Geigenmacher / in Saltzburg. An. 1735
199:
165:
703:
172:
particularly during the 18th and early 19th centuries. It was also called the
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806:
741:
595:
C. Sachs: Real-Lexikon der Musikinstrumente (Berlin, 1913/R, enlarged 2/1964)
376:
guitar family instrument setup on a lute bowl, sometimes converted from lute.
215:
96:, with six to nine courses of strings. The terms were interchangeable, with
1789:
1728:
1619:
1578:
1445:
1315:
1189:
962:
619:
D. Gill: âMandore and Calachonâ, FoMRHI Quarterly, no.19 (1980), 61–3
454:
Stephen Barber & Sandi Harris, Lutemakers Catalogue and Price List 2013
245:
state, and therefore are often used as models for modern reconstructions.
1784:
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1510:
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169:
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E. Pohlmann: Laute, Theorbe, Chitarrone (Bremen, 1968, enlarged 5/1982)
567:"89.2.157: Lute (1596), Sixtus Rauchwolff (German, Augsburg 1556-1619)"
553:
This contemporary use of the mandora by Chris Hirst can be heard here:
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Versuch einer vollstÀndigen methodischen Anleitung zum Guitarre-Spielen
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D. Gill: âMandores and Colachonsâ, GSJ, xxxiv (1981), 130–41
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in the modern era (1933-1993). Chiesa called the instrument the
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Website with some information on the "gallichone or mandora".
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Pictures of a modern calichon, recreating one built in 1756.
851:
816:
811:
785:
764:
184:
153:
152:, as it was better known, was a type of 6 or 8-course bass
93:
846:
415:
Gedr. Zettel des Erbauers auf der Innenseite des RĂŒckens
407:
1735 von Andreas Ferdinand Mayr in Salzburg hergestellt.
733:
346:, whose three concertinos for âmandoraâ, âcrembalumâ (
100:
more commonly used from the mid-18th century onwards.
527:Andreas Schlegel "Die Laute in Europa" Basel 2007
387:
1868:
300:. The sources do mention some composers' names;
288:There are about 55 sources of mandora music in
1094:
749:
478:. Oxford, England: Clarendon Press. p.
467:
465:
463:
461:
449:
447:
319:, Joseph (Josef) Michael Zink, Andrea Mayr,
190:Composers for the gallichon/mandora include
366:lute family instrument relating to Mandora.
1101:
1087:
756:
742:
92:is a type of 18th- and early 19th-century
622:J. Tyler: The Early Guitar (London, 1980)
458:
444:
435:
399:MIMO (musical instrument museums online)
107:
1869:
502:
1108:
1082:
737:
678:
471:
1065:
323:and others. Other composers include
13:
719:Reproduction 18th century mandoras
586:
14:
1898:
697:
1850:
1841:
1840:
1376:Giovanni Pierluigi da Palestrina
1064:
327:who wrote 6 concerti for flute,
226:The bass type, similarly to the
70:
50:
35:
16:Type of bass lute from the 1700s
540:op. 7 (1807) and in his method
272:From another source on tuning:
221:
569:. Metropolitan Museum of Art.
559:
547:
530:
521:
496:
156:(possibly a descendant of the
1:
1119:List of Renaissance composers
725:Colascione e mandola molisane
673:Mandolins of the 18th century
321:Giuseppe Antonio Brescianello
7:
353:
210:is a different instrument.
10:
1903:
1749:Petrus Phalesius the Elder
1564:English Virginalist School
380:
168:, in Germany, Austria and
103:
18:
1882:Early musical instruments
1820:
1772:
1699:
1638:
1592:
1539:
1531:Jan Pieterszoon Sweelinck
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1301:
1213:
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1062:
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990:
925:
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778:
771:
248:
763:
317:Johann Paul Schiffelholz
283:
192:Johann Paul Schiffelholz
140:pointed out in his book
25:Mandora (disambiguation)
1559:English Madrigal School
691:translation in Japanese
306:Placidus von Camerloher
302:Duke Clement of Bavaria
1401:TomĂĄs Luis de Victoria
1205:Oswald von Wolkenstein
536:In the forward to his
344:Johann Albrechtsberger
333:Johann Friedrich Daube
325:Georg Philipp Telemann
124:
23:. For other uses, see
1421:Transition to Baroque
1366:Pierre de Manchicourt
727:at maurogioielli.net
472:Tyler, James (1992).
294:Silvius Leopold Weiss
111:
1451:Girolamo Frescobaldi
1258:CristĂłbal de Morales
31:Mandora or Gallichon
21:Mandore (instrument)
1569:Florentine Camerata
1541:Composition schools
1200:Gaspar van Weerbeke
991:Related instruments
206:incorrectly as the
164:) used, mainly for
1764:Thomas Vautrollier
1744:Ottaviano Petrucci
1719:Pierre Attaingnant
1709:Hieronymus Andreae
1516:Michael Praetorius
1501:Claudio Monteverdi
1491:Giovanni de Macque
1486:Luzzasco Luzzaschi
1456:Alfonso Fontanelli
1346:Francisco Guerrero
1321:Antonio de CabezĂłn
1233:Thomas Crecquillon
1215:Middle (1470â1530)
1195:Johannes Tinctoris
1135:Alexander Agricola
507:. pp. 30â57.
475:The Early Mandolin
230:and other baroque
142:The Early Mandolin
125:
57:6~9 courses lute (
1887:Necked bowl lutes
1864:
1863:
1461:Giovanni Gabrieli
1288:Philippe Verdelot
1185:Johannes Ockeghem
1127:Early (1400â1470)
1110:Renaissance music
1076:
1075:
986:
985:
689:. also available
664:maurogioielli.net
298:Johann Anton Logy
267:re-entrant tuning
162:chitarra italiana
1894:
1854:
1844:
1843:
1724:Vittorio Baldini
1701:Music publishing
1476:Hans Leo Hassler
1431:Gregorio Allegri
1386:Cipriano de Rore
1361:Vicente Lusitano
1356:Orlando di Lasso
1311:Jacques Arcadelt
1278:Pierre de la Rue
1273:Josquin des Prez
1253:Clément Janequin
1248:Antoine de FĂ©vin
1238:Antonius Divitis
1180:Johannes Martini
1155:Guillaume Du Fay
1103:
1096:
1089:
1080:
1079:
1068:
1067:
1023:Guitarra morisca
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212:Gottfried Finger
119:with a Mandora,
74:
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1754:Girolamo Scotto
1739:Antonio Gardano
1695:
1634:
1588:
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1526:Heinrich SchĂŒtz
1521:Philippe Rogier
1471:Orlando Gibbons
1423:
1419:
1410:
1406:Giaches de Wert
1396:Christopher Tye
1351:Claude Le Jeune
1341:Claude Goudimel
1336:Nicolas Gombert
1331:Andrea Gabrieli
1326:Jacobus Clemens
1297:
1293:Adrian Willaert
1223:Martin Agricola
1209:
1145:Antoine Busnois
1140:Gilles Binchois
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1112:
1107:
1077:
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1058:
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1018:Guitarra latina
982:
921:
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772:Types by region
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675:(Cremona, 1993)
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587:Further reading
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514:978-887096347-2
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1228:Antoine Brumel
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1170:Heinrich Isaac
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1160:John Dunstaple
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1150:Loyset CompĂšre
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1008:English guitar
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1446:John Dowland
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1481:Alonso Lobo
1441:John Cooper
1303:Late (1530)
1263:Jean Mouton
1175:Jean Japart
1165:Walter Frye
687:back issues
649:(in German)
643:(in German)
370:Lute guitar
336: [
309: [
204:colascione,
138:James Tyler
1871:Categories
1810:Philosophy
1805:Literature
1773:Background
1639:Traditions
1615:Magnificat
1605:Intermedio
1549:Burgundian
671:S. Morey:
208:colascione
150:gallichone
1625:Offertory
1554:Colorists
1416:Mannerism
1044:Composers
933:Angélique
681:Lute News
422:Calchedon
364:Ukrainian
329:gallichon
290:tablature
174:galizona,
132:gallichon
114:Ukrainian
90:gallichon
78:Gallichon
59:Calchedon
1846:Category
1823: â
1686:Portugal
1610:Madrigal
1584:Venetian
938:Archlute
892:Shamisen
842:Kutiyapi
426:Calichon
424:" oder "
372:—
362:—
354:See also
348:jaw harp
260:Galichon
256:Calichon
238:Luthiers
196:Telemann
177:galichon
158:guiterne
65:) (1735)
63:Calichon
1836:â
1666:Germany
1646:British
1070:Commons
1054:Players
1013:Gittern
1003:Cittern
978:Vihuela
973:Theorbo
958:Mandora
953:Mandore
877:Sanxian
872:Sanshin
832:Dramyin
381:Sources
228:theorbo
181:caledon
170:Bohemia
160:and/or
146:mandora
128:Mandora
117:Cossack
104:History
98:mandora
86:mandora
43:Mandora
1856:Portal
1681:Poland
1661:France
1651:Cyprus
1630:Pavane
1424:c.1600
998:Citole
968:Torban
926:Europe
917:Yueqin
902:Tanbur
862:Qinqin
857:Qanbƫs
822:Dombra
807:Barbat
779:Africa
544:(1812)
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374:German
249:Tuning
45:(1726)
1877:Lutes
1800:Dance
1691:Spain
1671:Italy
1600:Carol
1579:Roman
948:Kobza
943:Cobza
912:Veena
897:Sitar
887:Setar
882:Sapeh
867:Rubab
837:Komuz
827:Dutar
791:Xalam
685:(see
683:(67).
417:â, â
413:â, â
409:â, â
360:Kobza
340:]
313:]
284:Works
232:lutes
1620:Mass
1418:and
1028:LaĂșd
852:Pipa
817:Biwa
812:Bipa
800:Asia
786:Goje
765:Lute
509:ISBN
484:ISBN
342:and
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154:lute
123:1750
94:lute
84:The
1790:Art
907:Tar
847:Oud
258:or
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1873::
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460:^
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338:de
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