樂器資料集-5
Baroque Violin
By Denis Cormier
Montreal, Quebec
1991
European curly maple, European spruce, boxwood, ebony, gut, ivory, polyester
Overall length: 59 cm;
body: 35.2 x 20.5 cm;
ribs: 3 cm
Label: "Denis Cormier fait à Montreal en 1991 No. 103"
As discussed under Opus 33, the baroque violin (prior to the 1800s) differed from the modern violin. It had a smaller bass bar and soundpost, and its neck, which was not inserted in the topblock, was only slightly tilted. The bevelled fingerboard and the tailpiece were decorated with marquetry. Today, the G string and sometimes the D string of the baroque violin are made of gut wound with wire; but the other strings are all gut.
The instrument seen here is based on a late baroque model, like those made in Mozart's time. The ribs, scroll and back are made of a single piece of European curly maple; the two-piece soundboard is made of European spruce. The flecked reddish-orange varnish has been applied in varying hues. The neck and tailpiece are inlaid with boxwood; and the nut and saddle are made of ivory, the fingerboard of ebony-covered maple, the pegs of ebony, and the endpin of polyester.
Denis Cormier
http://www.deniscormier.com
Video Excerpt
Denis Cormier
Montreal, Quebec 1991
Born into a family of fiddlers, Denis Cormier was exposed to the violin from an early age. Focusing on classical-violin making, he apprenticed under Frédéric Boyer in Paris for two years and also trained under the Dutch master Willem Bouman in The Hague. After returning to Montreal, he opened a workshop in 1980. What he builds, says Cormier, is a sound. This sound is, in fact, a special one: his modern and baroque violins are played by professional musicians in Canada, the United States, Europe and Japan. Denis Cormier has made a number of instruments for the Orchestre symphonique de Montreal, the Orchestre métropolitain, the Studio de musique ancienne, and the group I Musici.
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Baroque Oboe in C
In the manner of Johann Christoph Denner
By Martin Léveillé and Jean-Luc Boudreau
Montreal, Quebec
1991
Boxwood, brass
57 cm
Die-stamped: "Boudreau Léveillé Montreal"
While double-reed instruments have existed for a long time, the direct ancestor of the modern oboe originated in the seventeenth century. The baroque oboe appears to have been developed in France by instrument makers in the Hotteterre family, who introduced it to the court of Louis XIV in 1657. The new instrument produced the same volume as the ancient chalumeau but was also capable of soft tones. It quickly gained favour throughout Europe and became one of the most expressive instruments in the orchestra. Beginning in the nineteenth century, the oboe gradually underwent changes, such as the addition of a key mechanism, which led to the modern oboe.
This oboe is based on an instrument by Johann Christoph Denner that is preserved in Nuremberg, Germany. The Denners were renowned wind-instrument makers in that city. Four such oboes are still existant. This instrument in C has three brass keys and is tuned to A=415. To produce a sharp note, the musician simply covers one of the double holes and leaves the other open. Nitric acid was used to produce the instrument's colour.
Martin Léveillé
A graduate in oboe and chamber music from the Conservatoire de musique de Québec, Martin Léveillé specializes in repairing and making wind instruments. Thanks to grants from the ministère des Affaires culturelles du Québec and the Canada Council, in 1983 he undertook a two-year practicum in the workshops of Jean Mignot in Paris, where he learned to make modern oboes under Michel Viger and Gérard Mignot. In 1986, he continued his studies in Utrecht, Holland, where he made baroque oboes under Toshi Masegawa. He also trained under Guy Dupin in Zurich, focusing this time on the repair of modern oboes. Since his return to Montreal, in addition to repairing modern oboes, he has crafted ten baroque oboes. He works closely with a number of luthiers and other instrument makers to design and produce instrument parts and specialized tools for making stringed instruments. Since 1991, Martin Léveillé has collaborated with Jean-Luc Boudreau to make baroque oboes.
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Harpsichord
In the manner of J. J. Couchet 1679
and J. Ruckers 1640
By Yves Beaupré
Montreal, Quebec
1991
Black cherry, Sitka spruce, bone, ebony, linden,
tempera, brass
Length: 193 cm;
width of keyboard: 78.7 cm;
thickness: 24.1 cm
Inscription on nameplate: "YVES BEAUPRAE ME FECIT MONTREALAE MCMXCI" M. On the pin block,
the instrument is signed "Y.B. no 64."
Although the shape and keyboard of the harpsichord are similar to those of the piano, the two instruments are very different from each other, with vastly different timbres. The strings of the piano are struck whereas those of the harpsichord are plucked. Each key on the harpsichord activates a jack connected to a plectrum that plucks the string.
The earliest evidence of an instrument of this type is from 1397, when a Paduan lawyer wrote that Hermann Poll claimed to have invented the clavicembalum. As of the late fifteenth century, the harpsichord is depicted in a number of paintings and described in several manuscripts, in particular that of Henri Arnault de Zwolle. The harpsichord became more widely used in Europe, acquiring a particular character in each country. Italy, Flanders, France, Germany and England all had great harpsichord makers, and numerous schools of harpsichord making coexisted until the late eighteenth century, when the instrument was supplanted by the pianoforte. This new instrument, whose strings are struck, made it possible to play with varying nuances--hence its Italian name meaning "soft-loud" in keeping with the musical tastes of the day. The harpsichord did not come back into use until the late nineteenth century, when a Parisian named Érard built the first modern harpsichord, with a quite different sound from that of the seventeenth- and eighteenth-century instruments. Since 1945, there has been a return to the construction and sound of early harpsichords.
Yves Beaupré based this harpsichord on two Flemish instruments, one by Joseph Joannes Couchet, dated 1679, the original of which is in the Smithsonian Institution, and the other by Joannes Ruckers, dated 1640, preserved at Yale University.
Couchet was related to the Ruckers family of Antwerp, who dominated the Flemish school between the sixteenth and eighteenth centuries. Their instruments, which influenced harpsichord makers throughout Europe, are highly regarded by contemporary instrument makers, who strive to reproduce their tone.
This instrument has a single keyboard of fifty-two keys and two eight-foot unison registers. It is tuned to a short octave, and its range is GG/BB-d'''; a transposing keyboard allows the shift in pitch from A=415 to A=440. The soundboard, signed "Danièle Forget 1991," is decorated with a bronze rose and tempera motifs consisting of flowers, insects, parakeets and berries. Forget has added the indigenous Canadian ephemera to the insects traditionally painted on Flemish harpsichords. The decoration of the body is typical of Flemish instruments: marbling on the sides and block-printed paper on the inside of the lid.
Yves Beaupré is a Montreal instrument maker who has established a solid reputation in the realm of early music. A graduate in harpsichord performance from the Université de Montreal, he made his first instrument on his own. Since this first experience in 1976, he has devoted himself to instrument making and now has sixty harpsichords to his credit. A Canada Council grant in 1981 enabled him to study major collections of instruments in Europe and meet master harpsichord makers.
While Beaupré follows traditional instrument-making techniques, he prepares his own technical drawings, convinced that understanding and interpreting the principles of early harpsichord making is artistically and musically preferable to slavish copying. He has thus brought some innovations to the instruments, making them more mechanically reliable and stable. The National Arts Centre in Ottawa owns a Beaupré harpsichord, as do numerous internationally renowned professional harpsichordists.
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Bass Viol
In the manner of
Richard Meares
By Ray Nurse
North Vancouver,
British Columbia
1991
British Columbia maple and Sitka spruce, ebony, ivory, gut
Overall length: 121.5 cm;
body: 66 x 36.5 cm;
ribs: 12 cm
Label: "Ray Nurse 1991 Vancouver Canada no 914"
he viola da gamba achieved prominence during the Renaissance and the baroque period. In the late fifteenth century, Spanish musicians apparently attempted to play the vihuela (a type of guitar) with a bow. From this experience was born the viol, which the Italians of the sixteenth century dubbed the viola da gamba because it was held between the legs. They thus distinguished it from instruments in the violin family, which they designated as viola da braccio ("arm-viol"). Promoted by court musicians, the instrument rapidly gained favour in Germany, France and England.
Like a number of other Renaissance instruments, the viol comes in several different sizes, the most common being the treble, tenor and bass viols. As viols harmonize very well together in ensembles, an extensive repertoire of works was written for them, especially in England. Such ensembles, called consorts, were made up of professional and upper-class amateur musicians.
During the baroque period, the bass viol was more widely used than the others. It commonly provided continuo accompaniment to the harpsichord in chamber music.
Ray Nurse built this bass viol in the manner of an instrument by Richard Meares that is preserved in the Victoria and Albert Museum. Meares worked in London during the second half of the seventeenth century, at a time when the trio sonata had just been introduced in England. As viol making reached a peak of refinement, the pure lines of the instruments were embellished with limited decoration.
This is the type of viol, with sloping upper bouts and strikingly elegant lines, that Ray Nurse built for Opus. The peg box is covered with intertwining leaves carved in relief. The scroll consists of a magnificent open shell, carved from one side to the other. The purfling traces a geometric design on the back and a floral motif on the soundboard. The varnish is a light colour. The luthier's name appears on the bridge of this six-string instrument.
Ray Nurse teaches the lute in the Music Department of the University of British Columbia and is internationally recognized as one of North America's foremost luthiers. He began his career in instrument making in 1965. In 1967, he became an apprentice to Ian Harwood and John Isaacs in England while studying the lute under Dianna Poulton. Since then, he has thoroughly researched the construction of the lute and other stringed instruments in European and North American museums. Nurse helped found the Vancouver Early Music Society and has been involved in establishing early-music ensembles.
Since 1976, Nurse has been a director of the Lute Society of America and has given numerous talks and workshops on lute performance and making. In the early 1970s, he opened a workshop in Vancouver, where he builds replicas of historic instruments as faithfully as possible to the methods and aesthetics of early luthiers. Ray Nurse's lutes are admired by world-famous professional musicians.
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Baroque Violin Bow
By Louis Bégin
Montreal, Quebec
1990-1991
Banyan, fossilized walrus ivory, horsehair
70.5 cm
Brand: "Louis Bégin" (hidden by the nut), "180291".
While there were many types of bows in the Middle Ages, they commonly had an arched stick. However, the baroque bow was almost straight. At that time, a screw system, similar to the one used on modern bows, was introduced to adjust the tension of the hair. While the baroque bow does not enable the musician to achieve the same technical prowess as with the modern bow, it was nevertheless suited to the music of its time, particularly chamber music, which required little volume.
The nut and adjusting screw on this baroque violin bow, which is based on an eighteenth-century French model, are made of fossilized walrus ivory. Designed to play a gut-string baroque violin, the bow weighs forty-eight grams.
The nut and adjusting screw on this pike-head bow, based on a seventeenth-century French model, are made of fossilized walrus ivory; the fluted stick is made of snakewood. The bow, which weighs seventy-six grams, was designed for Opus to accompany Ray Nurse's viola da gamba (Opus 49).
While studying the viola da gamba at the Conservatoire royal de Bruxelles, Louis Bégin took woodworking courses to help him relax. His subsequent fascination with blending wood and music eventually led him to bow making. He completed this stay in Europe with a first prize in viola da gamba performance and with several training sessions in bow making to his credit, including a course given by bow maker Gilles Duhaut in Mirecourt, France. Bégin opened his workshop in Montreal in 1981, dividing his time between bow making and teaching the viola da gamba; he has also frequently performed with early-music ensembles. Bégin has returned to Europe a few times to study major collections in instrument museums. Since 1988, he has worked exclusively at bow making. Louis Bégin's baroque and modern bows are sold in Canada and exported mainly to the United States, France, Germany and Japan.
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Renaissance Lute
In the manner of Giovanni Hieber
By Colin Everett
Manotick, Ontario
1992
European spruce, New Brunswick maple, African padouk, rosewood, gut,
parchment, nylon, plastic
Overall length: 68 cm;
body: 44 x 31 cm;
depth: 15 cm;
peg box: 20.5 cm
Brand: "CJE 1992"
Opus 53 - Renaissance Lute
Based on an instrument by Giovanni Hieber, a German luthier who settled in Venice in the second half of the sixteenth century, this lute has seven courses, or pairs of strings. The body is made of strips of maple, and the soundboard of spruce, embellished by an Arab-style rose carved in the wood.
The instrument is sparingly ornamented as the luthier preferred a simple style, more in keeping with the instrument commonly used during the Renaissance. Highly decorated lutes, and those made with rare materials such as ivory, were reserved for the nobility and upper middle classes.
Colin Everett
A native of England, Colin Everett settled in Ottawa when he immigrated to Canada in 1966. He studied guitar at that time, but gradually became interested in the lute. As lutes were difficult to obtain back then, he decided to build one. While Everett now specializes in lute making, his fascination with Renaissance music has also led him to make other instruments of that period, such as the viola da gamba, harpsichord, crumhorn and rackett. He has belonged to several early-music ensembles and performed at numerous concerts and festivals. His instruments, which include over seventy lutes to date, are played in Canada, especially in Quebec. In addition to pursuing his musical activities, Colin Everett currently teaches chemistry at Algonquin College.
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Renaissance Lute
By Colin Everett
Ottawa, Ontario
1974
New Brunswick maple, ebony, British Columbia red cedar, mahogany, metal, nylon
Overall length: 70.6 cm;
body: 47.5 x 32.8 cm;
depth 16.5 cm;
peg box: 25.5 cm
This instrument features metal frets instead of the traditional knotted-gut frets of the Renaissance era. When luthiers began to make lutes in the twentieth century, they used metal frets like those on the modern guitar. Moreover, lutenists during the revival of early music were often guitarists, whose playing technique was not geared to the lute.
This lute is typical of instruments built in the early 1970s, when there was a burgeoning interest in early music and instrument making in Canada. Some twenty years later, the same luthier built the instrument labelled Opus 53.
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Renaissance Lute
In the manner of
Vuendelio Venere
By Grant Tomlinson
Vancouver, British Columbia
1991
Spruce, yew, sycamore, pearwood, gut, ivory
Overall length: 67 cm;
body: 44 x 30 cm;
depth: 14 cm;
peg box: 19.7 cm
Label: "Grant Tomlinson Vancouver BC 1991".
The model for this lute, which is outfitted with seven courses, is an instrument made by Vuendelio Venere in Padua in 1592 and preserved in the Accademia Filarmonica in Bologna. Venere produced a number of instruments in the late sixteenth and early seventeenth centuries.
Grant Tomlinson crafted this strikingly beautiful replica after conducting painstaking research in European museums. The body consists of twenty-five strips of yew, separated by thin bands of sycamore. Carved in the spruce soundboard is a delicate gothic-style rose. Tomlinson made his own amber varnish. The design of the bridge, which is made of dyed pearwood, is typical of Paduan luthiers in the late sixteenth century.
In 1975, Grant Tomlinson's attempts to play early music on the guitar led him to study the lute under Canadian instrument maker and musician Ray Nurse. He soon became interested in making stringed instruments, primarily the lute. Intent on achieving the closest possible reproduction of baroque and Renaissance instruments, Tomlinson conducted intensive research on lutes in major European collections for nearly a year. He measured, photographed and studied over seventy original lutes. In 1986, he received a Canada Council grant to study lute making under the renowned English luthier Stephen Gottlieb.
In addition to making lutes, Tomlinson is active in the Lute Society of America, for which he gives lectures and workshops and writes specialized articles for publication. His reputation now firmly established, Grant Tomlinson attracts a clientèle of professional musicians and serious amateurs from Europe, Japan, the United States and Canada.
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Renaissance Soprano Lute
In the manner of Wendelin Tieffenbrucker
By Edward R. Turner
Vancouver British Columbia
1974
Spruce, British Columbia yellow cedar, basswood,
ebony, maple, boxwood, gut, pearwood, ivory, nylon
Overall length: 33.8 cm;
body: 21.5 x 12.6 cm;
depth: 6.3 cm;
peg box: 10 cm
During the Renaissance, several sizes of instruments were produced to make up families corresponding more or less to the different registers of the human voice. Small lutes replicated the soprano register.
These two lutes, with their knotted-gut frets, are based on an instrument by Wendelin Tieffenbrucker which is preserved in the Kunsthistorisches Museum in Vienna. Tieffenbrucker belonged to a German family famous for its lute making in the sixteenth and seventeenth centuries. Half of the family settled in northern Italy and the other half in Lyon, France. Wendelin was very active in Padua toward the mid-sixteenth century.
Like all of Edward Turner's instruments, these lutes are meticulously crafted and historically faithful to the originals. A Gothic-style rose ornaments the soundboard.
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Baroque Lute
In the manner of Hans Burkholzer and Tomas Edlinger
By Richard Berg
Ottawa, Ontario
1992
Brazilian rosewood, German spruce, ebony, plum, recycled ivory, plastic, gut
Body: 50.5 x 33.2 cm;
depth: 17.5 cm
hile the lute declined in popularity in France, it continued to develop in Germany in the late seventeenth century. The eleven-course lute, which was used in France and Germany, acquired two more courses, strung on an extension of the peg box on the same side as the low-pitched strings. This innovation made it possible to play low notes and thus gave the lute a broader musical repertoire. The works of Sylvius Leopold Weiss, one of the leading lutenists and composers for the thirteen-course lute, contributed significantly to the development of this music.
Richard Berg fashioned this lute after a Renaissance instrument built by Hans Burkholzer in 1596, which was converted into a baroque lute by Tomas Edlinger in 1705. The original ivory instrument is preserved in the Kunsthistorisches Museum in Vienna.
The body is constructed of Brazilian rosewood; the German spruce soundboard is embellished with a rose designed by Berg; and the neck is made of ebony plywood. The courses, the first two of which consist of single strings, are tuned to A=415 and thus reproduce the D-minor chord and scale.
Berg concentrates a great deal on the visual aesthetics of his instruments, whose physical features, he says, should reflect the quality of the sound.
While luthier Richard Berg strives for impeccable tone, he is fascinated by the aesthetics of instrument making. In fact, it was the variety of the lute's shapes and decorations that first attracted him to lute making. Before that, his love of the flamenco guitar led him to Spain, where he visited numerous guitar makers' workshops. In 1973, he built his first guitar, "just to see if [he] could do it." Berg continued his research independently and constructed his first lute in 1975. Drawing on the resources of the American Lute Society, he received valuable advice from experienced luthiers and found a major source of inspiration in his discussions with musicians. He was particularly influenced by Toyohiko Sato, an internationally renowned baroque lutenist, who now owns several of Berg's instruments.
In 1983, Berg received a Canada Council grant to visit European luthiers and musicians, and study, photograph and draw instruments in museum collections. He has crafted Renaissance and baroque lutes, theorbos, chitarrones, archlutes, and classical guitars. While Berg uses original historic instruments as inspiration and strives to preserve their spirit, he does not attempt to build replicas, preferring instead to tailor the instruments to the needs and tastes of his clients. Although not a full-time luthier, Richard Berg has a distinguished reputation and a clientele of North American, European and Asian musicians.
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Flute
By Tony Bloom
Canmore, Alberta
Circa 1985
Porcelain
32.5 cm
Inscribed with the artist's
signature and seal
Gift of the Massey Foundation
Flutes can be made from a wide variety of materials. For a long time, the preferred material in Europe was wood, but ivory, porcelain and even glass flutes appeared, especially during the baroque period. The modern flute tends to be made of silver, gold, platinum or plastic. Bamboo plays an important role in Oriental cultures. In addition to wooden flutes, bone, ceramic and copper flutes are found in various parts of the world.
Earth is a symbol of fertility, wealth and generosity. In many cultures, ceramic instruments express the desire to unite earth and music in order to supplicate the benevolent spirits and elicit their favour.
The ceramic flutes and drums presented here are often associated with various musical traditions. The breath that produces sound in the wind instrument is a symbol of life, while the beating of the drum symbolizes the human heart. The union of these two instruments has given rise to a French proverb: "What comes from the flute goes back to the drum."
Instrument making comes naturally to ceramist and musician Tony Bloom. Spurred by a desire to build a flute for his musician brother, he began experimenting with pottery and instrument making in Canmore. A few months after taking courses at the Banff School of Fine Arts, he became a professional artist and potter. Also a drummer, he has fashioned several darabukkas. Tony Bloom has produced bas-reliefs and sculptures in addition to musical instruments.
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Darabukka
By Tony Bloom
Canmore, Alberta
Circa 1985
Stoneware, goatskin
Diameter: 25.5 cm;
Height: 22.3 cm
Inscribed with the artist's signature and seal
Gift of the Massey Foundation
long with a few other percussion instruments such as claves (or rhythm sticks), the drum is one of the earliest musical instruments. The concept of attaching a hide to a receptacle, such as a pot or tree trunk, appears to have originated in the neolithic era.
The drum is often associated with dance; but, because of its strong primal rhythm, it has also been vested with magical powers and used in sacred and religious rites by several cultures.
According to Tony Bloom, this instrument is a hybrid - a blend of the Arab darabukka and the Indian tabla. The stoneware pot is covered with an iron-oxide glaze.
資料來源 http://www.civilization.ca/arts/opus/opus701e.html
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