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Samples - Ranieri

Silvio Ranieri (1882-1956)
 13 Preludio per Orchestra
About the youth of the Roman mandolinist and composer Silvio Ranieri (1882-1956) very little is known, except for the facts that he studied at the Roman Music Academy and that he gave his first mandolin recital at his home town in 1897, at the age of fifteen. After being celebrated in Italy and in most of the European capitals as one of Italy´s leading mandolin virtuoso´s, he immigrated in 1901 to Belgium, where he settled in Brussels as a guitar and mandolin teacher. It did not take long for him to establish a fine class of students and one of the best mandolin orchestras in the “Grande Harmonie Royale de Bruxelles”. Like others, Silvio Ranieri saw the necessity that the mandolin should be taught well and for this purpose he wrote his four volume method “L’ Art de la Mandoline” (Ed.A. Cranz - Bruxelles), a substantial work, with text translations in five languages, that is regarded by many as unsurpassed. As a mandolin virtuoso Ranieri performed the most difficult programs that included own compositions and arrangements. Known for instance is that he played Mozart´s Concerto for violin in D Major, the violin Concerto in g minor by Max Bruch, the violin Concerto in d minor by Vieuxtemps and the show pieces of Pablo de Sarasate. He always performed on the soloist models made by Luigi Embergher, whom he saw as the Stradivari of the mandolin.
Ranieri made many arrangements for mandolin orchestra and mandolin in all kinds of combinations. As a composer only a few original works are known, among which must be named his “Concerto in Re maggiore”, a technically extremely demanding work for mandolin with piano accompaniment and a one movement composition for mandolin chamber orchestra titled: ”Ouverture Symphonique“. The work that is recorded here is his “Preludio” Op. 17 that is scored for first and second mandolins, mandolas and guitars. A wonderful small piece that starts off with an evocative intro that leads to a beautiful broad melody played by the mandolas. The mandolins support the melody with soft staccato notes while the guitars underline with warm arpeggio played chords. Then, in the Più mosso the mandolins take over and the music becomes suddenly darker and dramatical: accents and a tremolando playing style by the guitars are being combined with passionate tremolos by the plectrum played instruments and lead to a forceful Largo maestoso, only to return to its awakening character of the coda that reminds us of the start of the piece.

© Alex Timmerman.

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