Papers by Françoise et Daniel Sinier de Ridder
romantic guitar, 2010
Historically, the guitar is an instrument that owes as much to Italy and to France, and its maker... more Historically, the guitar is an instrument that owes as much to Italy and to France, and its makers have never ceased to 'invent' new improvements to its lutherie. The first 6 string guitars appeared simultaneously in Paris and in Naples at the end of the 18th century. Under the reign of François the 1st , Italian artists were welcome in France, particularly musicians, who were numerous and resided in Paris. They were real "stars", adored by the public and incensed by the critics. The guitar had always been a "fashion" instrument and in the beginning of the 19th century it conquered all audiences thanks to its new format of 6 strings, launching it in modernity. Italy, in the beginning of the 19th century, was the muse of numerous French poets and artists. Napoleon the 1st, the French Emperor, a wise strategist, encouraged French artisans to practice their craftsmanship in the courts that he had instated in the most important Italian cities. Napoleon hoped he could thus export the French "savoir faire" to influence Italian artisans. At the same time, he brought to France the Italian works of art that seduced him to install them in his residences or in the Louvre Museum. Turin was a French province, and Naples a fashionable destination after the French Joachim Murat was "crowned" King of Naples in 1808, succeeding the Emperor's brother, and most of all since he encouraged with great enthusiasm excavations on the site of Pompeii, the town that disappeared under the eruption of volcano Vesuvius in the year 79 D.C. Stendhal, a lover of Italy, friend of Rossini, wrote that there were two capitals in Europe : Paris and Naples! In 1834, Berlioz composed "Harold en Italie" for the Italian virtuoso Nicolò Paganini to be played on a viola made by Stradivari that he had just acquired for himself. Generally, Italy, not yet reunified, played a preponderant role in the cultural life of Europe. In the beginning of the 19th century, in France, guitars made by Lacote were preferred amongst guitarists. Lacote became famous and obtained public recognition between 1820 and 1860. We know he apprenticed with Joseph Pons, the great luthier of the 19th century, the audacious designer of the 'romantic guitar' in France. We would like to briefly make a summary of what Pons and Lacote brought to the Parisian lutherie of the beginning of the 19th century :-first of all, an intensive research on bracings, concretized by the position of the second bracing in the centre of the soundboard, and the first Y and X bracings,-an interior counter bridge, in maple, with Pons,-small vertical bracings under the acute notes,-beginning of the neck joint,-the very particular fingerboard-heel joint that allows for a more important tension of the strings,-backs of guitars made with a beautiful often knotty veneer, veneered on spruce, a light and nervous sounding wood,-the frequent use of blocking systems for the pegs and the first mechanics,-above all, the "palette" or "8 shaped" guitar heads, directly inspired by Neapolitan guitars. René Lacote, Parisian luthier, also fell to the Italian charm and adapted his lutherie to what he observed on the instruments of the famous musicians frequenting his Paris workshop. During the first period of his activity, he would put "fantasy" bridges similar to those of Pons, with their funny moustaches inlaid with mother of pearl sometimes engraved under the bridge, replacing the inner counter bridge. He designed others, in particular the model that can be seen on the method that Sor had just written which obtained a big success. Later, around 1835, Lacote definitively adopted his own model, inherited from Pons, in "bicycle handlebars". As he progressed with his career, the bridges as well as purflings and "pistagnes" gained in sobriety. Near the end of his career, he would insert only a few linear purflings, sometimes in very plain wood, together with a very extended bridge.
Trad mag, 2011
publié dans plusieurs revues
Strategies et restaurations
Nicolas Grobert is one of world's best known guitar makers. Only one of his guitars was enough to... more Nicolas Grobert is one of world's best known guitar makers. Only one of his guitars was enough to make him world famous. Not any guitar indeed, but the one that the top star and virtuoso of the romantic period, Nicolo Paganini, once borrowed from his luthier Jean-Baptiste Vuillaume. Paganini had enjoyed playing this guitar so much that he had signed it on the soundboard before giving it back to his owner and returning to his favourite Fabricatore. Later on, Berlioz also borrowed that guitar from Vuillaume. He signed it too, in sign of complicity with his friend Paganini, and did not give it back to Vuillaume who finally gave it to him. In 1866, Berlioz who was then the curator of the Paris music conservatory museum donated that guitar to the museum. Around 1835, Jean-Baptiste Vuillaume was the most important luthier in Paris. To his customers, he offered ancient French or Italian violins, and new violins that he made himself, ranging in quality from beginner to virtuoso. Such an important firm could not do without the most popular lounge instrument of the day : the guitar. Therefore, Vuillaume offered to them nice guitars, obviously not chosen at random but with the rigour and fussiness that he was known for, guitars he had chosen for their proper qualities ; the elegance of their making and the quality of their tone. Nicolas Grobert was one of the luthiers whose instruments Vuillaume had selected for his customers. According to the professional and commercial habits of this first third of XIX th century, workers and journeymen in a workshop did not sign their works. Only the master laid his trade mark in the instruments, guitars or violins, and the true makers were only recognised during restorations, when the instrument had to be opened and when the restorer could discover a mark or signature under a soundboard, discretely laid there, very often without the knowledge of the workshop master. This practice that seems unfair and even cruel today was the standard of the time, and lots of instruments bore the prestigious signature of the model's designer or the trader, not of the workers who had made them. Even today, many arts and crafts items are labelled by the designer and not the worker even if he made them with talent.
Book Reviews by Françoise et Daniel Sinier de Ridder
Joseph, Louis Pons, guitar-makers in Paris and London, inventors of romantic guitar…
an article published in American Lutherie.
Conference Presentations by Françoise et Daniel Sinier de Ridder
Ouvrard 1747, 2020
a hurdy-gurdy made in Paris in 1747, sold in a public auction, now in a parisian museum
les vielles de Mirecourt, 2018
C'est une chose peu connue mais on compte de nombreuses vielles à roues fabriquées à Mirecourt, d... more C'est une chose peu connue mais on compte de nombreuses vielles à roues fabriquées à Mirecourt, dans les Vosges. Chose d'autant plus curieuse que cet instrument n'était pas joué dans la région, et était fabriqué uniquement pour l'export, à la demande. Jusqu'au milieu du XVIII e siècle, ce sont les mêmes artisans qui fabriquent violons, quintons, violes, mandolines, harpes, cistres, guitares ou vielles à roue, et souvent même accessoires et archets. C'est-à-dire d'une façon générale les cordes pincées et les cordes frottées.
La restauration des instruments de musique anciens. Déontologies et stratégies. La restauration d... more La restauration des instruments de musique anciens. Déontologies et stratégies. La restauration d'un instrument de musique ancien, historique et patrimonial, est une chose complexe et difficile qui fait appel à toutes sortes de techniques et de savoirs différents. Tout d'abord il faut distinguer les différentes familles d'instrument de musique qui ont chacune leurs spécificités, leurs matériaux, et dont les techniques de restauration ne peuvent être envisagées de la même façon. Ces principales familles sont, selon la classification organologique Sachs/Hornbostel encore en usage dans les musées :-les idiophones, dont le son est produit par la matière qui compose l'objet lorsqu'elle entre en vibration : ex les cloches, les guimbardes,-les membranophones, dont le son est produit par les vibrations d'une membrane, ex : tambour,-les cordophones , dont le son est produit par les vibrations de cordes tendues entre deux points, ex violons, guitares,-les aérophones, dont le son est produit par les vibrations transmises par une colonne d'air, ex flutes ou trompettes. Nous proposons un système de classement moins savant :-les instruments à cordes, frottées ou pinçées :
Books by Françoise et Daniel Sinier de Ridder
sinier de ridder
french gurdies at the 18th
les mandolines françaises, 1750/1950, 2023
Nous sommes heureux d'annoncer ici notre ouvrage dédié aux mandolines françaises de 1750 à 1950. ... more Nous sommes heureux d'annoncer ici notre ouvrage dédié aux mandolines françaises de 1750 à 1950. Disponible chez l'auteur : sinierderidder(at)gmail.com We are pleased to announce the publication of a book dedicated to French mandolins from 1750 to 1950.
la guitare espagnole - Spanish guitar, 2019
Le violon est italien, l’archet est français, mais la guitare EST espagnole.
Ce livre en retrace ... more Le violon est italien, l’archet est français, mais la guitare EST espagnole.
Ce livre en retrace trois siècles d’histoire depuis ses origines jusqu’en 1950. Quatre-vingt-quinze instruments historiques y sont présentés, inconnus pour la plupart, modestes ou luxueux, typiques d’une époque, d’un répertoire mais surtout d’un pays et d’une culture. On y voit notamment les guitares de Durán, Sanguino, Pagés, Benedid, Pernas, Torres, Santos Hernández, Fleta et bien d'autres.
Trois luthiers français de premier ordre, Françoise de Ridder, Daniel Sinier et Jérôme Casanova vous font partager leur passion, leurs recherches, et leurs années d’expérience.
The violin is Italian, the bow is French, but the guitar IS Spanish.
This book traces three centuries of history from its origins until 1950.
Ninety-five historical instruments are presented, mostly unknown, modest or luxurious, typical of an era, a repertoire but especially a country and a culture. We see in particular the guitars of Durán, Sanguino, Pagés, Benedid, Pernas, Torres, Santos Hernandez, Fleta and many others.
Three top French luthiers, Françoise de Ridder, Daniel Sinier and Jérôme Casanova share their passion, their researchs and years of experience.
Françoise & Daniel Sinier de Ridder
Luthiers, experts, organologues, ils se consacrent exclusivement,
depuis 1971, à la restauration, l’entretien, la conservation, l’expertise et le négoce des instruments de musique anciens et historiques.
Luthiers, experts, organologists, their work is dedicated since 1971 to the restoration, maintenance, conservation, expertise and trade of musical historical instruments.
www.sinier-de-ridder.com
Jérôme Casanova
Luthier, il fabrique et restaure des guitares classiques et historiques. Expert auprès de nombreuses salles de ventes, il estime et authentifie des instruments anciens et modernes. Enseignant, il assure des cours de lutherie et d’organologie. Il est installé à Paris, Galerie Véro-Dodat.
Luthier, he makes and restores classical and historical guitars.
Expert for many auction houses, he estimates and authenticates old and modern instruments.
He teaches guitar making and organology. His workshop is located in Paris, Gallery Véro-Dodat.
www.casanova-luthier.com
This book aims to put an update, complement the previous volume on guitars made in Paris from 165... more This book aims to put an update, complement the previous volume on guitars made in Paris from 1650 to 1950. Since we wrote this book, a decade has passed and some instruments have come back to us for assessment, maintenance or repair. In addition, instruments previously unknown to us have been brought to our workshop for expertise or restoration. In other words, we have been able to examine new instruments as well as deepen our understanding of ones we knew. In this context, it seemed an update to our previous publications was called for, so we could share what these new or returning instruments have taught us. We hope that these updates about Voboam, Pons and Lacote will fascinate you as much as they have thrilled us. Ce livre se veut une mise à jour, un complément au précédent volume consacré aux guitares faites à Paris entre 1650 et 1950. Depuis l'écriture de ces textes environ dix ans ont passés. Certains instruments nous sont revenus pour l'entretien ou la surveillance, d'autres nous ont été confiés pour les restaurer, et d'autres encore, totalement nouveaux, sont apparus après ces publications aux fins d'expertises et de restaurations. Bref de nouveaux instruments sont passés par l'atelier. Il nous a paru alors qu'une mise à jour était nécessaire et qu'il nous fallait communiquer sur ce que ces nouveaux instruments nous avaient appris. Nous espérons que ces mises à jour sur Voboam, Pons et Lacote vous passionneront autant qu'elles nous ont enthousiasmés. Sinier de Ridder, La Guitare Tome 1-Addendum.
Drafts by Françoise et Daniel Sinier de Ridder
les guitares "Molino", 2021
What is a "Molino" Shape for a guitar, sorry it is in french.
Talks by Françoise et Daniel Sinier de Ridder
guitare baroque en Espagne, 2020
La guitare baroque en Espagne Si l'Italie a offert au monde le langage universel de la musique, s... more La guitare baroque en Espagne Si l'Italie a offert au monde le langage universel de la musique, ses mots, ses indications, ses notations jusqu'à son enthousiaste « bravo », c'est en Espagne que les premières tablatures spécifiques pour vihuelas ou guitares apparaissent dès le début du XVI e siècle avec l'imprimerie qui se développe. Elles vont permettre à plusieurs musiciens de jouer à l'unisson, et de faire voyager les musiques sous forme de feuillets qui pouvaient être envoyés, donnés ou recopiés. La guitare est à la mode et de nombreuses compositions en témoignent. Toutefois toutes les danses importées des nouveaux mondes par les marins et les colons, jugées trop violentes et surtout trop lascives, étaient interdites au théâtre et à la cour. Elles étaient très appréciées du peuple qui les jouait à la guitare, en chantant et en dansant dans les rues, vivement accompagnées aux castagnettes.
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Papers by Françoise et Daniel Sinier de Ridder
Book Reviews by Françoise et Daniel Sinier de Ridder
Conference Presentations by Françoise et Daniel Sinier de Ridder
Books by Françoise et Daniel Sinier de Ridder
Ce livre en retrace trois siècles d’histoire depuis ses origines jusqu’en 1950. Quatre-vingt-quinze instruments historiques y sont présentés, inconnus pour la plupart, modestes ou luxueux, typiques d’une époque, d’un répertoire mais surtout d’un pays et d’une culture. On y voit notamment les guitares de Durán, Sanguino, Pagés, Benedid, Pernas, Torres, Santos Hernández, Fleta et bien d'autres.
Trois luthiers français de premier ordre, Françoise de Ridder, Daniel Sinier et Jérôme Casanova vous font partager leur passion, leurs recherches, et leurs années d’expérience.
The violin is Italian, the bow is French, but the guitar IS Spanish.
This book traces three centuries of history from its origins until 1950.
Ninety-five historical instruments are presented, mostly unknown, modest or luxurious, typical of an era, a repertoire but especially a country and a culture. We see in particular the guitars of Durán, Sanguino, Pagés, Benedid, Pernas, Torres, Santos Hernandez, Fleta and many others.
Three top French luthiers, Françoise de Ridder, Daniel Sinier and Jérôme Casanova share their passion, their researchs and years of experience.
Françoise & Daniel Sinier de Ridder
Luthiers, experts, organologues, ils se consacrent exclusivement,
depuis 1971, à la restauration, l’entretien, la conservation, l’expertise et le négoce des instruments de musique anciens et historiques.
Luthiers, experts, organologists, their work is dedicated since 1971 to the restoration, maintenance, conservation, expertise and trade of musical historical instruments.
www.sinier-de-ridder.com
Jérôme Casanova
Luthier, il fabrique et restaure des guitares classiques et historiques. Expert auprès de nombreuses salles de ventes, il estime et authentifie des instruments anciens et modernes. Enseignant, il assure des cours de lutherie et d’organologie. Il est installé à Paris, Galerie Véro-Dodat.
Luthier, he makes and restores classical and historical guitars.
Expert for many auction houses, he estimates and authenticates old and modern instruments.
He teaches guitar making and organology. His workshop is located in Paris, Gallery Véro-Dodat.
www.casanova-luthier.com
Drafts by Françoise et Daniel Sinier de Ridder
Talks by Françoise et Daniel Sinier de Ridder
Ce livre en retrace trois siècles d’histoire depuis ses origines jusqu’en 1950. Quatre-vingt-quinze instruments historiques y sont présentés, inconnus pour la plupart, modestes ou luxueux, typiques d’une époque, d’un répertoire mais surtout d’un pays et d’une culture. On y voit notamment les guitares de Durán, Sanguino, Pagés, Benedid, Pernas, Torres, Santos Hernández, Fleta et bien d'autres.
Trois luthiers français de premier ordre, Françoise de Ridder, Daniel Sinier et Jérôme Casanova vous font partager leur passion, leurs recherches, et leurs années d’expérience.
The violin is Italian, the bow is French, but the guitar IS Spanish.
This book traces three centuries of history from its origins until 1950.
Ninety-five historical instruments are presented, mostly unknown, modest or luxurious, typical of an era, a repertoire but especially a country and a culture. We see in particular the guitars of Durán, Sanguino, Pagés, Benedid, Pernas, Torres, Santos Hernandez, Fleta and many others.
Three top French luthiers, Françoise de Ridder, Daniel Sinier and Jérôme Casanova share their passion, their researchs and years of experience.
Françoise & Daniel Sinier de Ridder
Luthiers, experts, organologues, ils se consacrent exclusivement,
depuis 1971, à la restauration, l’entretien, la conservation, l’expertise et le négoce des instruments de musique anciens et historiques.
Luthiers, experts, organologists, their work is dedicated since 1971 to the restoration, maintenance, conservation, expertise and trade of musical historical instruments.
www.sinier-de-ridder.com
Jérôme Casanova
Luthier, il fabrique et restaure des guitares classiques et historiques. Expert auprès de nombreuses salles de ventes, il estime et authentifie des instruments anciens et modernes. Enseignant, il assure des cours de lutherie et d’organologie. Il est installé à Paris, Galerie Véro-Dodat.
Luthier, he makes and restores classical and historical guitars.
Expert for many auction houses, he estimates and authenticates old and modern instruments.
He teaches guitar making and organology. His workshop is located in Paris, Gallery Véro-Dodat.
www.casanova-luthier.com