Dear all, The celebrated maker Lorenzo Gusnasco da Pavia made quite a number of instruments for many Italian nobles, especially for Isabella d'Este, including several viols (whatever this may mean in late 15th-century Italy). A point of interest here is that among her servants we find Giovanni Angelo Testagrossa: does this ring a bell?
In 1503 Testagrossa left her service taking with him three bowed viols and two "spagnoli", whose probable identity as plucked instruments is supported by an a Ferrara inventory of 1511, where "violoni alla napolitana" are listed under "lauti" and thus distinguished from bowed ones. Lorenzo da Pavia made a "viola spagnola" for Leonora Gonzaga of Urbino in 1509-1510. Things begin to getinteresting in the correspondance between Isabella d'Este and Lorenzo da Pavia where we find references to another name that may be germane to the issue: "Spanish lute" (liuto alla spagnola): When Isabella ordered one, Lorenzo mentioned that these instruments were: "... lutes made in Spain, and the Spanish give them a certain sound in one way or another to make them sing, which they do not know how to do here". Later on Isabella specifies some of the characteristics she wants the instrument to have: "remember to make the the body completely in Spanish manner without giving it anything of the Italian fashion" (fare el corpo tutto alla spagnola senza dargli niente del italiano). Tantalizing .... A splendid study of Lorenzo da Pavia, where all this information appears, was published by William Prizer, "Isabella d'Este and Lorenzo da Pavia, 'Master Instrument Maker' ". _Early Music History_ 2 (1982), pp. 87-127. Another intersting study by the same author is _Courtly Pastimes. The Frottole of Marchetto Cara_, UMI Research Press, Ann Arbor, Michigan, 1980 Best wishes, Antonio ----- Original Message ---- From: Rob MacKillop <[EMAIL PROTECTED]> To: Lute List <lute@cs.dartmouth.edu> Sent: Tuesday, 3 June, 2008 12:30:25 PM Subject: [LUTE] Francesco and the viola da mano I understand the introduction of the vihuela into Spanish Neapolitan provinces helped the spread of the Italian viola da mano, but where does Francesco da Milano come in? Did he have a connection with the south? Or did the instrument spread to the north as well? How popular was the viola da mano? Any other publications for it? And can anyone flesh out the story of one of the d'Este family ordering a 'Spanish viola da mano' but having to settle for an Italian one instead? I can't remember the facts. I might copy this to the vihuela group as there are some people there who are not subscribers here. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html __________________________________________________________ Sent from Yahoo! Mail. A Smarter Email http://uk.docs.yahoo.com/nowyoucan.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
