Neil Gladd, above, may well be the Andres Segovia of the mandolin. But while Segovia's accomplishments in popularizing the guitar and its literature made him a revered figure from Los Angeles to Lynchburg to Liverpool, Gladd's similar efforts on behalf of the mandolin remain unknown to all but a small, ardent group of specialized enthusiasts.
On Monday at 8 p.m., Gladd will be in Daemen College's Wick Center to demonstrate both his art and some of his instrument's breadth of literature. Gladd has performed with such major ensembles as the Philadelphia Orchestra and National Symphony, under conductors Mstislav Rostropovich and Leonard Slatkin. A transcription of Bach's Partita in E for Lute, BWV 1006, will open Monday's program, followed by an original piece (c. 1760) by Signor Leoni of Naples, from his "A Complete Introduction to the Art of Playing the Mandolin." Works from the late 19th and 20th centuries by such minor composers as Raffaele Calace, Aubrey Stauffer and Sol Goichberg illustrate music from the "mandolin underground." The prominent contemporary Danish composer Per Norgard will be represented by his 1984 "The Chase," but the central interest will probably lie in the 1985 "Scherzo-Rhapsody" by Daemen professor Chester Mais and Gladd's own 1989 Sonata No. 2, whose movements are Toccata, Andante and Fugue.