The Legend of Mando Simons

Martin “Mando” Simons, little known twin brother to Menno Simons was, like his brother, a priest in the Catholic Church in the 1520’s. Early on, Mando was recognized as a gifted baritone in the cathedral choir. He became disillusioned, however, with church sanctioned music, especially when his original compositions were not considered sacred enough to be performed by the choir for what he felt was largely political reasons. Perhaps that was all for the best as Mando’s real love was the folk music of the commoner. Later he would admit that partially as an act of defiance he secretly learned to play mandolin by practicing late at night in the hayloft of a barn. This is of course how he acquired his nickname. When it was discovered by church authorities that Mando was engaged in playing secular style music—considered vulgar by the church—he was banished from the choir and warned not to play uncouth handheld instruments again.

Instead, Mando left the priesthood, set out on his own and started a movement known as the Ana-baritists—literally “baritone again”. The name Anabaratist referred to his using his singing voice once more and composing the folk music he loved. As others joined him, Anabaritist came to mean anyone who would read and interpret the bible on their own (not allowed by the church at that time), play folk instruments, and create their own music.

Rehearsals and stringed instrument worship services were held in secret—in barns or in the woods. To avoid drawing attention, Anabaratist musicians and congregants played and sang with as little movement and enthusiasm as possible. This trait can still be seen in related groups, such as the Mennonites, today.

Mando ended up being on the run much of his life and several of his best instruments were martyred.

---The End

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