Composers

Carlo Munier

Mandolin
Guitar
Piano
Lute
Harp
Voice
Violin
Orchestra
Cello
Piece
Dance
Duet
Duettino
Fantasia
Serenade
Mazurka
Theory
For beginners
Romance
by popularity

#

12 Capricci studi per Mandolino, Op.1712 Duettini Concertanti, Op.26220 Studi melodici e progressive, Op.2163 Duetti concertanti, Opp.9-116 Duettini originali facili e progressivi, Op.207

A

A Lei! Amore senza spemeAdagio della Sonata Patetica, Op.167Adagio e Rondo, Op.176Album di pezzi classici, Op.236Album favorito, Op.240Allegretto espressivo, Op.219Andante malinconico, Op.218Aria variata No.1, Op.281Aria variata No.2Arie, Temi e variazioni, Op.205

B

Barbiere di Siviglia, Op.175BarcarolaBarcarola, Op.252Barcarola, Op.45Bella Napoli, reminiscenze del motivi poporiBerceuse Italienne, Op.245Bizzarria, Op.201Bluette, Op.232Bolero andalusoBriosetta

C

Capriccio Spagnuolo, Op.276Carneval di VeneziaCelebre SerenataChant et PastoraleCharitasConfidenze amorose

D

Danses Bijoux, Op.229Dolce malinconia, Op.235Dolce Visione!Duettino No.1, Op.69Duettino No.2, Op.3Duettino No.3, Op.4Duettino No.4, Op.6Duettino No.5, Op.7Duettino No.6, Op.5

E

Elegy, Op.148Eloisa

F

Fantasia No.2 on 'Lucia di Lammermoor', Op.164Fantasia on 'L'elisir d'amore', Op.288Fantasia Originale, Op.140FiesoleFior D'amore, Melodia, Op.41Fiorellino gentile, Op.234, Nelly Album

G

Gastone, Op.231Gavotta e Minuetto a Bébé, Op.39Gavotte-Mignonne, Op.80GemmaGiglio Fiorentino, Op.243Gondola VenezianaGrandi studi di concerto, Op.200

I

Il Dolore, Pensiero elegiaco, Op.195Il Nuovo Stile dei Duetti per mandolino solo, Op.278Il Piacere, Divertimento brillante, Op.196

L

La Favorita, Op.172La Figlia del Reggimento, Op.61La Ginnastica Giornaliera per Chitarra, Op.263La MusicaLa Pavane, Op.59La Pieta, Op.60La Preghiera d'un Orfano, Op.44La Primavera Musicale 2La Primavera Musicale 3La Primavera Musicale 4La Straniera, Op.63L'Amore, Op.194Largo amoroso, Op.217L'Elisir d'amore, Op.139L'ideaLo SciogliditaLove Song, Op.275Lucia di Lammermoor, Op.173

M

Madrigale, Op.244Mandolin Concerto in G major, Op.163Mandolin Quartet in G major, Op.76Mandolini-TerzettiMarcia EroicaMazurka AllegraMazurka Concerto, Op.224Mazurka sentimentaleMazurka-Fantasia No.2, Op.273Mazurka-Serenata, Op.188Memorie 'Don Giovanni', Op.150Metodo completo per la divisioneMetodo elementare per Chitarra,Op.284Minuetto e Gavotta, Op.181

N

Nelly gavotta, Op.171Ninarella, Op.233Notturno Veneziano, Op.222Nuovi Duetti popolari, Op.259

P

Pratica facile e dilettevole, Op.197Preghiera, Op.251

Q

Quartet in C major, Op.203Quartetto in D major in 4 Tempi, Op.128

R

Romanza appassionata, Op.120Romanza, Op.142Romanza, Op.250Romanzetta, Op.58Rossiniana, Op.131

S

Saffo, Op.47Scuola del MandolinoScuola della Chitarra, Op.137Se fosse vero!, Op.46Segreto del cuoreSerenade a PierretteSerenata Fantastica, Op.174Serenata in G majorSerenata Napolitana, Op.50Serenatella, Op.221Sognando!, Op.206Souvenir d'Espagne

T

Tema e Variazioni, Op.143Tempo di MarciaTempo di Mazurka, Op.138Tempo di Valzer, Op.141Trio No.1 in A major, Op.156

U

Utile dulci, Op.115Utile dulci, Op.220Utile dulci, Op.226Utile dulci, Op.228

V

Valse RomantiqueValzer Concerto, Op.241Valzer-Cantabile, Op.192Viviana
Wikipedia
Carlo Munier (1858–1911) was an Italian musician who advocated for the mandolin's acknowledgement among as an instrument of classical music and focused on "raising and ennobling the mandolin and plectrum instruments". He wanted "great masters" to consider the instrument and raise it above the level of "dilettantes and street players" where it had been stuck for centuries. He expected that the mandolin and guitar would be taught in serious orchestral music schools and incorporated into the orchestra. A composer of more than 350 works for the mandolin, he led the mandolin orchestra Reale circolo mandolinisti Regina Margherita named for its patron Margherita of Savoy and gave the queen instruction on the mandolin. As a teacher, he wrote Scuola del mandolino: metodo completo per mandolino (School for the mandolin, a complete method), published in 1895.
Silvio Ranieri described Munier in 1925 as one of the principal pioneers in the revival of the mandolin repertoire - a repertoire that with Munier began to move away from the limitations of the popular style (waltzes, serenades and fashionable marches) in order to approach the "art music" forms.
Carlo Gennaro Pasquale Munier was born in Naples on July 15, 1859, son of Vincenzo Munier, a printer, and Rosa Vinaccia. Orphaned at a very young age, he was adopted by the relatives of his maternal grandfather, the noted luthier Pasquale Vinaccia. The Vinaccia family of Naples had been active as instrument makers since the first half of the 18th century, and Pasquale is considered today one of the fathers of the modern mandolin for his technical innovations for the instrument. Munier acknowledged the closeness of his relationship with the Vinaccia family in his several references to Pasquale Vinaccia in his Method for mandolin, and in his dedication of the Three Mazurkas Op. 116-118 for mandolin and guitar to his uncle Gennaro, son of Pasquale.
Growing up in the Vinaccia atelier, where he learned his first musical rudiments, Munier began to study the mandolin and the guitar with Carmine de Laurentiis, Neapolitan maestro of both instruments and author of the 1869 "Metodo per mandolino" published by Ricordi editions. Munier then enrolled in the S. Pietro Maiella Conservatory when he was 15, studying piano with the maestros Galiero and Cesi and harmony and composition with maestro Nicola D'Arienzo. He completed his studies at 19, winning awards in composition and harmony. In this period he performed at several concerts in Naples and published his first compositions, arrangements of La Traviata and I Puritani for two mandolins, mandola and piano, dedicating the last one to the Queen of Italy.
When he was 22 Munier moved to Florence, where he spent the rest of his life. He quickly gained a reputation as a virtuoso, becoming a guiding figure of the Florentine mandolin and guitar school, which also included such illustrious students as Queen Margherita. In 1890 he organized and conducted the first plucked string quartet, with Luigi Bianchi on first mandolin, Guido Vizzarri on second mandolin, Riccardo Matini on mandola and himself on liuto moderno. With this quartet he performed several concerts across Italy, popularizing this kind of ensemble. In 1892 the quartet won first prize in the National Competition of Genoa, over which the famous violinist Camillo Sivori presided. In the same competition Munier won the gold medal as mandolin player and composer performing his "Concerto in Sol maggiore". In October 1909 he performed for King Vittorio Emanuele III, in the historical castle of Sommariva-Perno in Cuneo province, playing the "Prelude in Re maggiore" and the Mazurka-Concert "A Lei!". The king complimented Munier on the execution of the pieces and the extraordinary effects he obtained with the mandolin.
In autumn 1910, Munier left for a European tour that made stops in Marseilles and Antwerp. In Marseilles, he met his mandolinist friend Laurent Fantauzzi to whom he told of his plan to organize an impressive concert in Florence. Unfortunately, he never realized the event; on his return to Florence Munier contracted an unexpected illness and died on February 10, 1911, after an unexpected illness.
Munier first married Luisa De Fonseca, who died young and to whom he dedicated Elegia op 148. He then married Armida Bastianini with whom he had two daughters, Luisa and Elena.
Munier was a prolific composer. His catalogue includes more than 350 published works. With the exception of a few works, including the "Trio for mandolin, violoncello and piano" and the "Three quartets for 2 mandolins, mandola and lute", Munier wrote primarily for mandolin and guitar. His production of methods was also remarkable: the Metodo completo for mandolin in two volumes; Lo Scioglidita in four volumes and the Venti Studi. His ouvre also included didactic works like the "Lezioni in Forma di Duetto" Op. 115 and the Opere per Due Mandolini (Op. 220, 228 and 230).
Ten or twelve years ago the publication of a Method like this one would have been a useless proposition. At that time the mandolin was little known whereas now it has attained its rightful place in the art of music. In fact, many people dedicate themselves to studying it with constant passion, therefore the need for a "Complete Method" for a guide to lead one without difficulties to perfect execution"
In the Etude magazine, January 1941, George C. Krick selected a group of Munier's works as "his most important compositions."
these are scored for two mandolins, mandola and lute or mandocello, with optional parts for guitar or piano.