樂器資料集-2
Sopranino Recorder
In the manner of Johann Cristoph Denner
By Jean-Luc Boudreau
Montreal, Quebec
1990
Boxwood, granadilla wood
26.5 cm
Die-stamped marking: "Jean-Luc Boudreau Montréal 190490"
It is astonishing to think that the recorder fell into disuse in the nineteenth century and that even its name was forgotten. In 1919, Arnold Dolmetsch, an English instrument maker and musicologist, became interested in early music and built his first recorder based on a baroque model.
During the baroque period, the recorder was no longer built in a single section as it was during the Renaissance, but in three movable sections. This important change enabled musicians to better tune the instrument by lengthening or shortening it slightly. Because the instrument had shorter sections, instrument makers were able to craft the bore with greater care. This method appears to have been developed by Jean Hotteterre, a wind instrument maker in the court of Louis XIV, and was subsequently adopted by the great recorder makers such as Bressan and Stanesby. Thick, elegantly turned ivory mounts on each joint made the recorder highly decorative, a reflection of baroque precepts of beauty.
This instrument is based on a sopranino recorder by Johann Christoph Denner (1655-1707), whose family was noted for its wind instruments. When French recorders consisting of three sections appeared in Germany, Denner took an interest in them and promptly adopted the new construction method. This recorder is in two sections and is tuned to A=415.
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Alto Recorder
In the manner of Debey
By Jean-Luc Boudreau
Montreal, Quebec
1990-91
Boxwood, moulded polyester resin
50 cm
Die-stamped marking: "Jean-Luc Boudreau Montréal 220790"
Jean-Luc Boudreau based this recorder on an instrument by an eighteenth-century instrument maker named Debey, which is preserved at the University of Utrecht, in Holland. It has three sections, with moulded polyester resin mounts, and is tuned to A=415.
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Baroque Trumpet
In the manner of Hanns Hailein
By Robert Barclay
Gloucester, Ontario
1991
76 cm (excluding the mouthpiece);
bell 9.4 cm
For a long time, the trumpet was associated with military life. The trumpet ensembles established by the royal courts and major cities were symbols of strength and wealth. In the seventeenth century, the instrument was added to musical ensembles and eventually acquired a broad repertoire of arrangements by composers such as Corelli, Torelli,
D. Gabrielli, Vivaldi and Telemann.
At that time, Nuremberg, Germany, was a leading centre in the manufacture of brass instruments. Metalworking was already a well-established art in the city and, along with the city's prosperity and cultural effervescence, spawned the manufacture of trumpets, trombones and other brass instruments that achieved considerable renown. Baroque trumpets did not have valves; the technical improvements that made the trumpet a chromatic instrument did not appear until the nineteenth century.
Robert Barclay made this beautiful instrument entirely by hand, based on a drawing of a trumpet by Hanns Hainlein, who belonged to a major family of Nuremberg brass-instrument makers. Dated 1632, the instrument is in the Stadtmuseum in Munich.
This trumpet in D is made of silver-plated brass; the garland and mounts are gold-plated. The bell is decorated with a garland that bears the inscription MACHT ROBT BARCLAI IN OTTW ("Made by Robert Barclay in Ottawa"), emulating the style of Hanns Hainlein, who signed the original trumpet MACHT HANNS HAINLEIN MDCXXXII.
Robert Barclay, an arts graduate of the University of Toronto, has been making trumpets for fifteen years. For many years, he taught summer courses in Toronto on brass-instrument making. He is particularly interested in the baroque natural trumpet and is conducting exhaustive research on the celebrated seventeenth- and eighteenth-century Nuremberg trumpets. Several North American and European trumpeters specializing in baroque music own one of his instruments. Barclay has written a number of books on early trumpet-making techniques, including The Art of the Trumpet-Maker, published by Oxford University Press. Through his research and the instruments he makes, Robert Barclay actively promotes the revival of the baroque trumpet.
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Hurdy-Gurdy
By Daniel Thonon
Saint-Marc-sur-Richelieu, Quebec
1990-91
Mahogany, amaranth, maple, spruce, recycled ivory, gut, steel, leather, brass
Overall length (excluding crank)
by width: 70 x 39 cm;
sides: 9.3 cm
Minstrels, pilgrims and beggars played the hurdy-gurdy, which figured prominently in the secular music of the Middle Ages. Around the fourteenth century, following the Black Plague, the hurdy-gurdy was mainly associated with beggars and blind musicians, and usually held in low esteem.
In the eighteenth century, it became the preeminent musical symbol of pastoral life, a reflection of high society's fancy for nature. Writers of that era attempted to ennoble the instrument's origins, just as its appearance was dignified by the addition of mother-of-pearl, ebony and ivory inlays, and sculpted heads. Today, the hurdy-gurdy is used in early-music ensembles or to play traditional music. The instrument is found throughout Europe, including France, Germany, Hungary, Italy, Poland and Scandinavia.
Daniel Thonon based this hurdy-gurdy on an eighteenth-century French instrument. The tortoise-shaped body and, in particular, the head evoke the Arab style much favoured at the court, where the fashion was to dress up as a sultan or Persian princess for celebrations.
Following tradition, the luthier glued an inscription inside the keyboard cover: "This hurdy-gurdy, the thirteenth to come out of my workshop, was ordered by the Canadian Museum of Civilization. By sorry coincidence, it was begun and completed at the same time, to the day, as the so-called 'Gulf War,' which is not, however, a tribute to our civilization. One hundred days, twenty-three keys, one friction wheel, forty-six jacks, and thousands of deaths. Daniel Thonon, Saint-Marc-sur-Richelieu, Quebec, February 1991" [translation from French].
Although Daniel Thonon specializes in hurdy-gurdies, he makes other early instruments, such as the rebec, vithele, psaltery, crwth and lute, and also restores all types of stringed instruments, including the harpsichord, pianoforte and clavichord.
As a musician and composer-arranger, he is eager to promote awareness of the hurdy-gurdy and its repertoire. In addition to conducting workshops, he is president of the traditional music ensemble "Ad vielle que pourra", and one of the organizers of the "Vielles et cornemuses" festival, an annual event for fans of Quebec, French, Irish and Breton music.
Born in Brussels, Thonon was surrounded by music from an early age as his father was a jazz pianist. He studied the harpsichord at the Geneva Conservatory and the making of harpsichords and early instruments at the Conservatoire de Paris. His interest in medieval music led him to study its origins in Arab-Andalusian music at the Conservatoire de Tlemcen in Algeria. After settling in Quebec in 1977, he continued to be very musically active and, for some time, was a member of the Claude Gervaise ensemble. To date, Daniel Thonon has made over twenty hurdy-gurdies for a broad range of musicians, including the band Pink Floyd, which owns three of his instruments.
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Hurdy-Gurdy
By Edward R. Turner
Vancouver, British Columbia
1974
Cherry, redwood, holly, ebony, Eastern maple, boxwood, brass, steel, gut
Overall length (excluding crank)
by width: 63 x 25 cm; sides 18 cm
Label glued inside the keyboard cover: "Edward R. Turner, 420 W. Hastings St. Vancouver, BC, 1974"; "E.R Turner, Vancouver" is engraved on the back of the keyboard.
This hurdy-gurdy is a reproduction of an anonymous eighteenth-century instrument owned by Paul Reichlin of Samstagern, Switzerland. It also resembles an instrument in the collection of the Conservatoire national de Paris made by Pierre Louvet (1711-84), a renowned hurdy-gurdy maker. The guitar-shaped body is made of cherrywood. With its carved head and ebony and holly inlays on the purfling of the body, this instrument is a model of craftsmanship. The strap was woven by Edward Turner.
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Baroque Guitar
In the manner of René Voboam
By Michael Dunn
Gibsons, British Columbia
1973
Yew, yellow cedar, German spruce, pine, ebony, gut, nylon
Overall length: 96 cm;
body: 47 x 25 cm;
sides: 9.5 cm
Label: "Michael Dunn, luthier, made at Gibsons BC December 1973 #140." The instrument is also signed by Michael Dunn.
Inside the parchement rose is a star, consisting of two triangles (one inverted and superimposed on the other), wich symbolizes universal harmony.
The guitar probably originated in Spain. Guitars with five courses were the most common of the baroque period and came into widespread use in the seventeenth and eighteenth centuries.
The baroque guitar differs from the modern guitar not only by the number of its strings, which are made of gut, but also by its smaller size, occasionally curved back, and knotted-gut frets. The rose is surrounded by ornamentation and entirely covered with fine parchment lace. Its special construction and gut strings give the baroque guitar a tone more similar to the lute than the modern guitar.
A repertoire of scholarly music was written for the baroque guitar and played by reputed guitarists in the royal courts. The instrument was also used to accompany songs and traditional music.
A number of celebrated luthiers, such as Antonio Stradivari (1644-1737), made baroque guitars. While these instruments were usually of simple construction, those that survive are often richly ornamented with inlays and marquetry.
Early on in the revival of stringed-instrument making in Canada, Michael Dunn built this replica of a 1641 guitar by René Voboam, which is housed in the collections of the Ashmolean Museum in Oxford. Voboam, a Parisian luthier, was renowned in the seventeenth century for his finely crafted guitars. The back of the original guitar was inlaid with a tortoiseshell chevron motif, which Dunn has reproduced in marquetry. Mounted on the peg box is a piece of ivory bearing the carved inscription "M. Dunn 1974". The Arab-style rose is made of several layers of delicately cut and gilded parchment. This finely crafted instrument is a tribute to the luthier's outstanding professionalism.
Michael Dunn has been fascinated by the guitar since the age of eleven, when he learned to play the instrument. He became a versatile guitarist, conversant with such diverse styles as jazz, folk, flamenco and bossa nova. In order to study the construction of the guitar, he undertook a two-year apprenticeship in Palma de Mallorca, Spain, under luthiers Jose Orti and Jose Ferrer. In the early 1970s, Vancouver was the centre of the revival of early music and, like several other luthiers, Dunn became interested in reproducing period instruments. In addition to sharing a workshop with luthier and lutenist Ray Nurse, who taught him to make lutes, he has built harpsichords with Edward Turner.
With over twenty-five years of experience in his craft, Dunn is a leading Canadian luthier. He has built all manner of guitars, from the Renaissance vihuela to baroque guitars and acoustic jazz guitars. He has exhibited his instruments extensively in Canada and abroad. In 1980, he was invited to give demonstrations in conjunction with The Look of Music, the prestigious exhibition at the Centennial Museum (now the Vancouver Museum). While continuing to build guitars, Dunn teaches a course in stringed-instrument making at Douglas College in Vancouver. He plays with a group whose repertoire is based on the music of Django Reinhardt (who was part of France's Hot Club, a five-man group formed in Paris in 1932). Michael Dunn has built Maccaferri guitars, like those played by the legendary musician, for himself and the other members of his group.
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Alto Recorder
By Jean-Luc Boudreau
Montreal, Quebec
1990-1991
Moulded polyester resin
47.7 cm
Jean- Luc Boudreau built this recorder on the scale of an instrument by Debey, which is preserved at the University of Utrecht, in Holland. However, although the replica has the same proportions and scale as the original, it is tuned to the modern pitch of A=440, rather than the traditional A=415
This recorder is made entirely of moulded polyester resin, a synthetic product used as a substitute for ivory. Although the material has many advantages, it is hard to handle as it breaks easily during drilling or turning. Jean-Luc Boudreau has achieved a very modern look to this instrument, whose design complements the construction material.
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Violin Bow
In the manner of
Dominique Pecatte
By Bernard Walke
Ottawa, Ontario
1991
Pernambuco wood, cow horn, silver thread, silver, mother-of-pearl, abalone, leather, bone, horsehair 74,5 cm
Brand: "Bernard Walke"
Walke is a biologist by training, and his concern for the environment has led him to question the use of "living" materials, from animal or plant sources, to build musical instruments and other objects. Cow horn offers an interesting alternative to ivory and tortoiseshell, traditional bow-making materials whose use is now banned. The bow shown here is a modern one, with its nut made of cow horn.
Bernard Walke
Bernard Walke has been a bow maker for ten years. His interest in bow making was sparked by his predilection for classical and Celtic music for violin. But his brother, Gregory, also had a hand in his taking up the profession. In 1974, the two brothers had the opportunity to meet John Doherty, a renowned Irish fiddler, in a Donegal pub. The musician's playing and their sustained contact with Irish and Scottish music encouraged the brothers to take up the violin.
In 1980, back from a stint as a biologist in Nigeria, Walke set about to learn the bow maker's craft, at the insistence of his brother, who had since become a luthier. For two years, Bernard apprenticed under Peter Mach, a luthier and bow maker in Aylmer, Quebec. During this time, he also met Dominik Zuchowicz, who taught him about early music and the construction of viols, which sparked his interest in making baroque bows. He opened a workshop in Toronto in 1982 and studied early French and English bows. In 1984, Bernard Walke settled in Ottawa, where he makes bows for modern violins and for baroque instruments.
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Steel-String Guitar, Archtop and Cutaway
In the manner of John d'Angelico et James d'Aquisto
By Linda Manzer
Toronto, Ontario
1991
German spruce, maple, mahogany, ebony, abalone, mother-of-pearl, boxwood, bone, steel
Overall length:
104.5 cm;
body: 50.5 x42.5 cm;
sides: 7.5 cm
The archtop acoustic guitar owes its invention to the development of the dance orchestras of the 1920s and the big bands of the 1930s. In order to be heard above the brass and percussion sections, the guitar had to be louder.
Once again, as a result of musical requirements, the shape of the instrument gradually changed. The archtop guitar was developed in the Gibson workshops in the United States. John d'Angelico and James d'Aquisto subsequently produced models that were highly favoured by jazz guitarists.
This guitar has many features similar to those of a violin: a curved soundboard, f-shaped soundholes and an adjustable bridge over which the steel strings run to the tailpiece, where they are anchored. A steel frame in the neck also helps support the high tension of the strings. Early on in its development, the archtop guitar was equipped with electric pickups, although it cannot match the much more powerful volume of an electric guitar. The instrument has an intimate tone, widely appreciated in the jazz world.
Linda Manzer decorates the fingerboard or peg box of her guitars with inlays, an obvious influence of her first teacher, Jean-Claude Larrivée. This guitar is decorated with motifs representing eight animal species that are endangered or already extinct in Canada. Starting at the peg box, the species are the Dawson caribou, the peregrine falcon, the swift fox, the eastern cougar, the spotted owl, the sea otter, the whooping crane and the bowhead whale. The peg box is ornamented with a floral motif and bears the artist's name carved in a piece of mother-of-pearl. This carefully crafted instrument has a tone worthy of the great jazz guitars.
Linda Manzer became interested in making stringed instruments while studying at the Nova Scotia College of Art and Design, where she attended woodworking workshops. She decided to devote herself to the craft and chose as her teacher Jean-Claude Larrivée, who was working in Toronto. She apprenticed under him for four years, after which she built acoustic guitars for such famous musicians as Pat Metheny, Bruce Cockburn and Milton Nascimento, each of whom owns at least one of her instruments. In 1984, she trained under James d'Aquisto in New York to learn to make archtop guitars in the tradition of John d'Angelico.
Manzer is well known for her innovative spirit, which compels her to never refuse an order, no matter how unusual. For example, she built the celebrated Pikasso 42-string, three-necked guitar for Pat Metheny. In addition to steel-string archtop guitars, Linda Manzer makes classical guitars.
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Double Base
In the manner of Georges Louis Panormo
By Peter Mach
Ottawa, Ontario
1992
British Columbia maple and spruce, ebony, brass, rosewood, steel; brass machine heads by J.-M. Forget
Overall length: 188 cm;
body: 114.5 x 7.3 cm;
ribs: 20 cm
Label: "Peter Y Mach Fatto in Aylmer, Qué. 1992"
The double bass has changed considerably since the late fifteenth century. It is the lowest-pitched instrument in the orchestra, where its traditional role has been to bolster the bass and rhythm. Moreover, some works call for great virtuosity, for example, Mussorgsky's Pictures at an Exhibition, orchestrated by Ravel in 1922. Concertos and sonatas have also been written for solo performances of the double bass. Prominent in jazz, the instrument is usually plucked and imparts great vigour to the rhythm.
Because of the large size of the double bass, the back is normally in two parts. When it is built of a single piece, as it is in this double bass, the wood must come from a tree whose diameter is at least twice the width of the instrument. It should be noted that the luthier generally saws the wood in quarters. When two pieces of wood are used to make the back of the instrument, two adjacent pieces from the same tree are selected and placed side by side to create a pleasing mirror effect.
Peter Mach's reproduction is based on a double bass by George Lewis Panormo which belongs to a member of the Montreal Symphony Orchestra. Panormo (1774-1842) spent his whole life in London, where his father, a luthier of Italian origin, had settled. He built instruments of the violin family as well as bows and guitars.
Mach made this instrument in the late fall and early winter of 1991-92, when the humidity in his workshop was relatively low. Under such conditions, wood releases the moisture that it normally tends to retain; it can reabsorb moisture when ambient humidity increases, without harming the instrument.
Peter Mach
http://www.metierdart.com/mach.htm http://www.machonerest.com/
While Peter Mach has always been fascinated by the luthier's art, he was initially trained as a pattern maker in his native Czechoslovakia before turning to instrument making. After immigrating to Canada in 1969, he studied the art under Joseph Kun, a fellow Czech and a luthier and bow maker. In 1976, he enrolled in the international school of stringed-instrument making in Cremona, Italy. After a four-year apprenticeship, he opened his own workshop in Aylmer, Quebec, where he makes and repairs violins and bows. Several musicians in the National Arts Centre Orchestra own instruments by Peter Mach.
資料來源 http://www.civilization.ca/arts/opus/opus701e.html
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