thank you frank - that was great! ... looked through the whole catalogue - only trouble is, i'm off to bed now and all i can see is sepia.
ciao - bill --- Frank Nordberg <[EMAIL PROTECTED]> wrote: > I have uploaded scans of the entire caralogue at: > http://www.musicaviva.com/hohner1920la/ > > Please don't redistribute. I'll probably post the > URL on two or three > other maillists as well but would rather not have it > too widely > distributed since I'm planning to publish it on CD > once I've had time to > redo the scans I messed up and write a foreword to > it. > Not sure about the exact dating. There might have > been a date on the > cover but unfortunately the cover went AWOL long > before I got my greedy > hands on the catalogue. The fact that there are no > harmonicas strongly > suggests it was published before Hohner opened their > Brazilian factory > in 1923 but that's simply not possible. It has to be > a bit later than > that - probably 1930s. > My copy of the catalogue comes from Uruguay but I > assume it was used > throughout the Spanish-speaking parts of South > America. > > Oh btw, if anybody here are interested in violins > and need something > pretty to hang on the wall, take a look at page 4b. > > Martina Rosenberger wrote: > > > Nr. 3592 "puente de vidrio": doesn't it mean > glass bridge? > > It does and I hadn't noticed that. Thanks Martina! > Strangely enough, the instrument specs says that no. > 3537 - one of the > Hamburg models has a glass bridge but doesn't > mention anything like that > for the Böhm (no. 3545). > > > By chance I once heard a radio broadcast about > Germans in South Amerika. > > Obviously many Germans immigrated there in the > the beginning of the 20th > > century. > > Yes but could there really have been enough German > immifgrants to > justify that much focus on the Waldzither in the > catalogue? I don't > know. I wish I did. > > I guess that's why I'm stuck spending time on all > this old, outdated > stuff rather than pick up my guitar and play some > money into my pocket. > > Even a humble little thing like this catalogue has > so many intriguing > questions to ask and so many stories to tell - often > stories that don't > quite fit History As We Know It. > > All those lovely violin models for example. How come > everybody today > seem to be playing Stradivarius copies when there > are so many alternatives? > > How about the viola d'amours mentioned on page 13? > The beginning of the > early music revival or remains of a coninious > tradition? > > In the guitar section, take a look at that pesky > bridge/tailpiece combo > they sometimes had to use to force a guitar that > would have been happier > with gut strings to handle cold steel. > > How about those short scale tenor guitars? Why are > they there instead of > the cuatros? > > And that Mexican guitar - looks just like another > name for the modern > steel-stringed guitar to me. Does that imply > something every US conutry > picker would hate to hear? > > Those almost-but-not-quite-twelve-string-guitars - > what do they imply? > > What on earth are the *ouds* doing in prewar Latin > America??? > > It seems "Portuguese mandolins" and "flat (German) > mandolins" are > considered as two different kinds of instruments. > Hmmmm... > > How come there are more ukes than you can shake a > stick at and not a > single charango? > > Why are there so few wind instruments? Surely they > had marching bands in > outh America too. > > Etc,, etc., etc. > > But I suppose I'm way off topic for this list! > > Hope you enjoy those scans! > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > Send instant messages to your online friends http://uk.messenger.yahoo.com
