This project by Alon Sariel and the Kölner Akademie celebrates the versatility of the mandolin on the cusp of the classical period. However, the (hi)story of the mandolin in Vienna is surprisingly different from elsewhere in Europe, and in some cases we are still discovering new astonishing aspects. In contrast to the rest of Europe, Vienna seems to have almost completely ignored the popularity of the new Neapolitan mandolin type (four courses of strings over a movable bridge, tuned as the violin) in the 1760s and 1770s. When this popularity in the rest of Europe started to decline in the 1780s, Vienna suddenly joined the ranks of mandolin-loving audiences.