Dear Luca,
That's an interesting reference and clearly the
term was commonly used in that way since there's
even a label in the Unverdorben swan-neck lute in
Fenton House which reads:
Marx Unverdorben in Venetia 158-
[illegible] 161-
Gabriel David Buchstetter Lauden und /
Geigen-Macher zu
Thank you, Yuval: you're absolutely right. I'm always been really
curious about poor Monsieur Maltot, about whom we know absolutely
nothing, besides François Campion's citation...
Attivato Sun, 18 Aug 2019 18:43:17 +0200 Yuval Dvoran
ha scritto
I'm not sure if it was
Louise Gottsched, who wrote the first biographic article about S. L.
Weiss in her husband' BIG "Handlexicon" ("Handlexikon oder kurzgefaÃtes
Wörterbuch der schönen Wissenschaften und freyen Künste", Leipzig:
Gleditsch, 1760), defines the swan neck lute as "theorbieret" (if I
> On Aug 18, 2019, at 2:06 PM, David Van Edwards wrote:
>
> The Tielke is a bizarre German baroque swan neck
> style job with an extremely long neck probably
> the result of a conversion by Bachmann in 1760.
>
> The Tieffenbrucker is another swan neck
> instrument resulting from a conversion
Dear Howard,
The Tielke is a bizarre German baroque swan neck
style job with an extremely long neck probably
the result of a conversion by Bachmann in 1760.
The Tieffenbrucker is another swan neck
instrument resulting from a conversion possibly
by Fux though 1696 is a bit early unless it
> On Aug 18, 2019, at 10:22 AM, David Van Edwards
> wrote:
>
> There are of course several luiti attiorbati in
> Paris with 7 fingered courses but one of them
> looks a bit theorbo-ish and might be the one
> you're thinking of. It's anonymous E.25 (C228) 13
> courses 1x1, 6x2 @ 710mm +
Dear Luca,
Yes, I forgot to write, I also own a copy of Schelleâs 1728 instrument,
made by Ivo Magherini. Tuned in d minor, as you mention, without the
high f course, it's an extremely effective instrument which works
fantastic for the German late baroque repertoire. Highly
Dear Luca, Magnus and Howard,
There are of course several luiti attiorbati in
Paris with 7 fingered courses but one of them
looks a bit theorbo-ish and might be the one
you're thinking of. It's anonymous E.25 (C228) 13
courses 1x1, 6x2 @ 710mm + 6x2 @ 1090. Joël's
catalogue thinks it was
I'm not sure if it was stated earlier, but actually Campion makes his teacher
Maltot (who is, apart from the appearance in Campion's treatise, completely
unknown) responsible for having invented the theorbo with 8 strings/courses on
the fretboard, most possibly resulting from the invention of
Dear Magnus,
thank you for all these interesting points. Personally, I fully
agree (as you may have noticed from my remark about all these theorbos
showing 8 fretted single courses...)
I think I saw the seven course Koch theorbo in Berlin, being now nearly
ein Berliner, I
Dear Luca, dear David, dear Howard,
thanks for the infos!
It is indeed interesting- checking the lautenweltadressbuch database,
entering "G" as type and looking for instruments with more than, say,
80 cm long petit jeu, I could only find the Berlin instrument by Koch
and the
> On Aug 17, 2019, at 11:29 AM, Luca Manassero wrote:
>
> if all chitarroni I see in museums had 6 single or double
> courses (I think I remember one with seven fretted courses at the Cité
> del la Musique in Paris, but I'm not sure thou), WHY ON EARTH do I see
> almost all chitarroni
Dear Luca,
I have the original string lengths down as 823
and 1677. Indeed it is odd how many theorbos
there are with 8 courses on the fingerboard, it
seems to have been a fashion started by that
well-known authority Leopoldo Franciolini.
Best wishes,
David
At 20:29 +0200 17/8/19, Luca
Dear Luca,
That theorbo could likely had been built by Pietro’s son Giovanni (Zuane)
Giovanni Railich, son of Pietro, almost never used his own fire mark.
Apart from a colascione (Collezione Correr, Venice) signed Giovanni Railich /
Lautaro in Padova,
all the instruments built in their
Dear David,
thank you!!
The two pictures are finally big enough to be understandable.
I was also curious about the original string lengths, if you happen to
know them.
By the way, if all chitarroni I see in museums had 6 single or double
courses (I think I remember one
Dear Luca,
I forgot to add: is there any other info you'd like? I have a few
more photos. It is indeed on display in Rome at the Museo Nazionale
degli Strumenti Musicali, and the catalogue number is 976. Luisa
Cervelli: La Galleria Armonica, Catalogo del Museo degli strumenti
musicali di
Dear Luca,
Here you are! A very nice looking theorbo. Pohlmann says date is 1655
and Toffolo says it's c.1640 (St. Toffolo: Antichi Strumenti
Veneziani. Venezia 1987, pp. 57, 221) who knows where the 1702 date
comes from in the LSA list, but as there's no label it's all a guess.
Best wishes,
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