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Matches in DBpedia 2014 for { ?s ?p Ferdinando de Cristofaro (1846 – 18 April 1890) was one of the most celebrated mandolin virtuosi of the late 19th Century. He was also a classical pianist, teacher, author and composer, who performed at the chief courts of Europe, and received the royal appointment of mandolinist to the King of Italy.Cristofaro was born in Naples. He received his musical education in the Conservatory of Naples, devoting himself to the study of the piano. He was beaming a virtuoso on that instrument too, and would have outdone his achievements as a mandolinist. Cristofaro was entirely self-taught on the mandolin, and he soon distinguished himself by his performances on this instrument in Italy. To the Neapolitans, he introduced a new and completely advanced method of playing—accustomed as they were to hearing the instrument in the hands of strolling players for accompanying popular songs. The classical compositions, executed by Cristofaro, caused unbounded enthusiasm, astonishment, and admiration. His fame spread rapidly throughout Italy, and after appearing with success in all the important cities, he was induced to visit Paris. He arrived Paris in 1882, where he was immediately recognised as the premier mandolinist of the day; he won a widespread and enviable reputation, and as a teacher, his services were in constant demand by French aristocracy. During his residence in there, he appeared in public with the most prominent musicians of the time, including Charles Gounod, who, upon several occasions accompanied his solos with the pianoforte.n 1881, he had made a name in the musical world as a composer, and in that year several of his works were awarded high honours in Milan. That same year, Cristofaro visited London, performing successfully. He was sought there also as a teacher and was appointed conductor of the "Ladies' Guitar and Mandolin Band." He repeated his visit to London during the following season giving mandolin recitals in which renowned mandolinist songwriter Luigi Denza and other eminent musicians took part. Cristofaro intended to reside a part of each season in London, and devote himself to teaching his instrument, but the 1889 visit was doomed to be his last. He had concluded arrangements to resume his lessons in London during Easter but died of ptomaine poisoning on 18 April 1890 in Paris. He left many pupils, and he was constantly engaged in composition and as a public performer.As a mandolinist, Cristofaro was important among those who wanted to elevate the science and art of mandolin playing; it was he who introduced the mandolin to the English public and brought about its popularity. As an executant, he was in many respects unsurpassed. His tone was remarkable for its exquisite tenderness and delicacy—his expression and nuances were unapproachable—and his tour de force were models of artistic excellence. He brought the higher mechanical attributes such as the shake, double stopping, the glissato and other effects peculiar to the instrument to perfection (which classed him among the virtuosi of the time). As a soloist, or in part playing, or again at the piano as accompanist, he well knew how to exhibit the mandolin to its greatest advantage. His mandolin was constructed according to his own design by the eminent maker, Salsedo of Naples, and was of exquisite workmanship. He usually performed with a plectrum of cherry bark.. }

• Ferdinando_de_Cristofaro abstract "Ferdinando de Cristofaro (1846 – 18 April 1890) was one of the most celebrated mandolin virtuosi of the late 19th Century. He was also a classical pianist, teacher, author and composer, who performed at the chief courts of Europe, and received the royal appointment of mandolinist to the King of Italy.Cristofaro was born in Naples. He received his musical education in the Conservatory of Naples, devoting himself to the study of the piano. He was beaming a virtuoso on that instrument too, and would have outdone his achievements as a mandolinist. Cristofaro was entirely self-taught on the mandolin, and he soon distinguished himself by his performances on this instrument in Italy. To the Neapolitans, he introduced a new and completely advanced method of playing—accustomed as they were to hearing the instrument in the hands of strolling players for accompanying popular songs. The classical compositions, executed by Cristofaro, caused unbounded enthusiasm, astonishment, and admiration. His fame spread rapidly throughout Italy, and after appearing with success in all the important cities, he was induced to visit Paris. He arrived Paris in 1882, where he was immediately recognised as the premier mandolinist of the day; he won a widespread and enviable reputation, and as a teacher, his services were in constant demand by French aristocracy. During his residence in there, he appeared in public with the most prominent musicians of the time, including Charles Gounod, who, upon several occasions accompanied his solos with the pianoforte.n 1881, he had made a name in the musical world as a composer, and in that year several of his works were awarded high honours in Milan. That same year, Cristofaro visited London, performing successfully. He was sought there also as a teacher and was appointed conductor of the "Ladies' Guitar and Mandolin Band." He repeated his visit to London during the following season giving mandolin recitals in which renowned mandolinist songwriter Luigi Denza and other eminent musicians took part. Cristofaro intended to reside a part of each season in London, and devote himself to teaching his instrument, but the 1889 visit was doomed to be his last. He had concluded arrangements to resume his lessons in London during Easter but died of ptomaine poisoning on 18 April 1890 in Paris. He left many pupils, and he was constantly engaged in composition and as a public performer.As a mandolinist, Cristofaro was important among those who wanted to elevate the science and art of mandolin playing; it was he who introduced the mandolin to the English public and brought about its popularity. As an executant, he was in many respects unsurpassed. His tone was remarkable for its exquisite tenderness and delicacy—his expression and nuances were unapproachable—and his tour de force were models of artistic excellence. He brought the higher mechanical attributes such as the shake, double stopping, the glissato and other effects peculiar to the instrument to perfection (which classed him among the virtuosi of the time). As a soloist, or in part playing, or again at the piano as accompanist, he well knew how to exhibit the mandolin to its greatest advantage. His mandolin was constructed according to his own design by the eminent maker, Salsedo of Naples, and was of exquisite workmanship. He usually performed with a plectrum of cherry bark.".