You are a born teacher. If I'd met you thirty years ago I wouldn't be in the fix I'm in today. BUT, it's never to late to learn and you have so much to teach. I look forward to every video you will make in this series. Can't thank you enough.

Grazie

It's very interesting to watch the score and listen what the master have done about 90 years ago. The use of glissando in particular. This is a very important story to share, you having the instrument, the score, and your school. For now we only can say thank you very much to sharing. Waiting for when we could share something same way 💙💙💙

I appreciate of share such priceless recording! I found that the sound color is very sweet, and he was trying to make no room inside of phrase. It caused glissando on every edge of notes. I don't agree on too many glissando, but I understand why he was doing like that. I think he regard it as first priority that the mood of music must be maintained .

Bedankt om content als deze uit te brengen! Ik ben een complete novice in de mandoline wereld en met dit soort video´s valt zoveel te leren. Ik heb net zelf een oude Il Globo bowlback gekocht maar moet er nog flink wat werk aan (laten ) verrichten om die goed speelbaar te maken.

What a wonderful video. Thank you so much. I would certainly like to see more videos like this. My preference has always been for the style of interpretation used in this era - (especially for music from the late 19th and early 20th centuries) and I prefer it over what might be more commonly heard today. Not only have you enlightened us on Ranieri's interpretation of this piece, but also you have given us a great lesson in how to analyse. The connection with the instrument and its strings make this all the more special. Thanks so much for sharing.

Absolutely a beautiful piece of music expressively played! Thank you for the insight Ralf!

Grazie maestro

Wonderful, Ralph, the find and the video, and of course the performance most of all. He plays it as we would expect a performer of his era would have played it. The tempo fluctuations are not excessive, with the swan always leading the way, not being pushed by the flow of the water. I was listening closely to his portamenti, wondering if - like Pujol outlines in his guitar method - the first finger glides so far before another finger hammers down. It is a technique that is best reserved for wide intervals. I've just looked at Ranieri's comments (before Lesson 58. in my Cranz 1959 edition) and he shows a small note in brackets where the sliding finger must stop before another finger plays a higher note, which is generally a tone away, but in the 4th-last bar of Ex.58, the interval is a 4th. Because of this hammer-on, the line is not completely chromatic between the start and end note. This seems similar to what Pujol is talking about, yet I've rarely seen discussed elsewhere. Maybe you could comment on this? He also does it when executing a descending portamento, as in bar 6 of Ex. 58. I'm loving your latest videos!

Thanks a lot Ralf.

Wonderful videos Ralf. Thanks for sharing.

This is so very enjoyable!

Thank you very much, Ralf, for a very interesting video and it was fantastic listening to the original Ranieri recording and actually seeing that very instrument. I have heard that you also have Emb. No 8 model that was sold by the famous auction house some years ago. If it is so may I ask if it is a Ginislao Paris double top? Thanking you again.

that's a really nice interpretation

What is that record? If I search for anything Ranieri mandolin stuff, on the usual selling platforms, zero results turn up. Must be incredible rare-

The piano on this recording almost has a pizzicato string sound