The strings are touched by the player, mainly with a plectrum, as well as with fingers and a bird's feather. The mandolin uses the tremolo technique. Since the metal strings of the mandolin produce a short sound, long notes are achieved by quickly repeating the same sound.

Story

The progenitor for the mandolin was the Italian soprano lute of the late 17th and early 18th centuries. A strongly curved version of the mandolin, which was made only in Naples, became a model for mandolins already in the 19th century. The history of the mandolin began with the mandola, a type of lute that appeared in the 14th century. When the instrument became widespread in Europe, many different names were coined for it, and its structural characteristics varied depending on the country.

The first mention of the modern version of the mandolin with steel strings ("Genoese mandolin") comes from the works of famous Italian musicians who traveled throughout Europe, teaching musical instruments and giving concerts. The most significant mention belongs to Gervasio Vinacia, who traveled from the middle of the 18th to the beginning of the 19th century. These references and recordings of the Neapolitan musicians of the Vinaccia family lead some historians to argue that the modern mandolin was invented in Naples by representatives of the Vinaccia family. A later version of the mandolin was designed by Antonio Vinacia in . Now this copy is in London, in the Victoria and Albert Museum. Another copy of the mandolin was owned by Giuseppe Vinacia and was designed by and is now in the Museum of Musical Instruments in Claremont, California. The earliest mandolin in existence today was made in 1744 and can be found at the Royal Conservatory of Brussels.

These mandolins, like their modern descendants, are called Neapolitan mandolins because their history begins in Naples, Italy. Antique mandolins are distinguished by an almond-shaped body with a body curved like a ball, made of curved boards (staves) of the desired length with a notch (groove). The upper deck of the instrument has a fold, which is located behind the movable stand. This beveled design helps to pull the strings tighter. The larch neck is fitted as closely as possible to the strings, ten metal (or ivory) frets are located along the top in semitones, additional frets are attached to the neck. The strings are usually brass, except for the lowest. The stand is made of durable wood or ivory. Wooden pegs are attached at the back with wooden nails (pegs). To play the mandolin, a plectrum (sometimes a pen) is more often used.

The classic Neapolitan mandolin (sometimes referred to as the "onion" in the Russian musical tradition) acquired its current form at the end of the 19th century. It is distinguished from the old mandolin by a slightly changed shape, a fretboard that extends onto the soundboard and sometimes covers the resonator hole, metal pegs with a worm gear and steel strings. At the turn of the 19th and 20th centuries, the Neapolitan mandolin becomes very popular. Instruments are produced in tens of thousands, both by individual craftsmen and by large manufactories, not only in Naples, but also in other cities of Italy, as well as in Germany, France and other countries. Indented rivets are becoming less and less common in tool bodies, giving way to indented rivets (smooth-bodied tools) as a cheaper and less labor-intensive alternative. During this period, a large number of experiments in the field of mandolin construction take place. In the USA, Orville Gibson patents a mandolin with arched soundboards (carved from wood, like a violin), in France, Lucien Gelas creates a mandolin with reverse string tension (in a conventional mandolin, the strings exert pressure on a movable stand and soundboard, in Gelas' design, on the contrary, the strings pull back rigidly fixed stand from the soundboard), in Italy Umberto Ceccherini, and in Russia Ginislao Paris develop instruments with a double top soundboard, which enhances the timbre and improves the color of the instrument's sound.

By the 30s of the 20th century, the popularity of the Neapolitan mandolin in the world was declining. But at the same time, the mandolin is not of a classical design, with arched and flat soundboards, it is beginning to be actively used in such areas of music as bluegrass, Celtic music, and jazz.

renaissance mandolin like classical instrument in the world, begins in the 80s of the 20th century. In Russia, in last years, there is also a revival of the culture of the classical and baroque mandolin, the instrument is taught in some music schools, schools, conservatories.

Varieties

The most common is the Neapolitan mandolin, with four violin-tuned double strings built in unison. Violin fingering. Milanese mandolin has not four, but five double strings. Also exists mandriola, a Central European variant of the mandolin with four triple strings, also known as trichordia (tricordia, trichordia or tricordio), also used in Mexican folk music(aka the Sicilian mandolin). The lower triple string of the mandriola (sol, G) can be built in unison or through an octave. Sometimes the bass strings of the mandriola are not in tune, but doubled, like a regular mandolin.

Here is how the famous Russian writer Vladimir Ivanovich Dal describes the mandolin in his “ explanatory dictionary Russian language ":" A mandolin is a kind of guitar without interception, which is played with a bone or a feather. Mandolins differ not only in the number of strings, but also in the shape of the body: the Neapolitan mandolin has a pear-shaped body, like a lute; the Portuguese mandolin has a flat bottom body. In the 20th century, the mandolin became quite widespread in the American traditional music, predominantly in the bluegrass style. Bluegrass mandolins have flat soundboards, and on the top soundboard there are two eph-shaped cutouts in the form of an elongated letter S. It should be noted that mandolins with a "lute" pear-shaped body have a softer and stronger sound, while flat varieties sound sharper.

Other members of the mandolin family:

Mandolin piccolo(or small mandolin, it. sopranino mandolina or piccolo mandolina) is a rare instrument. The scale is usually 9.5 inches (240 mm). Build - C 4 -G 4 -D 5 -A 5.

Currently, interest in the mandolin is growing again and its capabilities are increasingly being used in a number of genres of modern music. It was used by Led Zeppelin in The Battle of Evermore (1971), Styx in Boat on the River (1980) in the song Losing My Religion by the alternative rock band R.E.M. The main musical instrument is the mandolin. Actively uses the mandolin

Mandolin (Italian mandolino) is a stringed plucked musical instrument of small size, a type of lute is a soprano lute, but with a shorter neck and fewer strings. The strings are touched by the player, mainly with a plectrum or plectrum, as well as with fingers and a bird's feather. The mandolin uses the tremolo technique (multiple rapid repetition of one sound, or the rapid alternation of 2 non-adjacent sounds, 2 consonances (intervals, chords), a single sound and consonance). Since the metal strings of the mandolin produce a short sound, the lingering notes are achieved by quickly repeating the same sound. The mandolin is used as a solo, ensemble and orchestral instrument.

Appearing in Italy in the 16th-17th centuries, the mandolin in the next century became the most common, most beloved folk instrument. And to this day it is a folk Italian instrument.

Interest in the Italian mandolin has been increasing in recent years. It was caused not only and not so much by its popularity in the folk music of the Celts, Italians and, oddly enough, Americans, but rather by the universality of the sound produced by the instrument. If earlier unforgettable tremolos could be heard in serenades and symphony or opera orchestras, then over time mandolin harmonies appeared in rock music, and Sir Paul McCartney, the Doors, Led Zeppelin and many other musicians used them in their work.

The mandolin was brought to Russia presumably in the first half of the 18th century. Since that time, it has often been referred to as a type of guitar. Here is how the famous Russian writer Vladimir Ivanovich Dal describes the mandolin in his "Explanatory Dictionary of the Russian Language": "Mandolin is a kind of guitar without interception, which is played with a bone or a feather."

"In a huge linden garden,

- Innocent and ancient -

I'm walking with a mandolin

In a very long dress

Inhaling the warm smell of fields

And ripe raspberries

Barely holding the bar

Ancient mandolin ... ".

Marina Tsvetaeva.

The history of the mandolin.

The progenitor for the mandolin was the Italian soprano lute of the end of the 17th century, early XVIII centuries. The history of the mandolin began with the mandora, a type of lute that appeared in the 14th century. When the instrument became widespread in Europe, many different names were coined for it, and its structural characteristics varied depending on the country.

In Russia, the mandolin appeared in the second half of the 18th century and quickly gained popularity. In the first Russian work on the history of music, published in 1770, its author, Professor of the Academy of Sciences in St. Petersburg Yakov Shtelin writes: “In conclusion, about music news and sights under Empress Elizabeth, it should be mentioned that the Italian guitar and its compatriot, the mandolin, appeared in Moscow thanks to various Italians. The art of playing the mandolin is mastered by many amateur musicians. It sounds in aristocratic salons and in the homes of ordinary citizens. Societies of mandolinists and amateur guitarists are formed in St. Petersburg and Moscow. AT late XIX century, musical literature for the mandolin, intended for the general population, has been constantly published.

The mandolin was very popular in Russia in pre-Soviet times and after. Now the mandolin is a rarity, but historically it has held great respect. The Italian masters of early music Antonio Vivaldi and Giovanni Paesiello wrote virtuoso concertos for her. “... Four small works, wonderful as sweets, for mandolin and piano were written by L. Beethoven. Mozart entrusted the performance of the mandolin in the operas "Don Juan" and "The Marriage of Figaro" - says A. Avital (Jewish mandolinist). In baroque times, playing the mandolin was widespread among the aristocracy, especially among high-ranking ladies, but in the 19th century, playing mandolins in an ensemble became a favorite pastime of the bourgeoisie. The Queen of Italy herself played in such an orchestra. And in fascist Italy, the mandolin became a national symbol.

Numerous films have featured mandolin themes. Some of the most memorable are: the solo in the songs of Papa Carlo, the turtle Tortila and Piero, in the movie "The Adventures of Pinocchio".

The Night Snipers group uses a mandolin in some compositions. The same DDT in one of the records too. Also, the mandolin was used by the Belarusian group "Lyapis Trubetskoy" when recording the album "Golden Eggs". The famous Russian guitarist Vladimir Kholstinin often plays the mandolin and uses it at the concerts of the Aria band.

Mandolin making technique.

Creating a mandolin is a complex process that requires a long and painstaking work from the master. First of all, the master begins with the manufacture of the bottom of the tool - the most difficult stage of work. The bottom consists of several pre-curved wooden planks (staves). As a rule, maple, walnut or cypress are used for the manufacture of this part, bacout wood can also be used.

The slats are soaked in water, and when they are soft, they are molded into a pattern using a hot iron. Next, the master adjusts and grinds the wood with a semicircular chisel and planer.

The process of making a mandolin soundboard is similar to the production of a soundboard classical guitar. After the body of the instrument is ready, a neck made of mahogany or walnut is attached to it. Then they install an ebony soundboard and a peg mechanism, which looks like a mechanism spanish guitar, but instead of three, it has four pegs on each side of the head.

When all the parts are connected, the mandolin is varnished. Usually lacquers with nitrocellulose are used. Also, according to the requirements of the performer, each mandolin can be additionally decorated.

Inlay was made (butterfly, flowers, birds, etc.).

The mandolin (KP 5322) behind the bridge has a sticker that reads: “G. Puglisi - Reale & Figli; CATANIA; Primo Stabilimento Italiano per la Fabbricazione DI; Strumenti Musicali A Corda. Below: “DEPOSITO JUL HEINR ZIMMERMANN; Lepzig, St. Petersburg, Moscow, London. These mandolins were made exclusively for export. Today you can find them all over the world, in every country in Europe, Russia, Japan, USA, Australia, South Africa.

A little about the companyG. Puglisi – Reale and figli». Catania is a place in Italy. In Pulisi, in Catania (Sicily), since 1820, the family began to build a factory for the production of musical instruments. Giuseppe Reale was born in 1852. In 1880 he founded one of the largest Italian factories for the production of plucked musical instruments. After 1906, the name of the company appears already as "G. Puglisi - Reale and Figli. Figli means "sons, children" in Italian. The plant was an active manufacturer of fine violins, bows, strings, guitars, mandolins and unique cellos. Unfortunately, the factory was destroyed during World War II by bombing in 1943. Many of the original "Puglisi" (musical instruments, including mandolins) were moved from Sicily to the US, Canada and Australia.

The Romantic period is rightfully called the brightest century of the mandolin. In no other era has the instrument been revealed in such a multifaceted and versatile way. A bright flash of the instrument's popularity covered all sectors of society in a surprisingly short time, from a simple villager to royalty. Being a folklore instrument of the Italian provincials, the mandolin quickly penetrated into the bourgeois and aristocratic environment, won the approval of professional musicians, eventually standing on a par with classical instruments.

This rise is even more amazing because in the previous few decades, no one could have imagined such a thing. The preceding period, which began in the first half and lasted until the beginning of the second half of XIX century, can not be called supportive of the mandolin. During these years, too little attention was paid to her by musicians and composers. The gaze of the musicians was turned to the instruments that dominated this period. It is possible that the chamber genres in which the mandolin found its embodiment in previous eras have partly lost their relevance against the background of interest in large musical forms period of romanticism. However, it remained in the context of a common cultural space and continued to exist, following the historical and artistic evolution to a greater or lesser extent. Such a lull can be characterized as a short respite and accumulation of forces and ideas for reappearing on the cultural and historical scene of the new time. Since the 1860s, a new and, perhaps, the brightest era in the history of the instrument comes into force - the era of the romantic mandolin.

In the era of romanticism, the very fact of evolution in the field of tools is very important. Musical instruments are the most important means and material evidence of the search for something without which there is no music: a new expressive sound that carries a sense of the life of the era.

In the 19th century, another industrial-technical revolution took place, marked by a significant rise in the field of inventions and improvements in scientific and technical fields. This was most visibly reflected in the musical instruments themselves, which, according to the trend, became the objects of technical experiments, developments and improvements.

The instruments of the 18th century - the century of rococo and classicism - were designed to please the ear. The compositions for them, as a rule, were distinguished by intimacy. gallant style. In the 19th century, the situation changed: the vivid dramaturgy of the compositions - on the one hand, large concert venues, which entailed the attraction of a wide audience, on the other hand, all this required other colors, dynamic saturation, and expansion of the expressive capabilities of the instruments. Therefore, already at the beginning of the century, performers and music masters were looking for ways to improve them, create new designs and models.

The first of the instruments that modernized their appearance was the piano. Back in the classical era, especially for Beethoven, John Boardwood replaced the old harpsichord frame with a more powerful one, capable of withstanding greater string tension and, therefore, providing greater sound volume. During the period of romanticism, all with the same purpose, the frame became cast iron, a volume pedal was added, a rehearsal mechanism was added, thicker strings began to be used.

The violin picked up just as quickly new wave and was subjected to a number of acoustic experiments, up to the change of its form by Felix Savard, who made a trapezoidal violin, suggesting the independence of the acoustic characteristics of a bowed string instrument from the configuration of its body. The musicians warmly welcomed such experiments, but the performers took a conservative position, thanks to which the violin still retains its traditional characteristics. In the light of such cardinal innovative ideas, real improvements were also adopted regarding the strings, the bow, and the dimensions of the instrument.

Mandolins mid-nineteenth centuries differed little from their predecessors. With the exception of some innovations, such as increasing the range by gluing additional frets on the instrument's body; everything else remained the same. And, despite the fact that the instrument, due to the loss of its popularity, since 1815 almost disappeared from the instrument production market, some musical masters still made mandolins according to models of previous times, preserving the tradition and, to some extent, anticipating its rapid evolution. According to comparative statistics in Stephen Moray's book "Mandolins of the 18th century" to XIX century there is a tendency to increase the number of body ribs, the number of frets and increase the depth and width of the instrument. An example is the mandolin private collection anonymous French master from the Mirecourt region.

This instrument is dated around 1850. Obviously, this is a copy of the Neapolitan mandolin, largely retaining the features of Italian instruments of the 18th century. So, the small size of the instrument, similar to the size of Neapolitan mandolins, immediately attracts attention. The soundboard is made more simply and is not decorated with numerous mother-of-pearl inlays, but visually resembles Italian instruments: the resonator hole, although smaller, is outlined by circular lines, optically creating the illusion of expansion; the tradition and form of mortise inserts between the voice hole and stand are preserved; the break of the deck behind the stand has a very small angle. Likewise, the peg box with pegs has not undergone any changes, and has retained its shape and wooden structure. The style of decorating the peg box with bone buttons on its side has also been preserved.

However, on this instrument, you can also notice innovations that distinguish it from its predecessors. The main change was in the neck. Perhaps this was the first trend of new inventions Italian masters. An increase in its width is noticeable, which is not characteristic of previous instruments. The fretboard, made of ebony, passes over the soundboard of the instrument and ends almost at the resonator hole. Thus, the neck is a solid plate, from beginning to end, in contrast to older instruments, where the neck was tightly attached to the body, and the ability to play high notes was achieved by sticking wooden frets to the soundboard. It can be assumed that such an innovation improved the sound quality of the instrument in its high register. In general, despite the changes, the tool retains its historical form and looks harmonious and proportionate.

A similar situation, but with some lead, about a decade and a half, can be traced in the most progressive and fruitful country for the mandolin - Italy.

Representative of the Neapolitan family of musical masters Vinaccia, who played essential role in the fate of the mandolin, Gaetano Vinaccia (1759-1831) followed the age-old family craft, continuing to make mandolins until his death in 1831. His mandolins are made in the traditional manner of 18th-century Neapolitan instruments and, being the best examples of mandolins of the classical period, do not have any signs of an impending romantic era.

His son Pasquale was the first to capture the spirit of the times and follow the path of developing other instruments. He made the mandolin more modern, more in line with concert artists. The widespread modernization of instruments had an impact on Pasquale Vinaccia, and in 1835 he radically changed the mandolin. Pasquale's innovation consisted not so much in inventing his own unique finds, but in compiling and fixing the achievements in the manufacture of mandolins and other related instruments of his predecessors and contemporaries. The mandolin that came out of the workshop of Pasquale Vinaccia reveals striking differences from the classical mandolin, which are obvious at the first visual comparison.

On the new instrument of Pasquale Vinaccia and his ilk, the length and width of the neck were increased, whose design was also modified: the neck acquired an overlay made of durable wood, which now began to pass over the soundboard in the upper registers. Due to this innovation, the actively used number of frets was increased to seventeen, in contrast to the usual twelve for older instruments, as a result of which the range of the instrument increased to “la” of the third octave. To achieve more volumetric resonance, the body of the instrument has been widened and deepened, and the size of the instrument as a whole has been increased. Now its total length reached approximately sixty-two centimeters. The number of staves has not changed much and is calculated in this case thirty-five to thirty on an old instrument. The string holders on the base of the body are made of metal. Such a body could withstand the tension metal strings, which also became an innovation in the design of the instrument. The new system of tuning pegs also belongs to Pasquale Vinaccia: simple wooden tuning pegs were replaced by mechanics, the principle of which was borrowed from the existing guitar mechanics. Such a mechanical system was able to withstand the strong tension of the strings, eliminating the possibility of string slippage and spontaneous loss of the peg. It made it possible to more accurately tune the instrument, which was very important for a mandolin, which has paired strings built in unison. It also made it possible for musicians to achieve a louder sound, which was required by the music of the Romantic period.

As a result, we can conclude that the modernization of Pasquale Vinaccia significantly modified the characteristics of the mandolin, and, as a result, modified its practical properties. We can take the liberty to say that a new, unrecognizable instrument has come into the world, with a new appearance, new character and great potential.

In the era of romanticism, the mandolin appears in a completely new, modified sound. The gentle and quiet sounds of the classical mandolin have died down in history, the refined phrases with fine articulation have been forgotten. An instrument with a strong sound, virtuoso capabilities and a melodious sound enters the big stage. He was destined to create a new era.

Laureate of international competitions,
RAM teacher Gnesins
Alexandra Skroznikova

Literature:

1. Zilberquit Mark. The birth of the piano. Music publishing house P. Jurgenson, 2010 72 p.
2. Aldoshina I., Pritts R. Musical acoustics. St. Petersburg: Composer, 2006. 720 p.
3. Morey S. Mandolins of the 18th Century. Editrice Turris, Cremona, 1993.
4. Sparks P. The classical mandolin. Oxford University Press, 1995.

1. Since the 18th century, the Mirecourt region has been known for its workshops of musical instruments; later, in the 20th century, an institute of musical masters was founded here.
2. Fretboards such as mahogany, rosewood, or ebony, or the like, have come to be used.
3. In rare cases, on older instruments, the number of frets reached fourteen.

School essay Based on E. Hemingway's story "The Old Man and the Sea". Hemingway is one of the most popular writers of the 20th century. Even during his lifetime, he became a man-legend. Writer Hemingway was a journalist, a war correspondent in five wars. It is interesting that Hemingway was known to those who were never familiar with his work, in our country in many houses one could look at a bearded man with a high forehead and a clear look: this was Ernest Hemingway at the zenith of his fame. "The Old Man and the Sea" - a story according to which the writer received in 1953 Nobel Prize. She made a global revolution in literature. At first glance, the story is very simple - the parable of the fisherman Santiago. But under the pen of Hemingway, she turned into a real masterpiece.

which is determined to have a long life. Main character stories - old fisherman Santiago is a poor, lonely man. He lived in a hut built of palm leaves, it had a table, a chair and an earthen fire. However, the life of the old was not so poor. He was sent dreams in which he sees his homeland, its "golden shores, high white mountains."

The fate of Santiago is closely connected with the sea, which provides him with a modest existence. But the sea gives nothing away. To survive, you need to work hard and hard. Between the sea and the shore, year after year, the life of an old man passes. Many trials fell to his lot, but Santiago's heart is always open to the inhabitants of the sea - living beings who, like him, are a particle vast world. It is clear that if it were not for the fierce struggle for existence, there would be no need to destroy fish, catching it for food.

But the old man always thought of the sea, as a living being, capable of both calming down and getting excited. Another test has already been prepared for the fisherman by the native sea element. Santiago has to fight for a long time with a huge fish that got on his hook. It is the struggle of the old fisherman with a huge fish that, in my opinion, is the main idea of ​​​​the story. It was then that we saw Santiago in all the grandeur of his simple soul: "Man was not created to be defeated. A man can be destroyed, but not defeated". In reality, such courage does not bring happiness to a person: the sharks ate the fish, and the lonely feat left the old Santiago only feeling tired, crippled hands and deep sleep until the next day, when he again needs to go out to sea for another fishing trip. Santiago cannot be considered an individualist who is alone in his wisdom and courage. While fishing, the old man often remembers his little friend, the mandolin, a boy whom he taught the fishing business, and in general had a lot in common with him. The old man wanted to always have a mandolin next to him, and when the tired fisherman slept after the battle with the sea, the boy was there.

The presence of the Mandolin in the life of the old that brightened up the loneliness. One of the main problems that Ernest Hemingway solves was the problem of happiness in the context of the search for the meaning of life. Santiago is a pessimist who has no illusions, and if happiness were sold, maybe he would buy it, but for what money, what amount is it measured in, in what currency? One can understand that the same point of view is present in Hemingway. Indeed, the writer could not free himself from the web of contradictions of being and committed suicide. Can this be considered a loss of the legendary man - Ernest Hemingway? In my opinion, the writer acted as an individualist.

Nobel Prize in the field literature is awarded to those who in their work have achieved an exceptional understanding of humanity and the world. Who knows how many new things we will discover for ourselves, re-reading Ernest Hemingway's story "The Old Man and the Sea".

A poor country boy named Manolin is one of the main characters in Ernest Hemingway's The Old Man and the Sea. He is the successor of his teacher Santiago, a symbol of the fact that the skill of the old fisherman is not destined to go to waste.

Manolin is very kind and responsive. The boy has great tenderness and love for Santiago, who taught him everything he now knows about fishing.
Manolin tries to help the old man in everything: he takes care of him, brings coffee, catches sardines for bait, takes care of the old man's tackle. AT free time friends often drink beer in a restaurant on the Terrace and talk a lot about baseball, about their favorite player, Joe DiMaggio, and just about everything in the world.

Manolin first went sailing with Santiago at the age of five. That time, he almost died when the old man “dragged a fish that was still alive into the boat” and she beat her tail so desperately that she almost smashed the ship to smithereens. Despite the fact that the first experience of acquaintance with the craft of a fisherman was unsuccessful, the boy still did not lose the desire to master this art.

Now Manolin is already a good fisherman and brings a good catch when he sails on a happy ship. In addition, he is very hardy and smart beyond his years. Getting up early and going out to sea before dawn does not frighten him, as Manolin realizes that this is his "man's lot".

The boy's parents have recently begun to forbid him to fish with Santiago, because they consider the fisherman salao, that is, unlucky. Manolin, despite their prohibitions, still strives to be close to his friend. He is the only one of all the locals and other fishermen who believes in Santiago and never doubts him and his skills: “There are a lot of good fishermen in the world, there are just wonderful ones. But there is no one like you anywhere.”