From: "howard posner" <[email protected]>
I've put together a page with the Falkenhagen engraving and a
detail from an
angelique that is VERY similar to the one he is playing -
http://polyhymnion.org/swv/music/falkenhagen
Interesting. Thanks for putting this up.
I wonder if there's reason to believe this sort of construction was
unique to the the angelique. Otherwise the pegboxes appear to be
built to accomodate eight courses on the fingerboard (2x1 and 6 x 2)
and 5 x 2 on the extension. In short, it would be a pretty standard
theorboed baroque lute.
We should ask Schlegel. I don't recall such things elsewhere myself.
Pardon my ignorance, but was an angelique necessarily constructed
differently from a lute, or was it more of an alternative stringing?
Did it need to be braced differently, for example?
There are a few (2?) luthiers that have built angeliques in recent memory.
One of them is notorious for not revealing any trade secrets. Maybe the
other one would....
Pardon my ignorance again, but is there any reason to connect
Falkenhagen with the angelique? Did he write any music for it? Does
any source mention him and the angelique?
Why would that matter? Especially if he tuned it in something like the
Burguete tuning or the standard one.
As to the blank sheet in front of the man - has it occurred to
anyone that
he might be composing, especially considering the inkwell nearby?
Indeed it might symbolize that he is a composer. Or it might signify
his position as margravial court secretary and registrar. The
caption does after all describe him as "Adamo Falkenhagen, Segretario
- Registratore - e Liutista della camera di S. A. S. il
Marggravio ..." I'm guessing it's no accident that lute-playing gets
mentioned last.
Don't tell me you are totally unaware of the 18th century social
conventions. The order of social qualifiers has nothing to do with the
natural order.
I'm willing to entertain inconceivable explanations.
You must actually unscathed by Jurisprudence.
RT
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