樂器資料集-4
Violin
In the manner of Giuseppe Guarneri
By John Newton
Desboro, Ontario
1991
Maple, spruce, steel
Overall length: 59 cm;
body: 35.5 x 20 cm;
ribs: 3 cm
Bartolomeo Giuseppe Guarneri (1698-1744), known as Giuseppe del Gesù, was the last and most celebrated member of a family of Cremona luthiers. His violins are unquestionably as renowned as those of Stradivari.
Guarneri was no doubt influenced by his countryman, as he was by the distinguished instrument makers of Brescia, whose instruments combined the two great traditions of Italian baroque stringed instruments. He was nicknamed "del Gesù" because of the labels that appear on his violins, bearing the monogram IHS (Jesu Hominum Salvator) and a Roman cross.
John Newton
Toronto-area luthier John Newton has been crafting instruments full-time for ten years. His manual skill was developed, he says, by building reduced scale models and by drawing. Newton began to play the violin when he was around fifteen, and his love of music for stringed instruments eventually drew him to instrument making. After building five violins on his own, he vowed to become a professional luthier. He apprenticed under Otto Erdész, a Romanian-born luthier and master viola maker who had settled in Canada after living in New York for seventeen years. In the course of his apprenticeship, Newton learned all facets of stringed-instrument making, from wood selection, design and varnishing to final adjustment.
Newton made several violas under Erdész's direction and became his assistant. In 1981, he received a Canada Council grant that enabled him to continue his studies and launch his career as a professional luthier. To date, he has made approximately one hundred instruments, which are widely appreciated by professional musicians and are played in major orchestras such as the Toronto Symphony, the Canadian Opera Company Orchestra, and the Amadeus Ensemble. Newton says that he is fascinated and inspired by the demands of his craft: balancing manual dexterity and musical understanding with artistic expression; respecting an ancient tradition while meeting the practical needs of contemporary musicians; and achieving consistent quality while bearing in mind the numerous variables inherent in natural materials.
-----------------------------------------------------------------------------
Viola
In the manner of Brescia school
By David Prentice
Flesherton, Ontario
1991
Ontario Maple, spruce, steel, ebony
Overall length: 68 cm;
body: 41 x 24.5 cm;
ribs: 3.8 cm
The viola has rarely enjoyed the same esteem as the violin, although composers have, over the years, gradually discovered the richness of its tone, at once veiled and warm, sombre and velvety.
The violin owes its brilliance to the perfect ratio between its tessitura and dimensions. If applied to the viola, this ratio would yield an instrument too large and difficult to play. By cheating a bit on the ratio, the luthier obtains an instrument with structural and acoustic imperfections, but with a unique tone and character. Developed in northern Italy, the viola was already a well-established member of the violin family by about 1535. It was used to play the middle parts in musical ensembles, usually to round out the harmony. It was not until the mid-eighteenth century that it came into its own as a solo instrument.
The viola plays an important role in chamber music, especially in string quartets. With Haydn, Mozart and Beethoven, the quartet achieved a perfection that elevated it to the leading genre in classical chamber music. As chamber music developed, the four instruments in the string quartet acquired equal importance, with the viola and violoncello becoming as prominent as the two violins. When Mozart and Haydn organized informal quartets with their colleagues Dittersdorf and Vanhal, the viola was played by Mozart.
David Prentice
In 1980, violinist David Prentice was shopping for a better violin but was put off by the price. He decided then and there to embark upon the adventure of instrument making. The manual nature of the work, he confides, brought back the childhood thrill of building scale models and playing with Meccano sets. He sought the necessary information on violin making in books but found them rather perplexing. However, he met luthier Joseph Curtin, who proved extremely helpful. Prentice made his first violin in a course given by luthier Philip Davis at the Ontario College of Art, and was so satisfied with his first instrument that he decided to pursue a career in the field.
Initially, Prentice made both violins and violas, with the help and advice of John Newton and Joseph Curtin. But he later specialized in violas, whose dimensions and design, less standard than those of the violin, allowed him more freedom. Building one instrument at a time, he has found in his daily work a balance between the technical and the sculptural and creative facets of his art. His clients include advanced students and professional musicians, and his instruments appear in symphony orchestras and string quartets across Canada and the United States. In 1990, he received a Canada Council grant.
"The most fascinating aspect of instrument making for me is sound," says David Prentice. "How to achieve a consistently good quality of sound, how to maximize power, how to achieve different tonal colours: these are questions that rely on so many variables from quality of wood to arching, to varnishing and set-up. This sound element raises the craft of instrument making from high-quality woodworking to an art: the art of sound production."
---------------------------------------------------------------------------------
Violoncello
In the manner of Antonio Stradivari's Piatti model
By Jean-Benoît Stensland
Montreal, Quebec
1992
Yugoslavian maple, Tyrolean fir, ebony, steel
Overall length: 122.5 cm;
body: 76 x 44.5 cm;
ribs: 12.5 cm
Label: "J.B. Stensland Luthier Montreal 1991
Like the other members of the violin family, the violoncello was developed in northern Italy (Cremona, Brescia, Bologna and Milan) by numerous luthiers, including Andrea Amati, Gasparo da Salo, Andrea Guarneri and Francesco Ruggeri. The instrument appeared early in the sixteenth century, although the term "violoncello" came into use a full century later, to replace "bass violin."
Usually, the construction of an instrument changes simultaneously with its musical role. The violoncello became a solo instrument in the late seventeenth century, when sonatas and concertos were written for it. In the late eighteenth century, Boccherini, a composer and virtuoso cellist, featured the instrument in his works and concerts.
Jean-Benoît Stensland's beautifully crafted violoncello, based on Antonio Stradivari's Piatti model, is finished with a reddish brown varnish on gilded background.
Jean-Benoît Stensland
http://www.sabec.com/luthier/
Jean-Benoît Stensland has had thorough training as a luthier. He began his apprenticeship in Montreal in 1976 under luthier Jules Saint-Michel and later under Antoine Robichaud. After acquiring the basics of instrument making, he worked at Peate Musical Supplies in Montreal, where he learned how to restore all types of stringed instruments. This training enabled him to obtain a Canada Council grant in 1980 to study for four years at the international school of stringed-instrument making in Cremona, Italy. After graduating in 1984, he earned a certificate of merit for one of his violins in the international instrument-making competition of the Violin Society of America. Back in Canada, Stensland opened a workshop with luthier Thérèse Girard. Together, they have developed techniques based on the Italian and French schools, striving for a particular ideal tone while focusing on the visual aesthetics of the instrument.
To date, Jean-Benoît Stensland has made approximately sixty instruments, some of which are played by members of the Montreal Symphony Orchestra, I Musici de Montreal, and the Orchestre métropolitain.
-----------------------------------------------------------------------------------------
Violin Bow
By Joseph Kun
Ottawa, Ontario
1982
Pernambuco wood, ebony, silver, mother-of-pearl, leather, horsehair
74.5 cm
Gift of the Massey Foundation
Brand: "Jos Kun Ottawa"
The bow, although often overshadowed by the stringed instrument it accompanies, is as complex to make as the instrument itself. In fact, bow making is an art, just like instrument making.
While its exact origin is uncertain, the bow appears to have come from central Asia. A tenth-century treatise by a Baghdad theoretician and scholar named Al-Faradi on the rebab (Arab violin) proves that the bow already existed by then. Moreover, around this time the bow was introduced into Europe from the Arab and Byzantine countries.
The modern bow, developed in the mid-eighteenth century, differed from its predecessors in its slightly concave curve, making it stronger and more precise. Around 1780, the Parisian bow maker François Tourte (1747-1835) developed the bow which, except for minor variations, is still used today.
The hair of the bow is horsehair as many as two hundred strands on a modern bow. To ensure that the horsehairs adhere properly to the strings, they are rubbed with a solid resin called colophane or arcanson, which is obtained by distilling turpentine.
The bow featured here has an octagonal stick, decorated with silver thread. The ebony nut is ornamented with mother-of-pearl and silver, and the head plate is made of silver.
Joseph Kun
Joseph Kun learned instrument making in his native Czechoslovakia. After settling in Canada in 1968, he earned an international reputation for his bow making. A luthier as well as a bow maker, he crafted violins, violas and violoncellos, and was also well known for his repair and restoration work. Guarneris, Stradivaris and other valuable instruments were often sent to his workshop for delicate repairs. Joseph Kun was a member of the American Federation of Violin and Bow Makers. His bows have won numerous awards in international bow-making competitions.
------------------------------------------------------------------------
Violin Bow
In the manner of of François Tourte
By Reid Hudson
Duncan, British Columbia
1990
Pernambuco wood, silver, horsehair, walrus ivory,
mother-of-pearl, ebony, synthetic whalebone, snakeskin
74.6 cm
Die-stamped marking: "Reid Hudson"
his is a fine example of a French bow in the manner of François Tourte. The stick is octagonal, and the head plate is covered with walrus ivory. The nut is ornamented with mother-of-pearl and silver, and the adjusting screw is made of silver.
Reid Hudson
http://www.reidhudson.com
A native of Toronto, Reid Hudson studied the double bass before turning to bow making. He apprenticed under the celebrated Ottawa bow maker Joseph Kun in the mid-1970s and opened his own workshop in 1977. Since 1980, he has lived on Vancouver Island, where he continues to practise his art. He has received numerous first prizes for the quality of his bows in American and Canadian competitions. Reid Hudson serves on the selection jury for Canada Council grants to luthiers and other instrument makers.
---------------------------------------------------------------------------------------
Viola bow
By François Malo
Montreal, Quebec
1992
Pernambuco wood, ebony, silver, mother-of-pearl, bone, leather, horsehair
75 cm
Brand: "F Malo à Montreal"
This bow was designed for luthier David Prentice's viola. The stick is round, and the adjusting screw is made of ebony and silver. The ebony nut is ornamented with a mother-of-pearl eye.
François Malo
A cellist by training, François Malo cites his curiosity as a musician as the reason for his entry into the world of bow making. After studying for a year in Québec with the Strasbourg bow maker Yves Matter, he decided to broaden his knowledge in France. Finding a teacher in the closed community of bow makers is no mean feat. However, with his bows tucked resolutely under his arm, François Malo managed to convince more than one master bow maker to accept him as an apprentice. He obtained three Canada Council grants which enabled him to study with Gilles Duhaut in Mirecourt (the French capital of stringed-instrument making), William Salchow in New York, and the renowned Stéphane Thomachot in Paris. To date, François Malo has made nearly three hundred bows. His clients include musicians from major Canadian and American orchestras, in Toronto, Montreal, Winnipeg, New York, Philadelphia and Cleveland, to name but a few.
-----------------------------------------------------------------------------
Baroque Flute
In the manner of Jacob Denner
By Peter Noy
Toronto, Ontario
1992
Boxwood, bone, silver
62.3 cm
Brand: Artist's seal, followed by "Noy."
There were great strides in the making of flutes during the baroque period. Beginning in the late seventeenth century, the instrument was built in three sections; it acquired a key, and the bore became cylindrical and conical. Like the recorder, the flute was probably transformed by the Hotteterre family, French instrument makers in the court of Louis XIV. The modifications made it possible for instrument makers to drill the bore with greater accuracy and for musicians to tune the instrument.
The eighteenth century marked an important period in the development of the flute. The instrument was made in four sections, or joints, and keys were added. These joints were built in different lengths so that performers could tune the flute to the standard pitches of particular cities or to those used in chamber, church or opera music. In this century of transition between the baroque and classical periods, the flute gained widespread popularity. Virtuoso performers gave public concerts, a novelty that subsequently became common practice.
Peter Noy has been making flutes for over ten years. In his Toronto workshop, opened in 1988, he specializes in making recorders and early flutes, and repairs modern woodwind instruments.
A flautist and devotee of early music, Noy was prompted by curiosity to explore flute making and teach himself the craft. He undertook research by studying the construction of various early instruments and acquired solid experience in repairing wind instruments by working for Gary Armstrong Woodwinds. A number of grants from the Canada Council and the Ontario Arts Council enabled him to study historic instruments in a dozen European collections. Peter Noy has participated in numerous exhibitions and international shows in North America and Europe.
-----------------------------------------------------------------------------------------
Baroque Flute
In the manner of Johann Joachim Quantz
By Jean-François Beaudin
Frelighsburg, Quebec
1992
Ebony, silver, plastic, brass, corks
67.3 cm
Die-stamped markings: "BEAUDIN"
(above a turtledove); "1992"; "111"
Jean-François Beaudin based this flute on an instrument by Johann Joachim Quantz (1697-1773), which is part of the Miller Collection in the Library of Congress in Washington. A German flautist, composer and theoretician, Quantz taught the flute to Frederick the Great, among others.
His treatise on the flute, Versuch einer Anweisung die Flöte traversiere zu spielen ("On playing the transverse flute"), published in 1752 in Berlin, is one of the most extensive sources of information on the instrumental practice of that time. Quantz's flutes differed from Hotteterre's earlier models: they were made in four sections, had a second key, and were equipped with an internal slide between the head and middle joints so that the pitch could be lowered without unbalancing the tuning.
Whereas Quantz's flute has six interchangeable joints, Jean-François Beaudin decided to reproduce the joint with a pitch of A=392, which was the most frequently played, as suggested by the wear on the holes. Beaudin also substituted plastic mounts for the ivory mounts on the original flute. The instrument maker's name is inscribed in a curve, often seen on baroque instruments, above a turtledove with open wings. Jean-François Beaudin identifies with the turtledove, which he feels symbolizes freedom; its introspective song is gentle but far-reaching and hauntingly mysterious, like the music of the baroque flute.
Musician and flute maker Jean-François Beaudin specializes in seventeenth- and eighteenth-century music. His virtuosity on the baroque flute and the recorder was developed at the Royal Conservatory of Music in The Hague. At this renowned school he was also introduced, by Australian instrument maker Frederick Morgan, to flute making and the art of drafting plans of early flutes. Thanks to three grants from the ministère des Affaires culturelles du Québec, Beaudin undertook a number of training stints and trips to examine collections of early instruments in order to study them and prepare inventories and plans. In addition to producing technical drawings for his own research, Beaudin has been commissioned to produce more than fifty technical drawings of instruments for the Musée instrumental du Conservatoire national supérieur de musique in Paris, the University of Edinburgh's Collection of Historic Musical Instruments, and the Musikinstrumenten-Museum des Staatlichen Instituts für Musikforschung in Berlin. With a solid fifteen years' experience at his craft, Jean-François Beaudin has made over one hundred instruments, including several flutes and recorders as well as flageolets, mainly for European clients. During a recent trip to India, he developed an interest in the Indian bamboo flute.
-----------------------------------------------------------------------------------
Classical Flute in C
In the manner of Richard Potter
By Jean-Luc Boudreau
Montreal, Quebec
1990-91
Granadilla wood, moulded polyester resin, brass
65.8 cm (or 66.8 cm with interchangeable joint)
Die-stamped marking: "Jean-Luc Boudreau Montreal 610690"
The development of the wooden flute reached its peak in the latter half of the eighteenth century. A group of London flute makers had apparently developed a flute with four keys. Other pairs of keys were subsequently added, bringing the total to eight.
Mozart, Beethoven and Schubert wrote music for this type of flute, which was usually made of wood, but occasionally of ivory, and was equipped with up to eight keys. It was not until the mid-nineteenth century that the metal flute appeared, thanks to the German flute maker Theobald Boehm (1794-1881).
The flute shown here is based on a model by Richard Potter (1726-1806), an English flute maker who significantly improved the construction of the instrument. This flute in C with six keys (C#, D, D#, F, G# and Bb) has an interchangeable middle joint so that the instrument can be tuned to A=430 and A=440. It is made of granadilla wood and has polyester resin mounts. The keys are made of brass.
-------------------------------------------------------------------------------------
Butterfly Headjoint for Flute
By J.P. Goosman Flutes Ltd
Pickering, Ontario
1991-92
Sterling silver headjoint with
14-carat gold embouchure
22.3 cm
An instrument is rarely created from scratch; it is usually the product of a long process and extensive experimentation. However, the invention of the modern flute is often attributed to a single man, Theobald Boehm (1794-1881), a German goldsmith, flute maker and professional flautist. Boehm redesigned the location and size of the tone-holes to increase the instrument's volume, and designed the complex mechanism that allows the keys to operate independently as well as interact with others in different combinations. He also used metal instead of wood for the revamped flute, which he completed in 1847.
Despite its powerful volume, which must certainly have been appreciated at a time when there was constant striving for greater brilliance, Boehm's flute gained ground rather slowly because the innovative key mechanism required new fingering techniques. For this reason, wooden flutes were still found occasionally in orchestras in the early twentieth century.
No matter how sophisticated the instrument, there always seems to be room for research and improvement. This flute headjoint with Butterfly embouchure wall and lip plate, designed by Jack Goosman, is considered by many flautists to be a breakthrough in flute making because it appreciably alters the flow of air, which enters the flute more rapidly. The silver headjoint is engraved "J.P. Goosman Toronto," followed by the monogram "JPG" and "CAN.PAT. 1,275,837."
Jack Goosman
http://butterflyheadjoints.netfirms.com/
Before becoming a flute maker, Jack Goosman studied the flute under some famous teachers. In 1968, he obtained a performance degree from Duquesne University, in Pittsburgh, and began work in the reputable Boston workshop of Verne Q. Powell Flutes Inc. This company, which helped make Boston the centre of American flute making, had introduced the French-style flute to the United States before developing its own model. It was in this workshop that Goosman, who had previously concentrated on flute repair, discovered he had a genuine talent for flute making.
In the spring of 1971, Goosman opened his own workshop outside Toronto. The move was doubly beneficial: for the Toronto area, which had few if any flute makers; and for Goosman, who was fond of this part of the country, where he had spent his summers as a child. By 1974, his repair workshop was doing very well, and he set about making flutes, with the help of his wife Mara, also a flautist, and his assistant Yutaka Chiba. One of Goosman's first flutes was for Nicholas Fiore, principal flautist in the Toronto Symphony.
The high quality of Goosman's instruments quickly earned him an enviable reputation. His clients include such well-known flautists as James Galway, Jeanne Baxtresser and Robert Cram, to name but a few, and symphony orchestra flautists from Europe, Japan and North America. In 1989, Goosman devoted part of his time to research and design the Butterfly headjoint and embouchure. Patented in Canada and the United States, the Butterfly headjoint enables the flautist to articulate notes more quickly and accurately. It extends the upper register of the alto flute and increases its volume. The Butterfly headjoint was unveiled at the 1989 National Flute Association Convention in New Orleans.
---------------------------------------------------------------------------
Marimba
By Denis Grenier
Cap-de-la-Madeleine, Quebec
1992
Sugar maple, kingwood, Honduran rosewood,
aluminum, steel, rubber, nylon
Length: 170.5 cm; width: 76 cm;
height: 88 cm
he marimba is an ancient instrument, found in central Africa and the Malay Archipelago, where it took the form of a small xylophone with calabashes placed under the bars to act as resonators. It later appeared in South and Central America, where it was made by African slaves. European settlers modified the marimba and added carefully tuned resonators. Another feature of Central American marimbas is the resonators outfitted with mirlitons, which give the instrument its characteristic nasal timbre. These membrane-mirlitons attached to the resonators are typical of early Mexican marimbas.
Around 1910, the marimba made its appearance in the percussion section of Western orchestras. Wooden resonators were replaced by metallic tubes that could be tuned by moving metal discs located in their lower extremity, and the mirlitons were eliminated.
Opus 45 - Marimba
The frame of this marimba is made of sugar maple and kingwood, covered with black lacquer and decorated in purple and gold. Locking casters make the instrument easier to move. The tubular resonators have a gold lacquer, and the Honduran rosewood bars are finished in satin lacquer. This marimba has a range of fifty-two notes--four octaves plus a minor third. It was built specially for Opus.
Denis Grenier
Denis Grenier is one of the few North American instrument makers to specialize in percussion bar instruments. He became interested in the craft while repairing school instruments. Through hours spent dismantling and reassembling numerous instruments, he became thoroughly familiar with their construction and developed an eye for identifying their design flaws and qualities. When he received his first order, he decided to design his own prototype. As a self-taught artisan, Grenier has eagerly sought the advice of cabinetmakers, engineers and musicians. His father, a certified machinist, has also been a valuable resource person.
Grenier opened his workshop in 1982 and gave up teaching percussion music in 1987 to concentrate full-time on instrument making. While most of his instruments are designed for the educational sector--post-secondary institutions, universities and conservatories--his clients also include professional percussionists from various musical ensembles. Denis Grenier has developed approximately fifty exclusive models of instruments, for which he has devised the design, acoustic calculations, and assembly procedures.
-----------------------------------------------------------------------------------
he beauty of a musical instrument apart from its sound does not stem from a few aspects of its decoration, but from the balance of its proportions. "What's good for the eye is good for the ear" has guided luthiers and other instrument makers for centuries in their quest for perfection.
In the three hundred some years between the beginning of the Renaissance and the end of the baroque period, there was a broad array of musical styles. Changes were closely linked with history and social conventions, which dictated the kinds of art objects people preferred at different periods. For example, the Italian Renaissance, with its humanist approach inherited from the Greeks, encouraged the production of musical instruments that, in addition to pleasing the ear, would satisfy and delight the eye, like painting and architecture.
The Vitruvian Man of Perfect Proportions
Coates, Kevin. Geometry, Proportion and the Art of Lutherie. Oxford: Oxford University Press, 1985.
This philosophy also spawned the belief that "Man is the measure" in the rule of proportions. Vitruvius (Marcus Vitruvius Pollio), a Roman architect employed by the emperor Augustus, conveyed this notion in De Architectura, which explains that the human body and its extended limbs mark the confines of a perfect circle and a square. This rule of proportions, called "the golden mean," was illustrated by numerous Renaissance artists, the most famous of whom was undoubtedly Leonardo da Vinci (see The Vitruvian Man of Perfect Proportions).
Studies on the proportions of Renaissance and baroque musical instruments suggest that luthiers of those periods were aware of the mathematical concept of the golden mean. Its application to instrument making produced shapes which are considered aesthetically perfect and which, on closer study, reveal the geometry of the instrument. This geometry provided the luthier with a simple method to achieve a harmonious shape.
During the baroque period, this sober and somewhat abstract aestheticism coexisted with a decorative style so exuberant that it sometimes overwhelmed the true function of musical instruments, which came to symbolize social standing.
Yet, the practice of decorating musical instruments is very old indeed. Some decorated instruments have been found to date back to the Stone Age and the Bronze Age in ancient Egypt and ancient Greece. In the Middle Ages, the decoration of the psaltery led to the tradition of rose decorations found on later stringed instruments. The organ, associated with religious music, was decorated with sculptures that blended with the architecture of its site. In secular music, some instruments began to be embellished; for example, the hurdy-gurdy was given a sculpted head. This decorative practice continued in the centuries that followed, reaching its peak in the baroque period. Decorative styles subsequently became more subdued, confined to details such as roses on soundboards, sculpted heads, and marquetry.
With the advent of the industrial era and mass production, instrumental decorations gradually disappeared. By the turn of the century, hand-decorated instruments had all but vanished. The practice was revived only later, with the renewed interest in early music and instruments produced in the historically correct manner. Today, the instruments played in symphony orchestras are quite sober. The focus is mainly on the instrument's tone, along with its harmonious shape, pleasing colour, fine craftsmanship and, for the musician playing it, balance and personal suitability.
資料來源 http://www.civilization.ca/arts/opus/opus701e.html
留言
張貼留言