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A
little general description of the Mandolins development in Denmark. (Using
selections from the book: “Mandolinen i Danmark”, red. Mette Müller.
Published by: Musikhistorisk Museum
and Carl Claudius´ collection, Copenhagen
1991). The
origin of the Mandolin can bee traced back to the Arabian world, and as far back
as in the 900th century the first types appeared in Europe in the
style of various Lute-types and sizes. In general the Lute was mounted with 6
doublet pairs of strings in quart-terts tuning. The Mandolin types usually had 4
strings and the tuning varied. In the 1500th century there was music
pedagogic pieces displayed, where also the Mandolin was represented, and at a
major Italian Princely wedding in the year 1589, there is mentioned a
performance of a “Mandola”. One may imagine that the Mandola with its
special sonorous sound, freely fitted into the variegated and joyful combination
together with all sorts of instruments. In
Naples about 1740, there was a requirement of a more carrying sound from the
Mandolin, and there by the metal strings with greater tension was created, and
now they was arranged in 4 pairs of double strings (now tuned like the Violin),
and to divide the strain, the well known bend of the soundboard was created and
the bowled back was further developed and became common. The familiarity with
the Lute disappears, and the Mandolin typically became the Violin players
instrument no. 2. The instrument became very popular among the Aristocrats
amateurs and among the professionals. Among composers, who wrote music for the
Mandolin, you’ll find names as: Corette, Pleyel , Mozart, Hummel and Bethoven.
On
the threshold of the 1800th century, state as a reason caused by the
wars and strife, there was a demand of more expressive and powerful
music, and that was not to bee covered by the Mandolin, so the instrument
was nearly forgotten. No ones composed for it and the repertoire was forgotten,
so when the interest by the end of the 1800th century came back in
the Central- and North Europe, they had to begin from the bottom, and very often
transcribed music, known from other groups of instruments, was used. – Thanks
to skilled artists, - walking craftsmen and other wanderer, the Mandolin was
brought into Denmark and both amateurs and professionals has made a contribute
to its popularity. And
here it comes: - The Mandolin, as we know it today, has a little more than 100
years building-tradition from craftsmen in Denmark! – One of the most
remarkable single persons was Peder Stockholm. Among his many skills, he
developed the making of instruments. He did Violins, Guitars and several
Mandolins and Mandolas. Also the so called “Swedish-lute”, that became one
of his specialities. – One of those who was inspired by Stockholm was Johannes
Møller (Moeller). He had an education as joiner/cabinet maker and became
interested in making instruments. The production included: Guitars, Mandolins,
Mandolas, Mandochello, Mandobase and also Swedish-Lute. – In his workshop he
had a younger employee named Arne Schlünsen, who later became self
employed, and produced Guitars, Mandolins, Mandolas and Balalaikas. An
other instrument maker named Poul August Just Povlsen, started of
together with a companion, making Banjos and Drums, but after a while he
continued alone and made several exiting editions of Guitars, Mandolins,
Mandolas and Bas-mandolins. He did both, flat-back and bowled-back, and arched
soundboard. By his acquaintance with a Mandolin orchestra, he met Yngve
Barslev, who also became interested in making instruments. He worked in his
workshop for 4 years and after that also for a period by Johannes Møller,
until he founded his own, where he produced guitars and Mandolins. Hans
Ludvigsen tried early with Mandolins of the cister-type
and also a banjo-mandolin, but inspired by Arne Schlünsen, who’s
workshop he often visited, he focused upon the Guitar and reached a status and
quality, that was very well spoken for by the professionals. – Hans Aarøe,
who briefly knew Yngve Barslev, basically was driven by his own interest
for making instruments, and though he had a late start, he managed to make about
90 different types of instruments! – In-between he experimented with t.ex.
Welch-harp, violin and Nyckelharp (a Swedish instrument ), but basically it was
Mandolins and Mandolas. After
having repaired some of my fathers old Mandolins, I (Kurt Søndergaard)
started wondering if I could make one right from the beginning? That was back in
1980. It was not at all easy, and it took a long time. Today it gives me a good
laugh, but it could be played, though it wasn’t pretty. – As I play in the
Mandolin orchestra ”Magiba”, and know members from other orchestras, I was
told about Hans Aarøe, whom I then paid a visit, and there by presented
some of my works. We had a long and exiting dialog, and it developed a
collaboration and friendship through some years, and it improved my skills in
making Mandolins in my own style and specifications. – Before this I even was
so lucky to inherit one of Johannes Møllers´ original moulds for a
mandolin, through one of the “girls” (Nancy) in Magiba, who’s father had
the interest of making Violins. As he was a friend of Johannes Møller, he was
persuaded to try to make a Mandolin. He did so, but as he didn’t want to go on,
the mould was kindly given to me, as they knew about my interest for building
Mandolins. Later on I was offered the last bits and pieces, moulds and tools
from Johannes Møllers workshop by his widow. It
was a great loss when Hans Aarøe passed away and I miss him a lot, but
afterwards I bought and also inherited a lot of essential parts and stuff,
machinery and tools from his workshop, so that I , so far as the latest
“branch on the tree”, will be able to continue the tradition of making Mandolins
in Denmark. Link to Magiba´s Biography: Biography Link to: Home again from Rioja
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