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this old, outdated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.
H...
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!
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