The ensemble Artemandoline was created in 2001 by Juan Carlos Muñoz and Mari Fe Pavón. Praised by the critics and acclaimed by the public, Artemandoline’s performances continue to bring  fresh insight into the interpretation of  XVIIth and XVIIIth century works.

Invoked by the Baroque, the Angel of the Odd  hovered over the Arts. During the Baroque period a new and stylistically complex mode of expression came into being. New sounds were produced. The baroque  musicians’ curiosity  for the most refined sounds, among them  the mandolin’s, directed their research in favour of the  aesthetically pleasing .

Concert artists, and teachers, the musicians in « Artemandoline » devote their  time and their talent to the revival of the mandolin. Through their teaching, training courses, concerts and publications, they have contributed to its increasing popularity worldwide. The baroque ensemble « Artemandoline » is  indeed a pioneer within this domain and has forged an internationally  acclaimed reputation.

The ensemble rapidly found its style, proved its instrumental skill and gained widespread recognition. Very quickly,  Artemandoline, has become one of the most well known ensembles, a leader in the field of the original technique of  string plucking. Their lively style of music has won over the public and the critics.

They play on period instruments: the baroque mandolin, the renaissance and baroque guitar, the baroque  mandole, the mandolone, the renaissance lute, the soprano lute,  the Brescian and Cremonese mandolin, viola da gamba, violone, lute,…

They are regular guests to France and abroad, to the many early music festivals, such as  The Perigord Vert Festival,  the « Musique d’Ensemble » Festival at  Pommiers. They have also performed in Oissery, Sedan, l’Epine , as well as in  Narol and Wroclaw in Poland,  Spain, Japan, at the Luxembourg « Baroque Days » festivals, and at the Philharmonie, in Germany , Switzerland,…

The mandolin, that noble and marvellous instrument, has been universally glorified throughout the ages. The 18th century was no exception and therefore it seems quite natural to link the undeservedly lesser known composers with the most famous of those present  during the Grand Century.