Discover a Local Music Gem: Minnesota Mandolin Orchestra
Wednesday, August 9, 2023 at 2:30AMArticle by Becky Fillinger, photos provided
A discussion with Allison Eklund, President and Lon Hendricks, Director
Mandolins were first introduced to the United States by Italian immigrants and have a long history in Minnesota. The Minnesota Mandolin Orchestra (MMO) was established in 1991 and you can catch their performances at many local venues. We spoke to Allison Eklund, President, and Lon Hendricks, Director, to learn more about the history of mandolin orchestras and where we might learn to play the instrument.
Allison Eklund
Q: What is a mandolin orchestra?
Allison: A mandolin orchestra is an ensemble of plucked instruments in the mandolin family. They are played with a plectrum (pick) rather than a bow, and generally correspond to the instruments in a string orchestra: the mandolin, mandola, mandocello and mandobass are strung for tuning equivalent to the violin, viola, cello, and bass violin. Because mandolins are played with a plectrum instead of a bow, they have an additional string for each note and may achieve a sustained sound using "tremolo" plectrum technique. A mandolin orchestra typically includes guitars and may include fretted instrument variations such as an octave mandolin (tuned like a mandolin but playing notes an octave lower) and liuto cantabile (or liuto moderno), a five-note stringed instrument combining a mandocello with an octave mandolin. Bass mandolins are fairly rare these days, so many mandolin orchestras include acoustic bass guitar and/or double bass violins. Additional information can be found at the web site for the Classical Mandolin Society of America, which has a close relationship with MMO and many of its members. Specifically, see this article on score notation for mandolin orchestra.
Twin Cities Mandolin Club circa 1900
Q: Please give us a brief history of mandolin orchestras in Minneapolis and St. Paul in the “golden age of mandolins.”
Allison: I could not explain any better than Minnesota History magazine in its wonderful article about the history of mandolin playing in the Twin Cities, available in their archives. I find it particularly amusing that, from 1890 to 1920 during the "golden age of mandolins," some people reportedly would carry mandolin cases around just to "appear stylish." We were evidently the epitome of cool, to use then-unknown parlance. Mandolin ensembles were highly popular in a variety of settings, long before bluegrass music became associated with the sound of a mandolin in America.
Q: Why do you think so many ethnic groups formed mandolin orchestras or clubs?
Allison: I cannot speculate on the attractiveness of mandolins to any particular ethnic group, but when the world-famous mandolin virtuoso Avi Avital came to Minnesota for a Schubert Club performance a few years ago, he came to visit MMO at one of our rehearsals. He explained that the popularity of mandolins in his native Israel began with efforts to encourage Jewish resettlement. The violin was widely played, he said, but community leaders worried that at a certain level of virtuosity, players might leave to pursue fame and fortune. To encourage sustainable communities, they introduced the mandolin as a "violin anyone can play" because its frets and plectrum technique made playing the instrument accessible to new players at any age. Avital's presentation resonates. The mandolin can be learned at a basic level relatively quickly, and even playing simple chords can be a rewarding way to enjoy participation in music-making. It can be played as a solo instrument, and also blends well with other instruments. It has wide appeal across age and experience levels and genres of music.
Minnesota Mandolin Orchestra performing at the Lake Harriet Bandshell
Q: From the inception of mandolin clubs in the late 19th century and early 20th century in North America, there was a philanthropic, service, and social aspect to those groups. They raised money for those in need and they met socially to improve the spirits of the club members and to engage with their communities. Is this viewpoint still part of the Minnesota Mandolin Orchestra?
A: Yes. The Minnesota Mandolin Orchestra has a charitable mission and purpose, to foster the enjoyment of mandolin music. The group started in 1991 and became a 501c3 charitable nonprofit corporation in 2018. We do not charge admission for our concerts (though sometimes our venues do), and we hope to gain wider awareness and appreciation of our sound and the breadth of music genres performed by finding opportunities to play in diverse communities. We have some standing relationships with outdoor venues such as Como Dockside Pavilion in St. Paul and Centennial Lakes Park in Edina, and in winter we often perform at the invitation of senior living and indoor park facilities. We enjoy bringing the sound of mandolin orchestra music to new venues and listeners of all ages and backgrounds.
Lon HendricksQ: Mandolin orchestras are back in a big way – please tell us about the resurgence of mandolin clubs.
Lon: I'm not aware of any recently formed mandolin groups in Minnesota. The Minnesota Mandolin Orchestra was founded by Jack El-Hai in 1991. A lot of players have come and gone between then and now, but we still carry on as the Minnesota Mandolin Orchestra. There are quite a few mandolin orchestras around the United States, and you can see a list of the groups recognized by the Classical Mandolin Society of America here.
Q: Where and how may a beginner learn the mandolin?
A: Players who come from a violin or guitar background usually find the transition to mandolin to be relatively easy, and many are self-taught. Mandolinists looking for instruction could contact the Homestead Pickin' Parlor, MacPhail Center for Music, Jim Plattes, or Karen Mueller. There is also plenty of instructional material on YouTube. David Benedict and Magnus are good teachers.
Q: Where may we hear the Minnesota Mandolin Orchestra?
Lon: The next public concert is Monday, August 28, 7:00-8:30 p.m. at the Como Lakeside Pavilion at the Dock & Paddle, 1360 Lexington Pkwy N, Saint Paul. Future concerts will be posted here.
Q: How may we stay current on your news?
Jim Conaway was a productive Minnesota artist while teaching painting and drawing at Hamline University. In 1970 Jim was chosen by the U.S. State Department to participate in the American Embassy program where American artists painted their local landscapes to hang in American Embassies around the world. His paintings have been exhibited in museums and galleries across the country including the Walker Art Center, the Weisman Art Museum in Minneapolis. After Jim’s retirement from Hamline in1996, he became a full-time painter in his studio in the Traffic Zone Center for Visual Art where he is a founding member.
Gia Gifford is a painter and metalsmith who works out of her studio in the Casket Arts Building in the Northeast Minneapolis Arts District. Gia holds degrees in studio art and art history, as well as a master’s degree in art education and has taught in a variety of settings over the past fifteen years. Gia’s painterly process employs motion, repetition and rhythm as a form of contemplation. “My layering technique immerses the viewer in the complex shapes and sequences of the painting, producing an experience that is aesthetic, emotional, and therapeutic.”
Ric Rosow is a Minneapolis based photographer who enjoys photographing landscapes, cityscapes, night-time skies, concerts and people. He loves taking photographs of the Minneapolis downtown skyline. His catalogue of photographs includes images from his travels not only in the U.S., but Mexico, Central and South America, South Africa, the Middle East, Asia, Europe and the Antarctica Peninsula. His work has been displayed in local galleries and published in Backroads' travel brochures, Hill Town Tours social media sites and more.
Rita Schaefer-Seaton was born and raised in Germany. Her German education afforded her the pursuit of a corporate career in the U.S. Choosing to develop her visual and creative skills, in the late 1980’s she earned a degree in graphic design. To expand from design to fine art she continued to study painting and life drawing. “My work is influenced by my interests in psychology, the archetypical and science fiction.” Rita’s paintings and drawings have been accepted into juried exhibitions including the Minnesota State Fair.
Robinson Scott has been blowing original glass art for 45 years. Having studied in Sweden he uses many Swedish color layering techniques, combined with his is own variations creating a 3-dimensional viewing experience. He is an award-winning glass blower with pieces available in numerous galleries and part of many corporate collections. “I pursue difference and personal perfection in form and design. I enjoy the challenge of change, ever striving to learn new designs, techniques, and approaches in glass. This is my driving force.”
