No.

24 July 1981

FOMRHI Quarterly
B U L L E T I N 24 and S U P P L E M E N T 2
LIST OF MEMBERS S U P P L E M E N T 37
BOOK AND MUSIC NEWS 11
BOUWBRIEF CONTENTS: XIX, XX and XXI 12
GUILD O F AMERICAN LUTHIERS: DATA SHEETS PELETE& - see- loaJc
DATA AVAILABLE FROM MUSEUMS :-
Ku.nsthistorisch.es Museum, Vienna. L i s t of X - R a y P h o t o g r a p h s . 21
G e r m a n i s c h . e s N a t i o n a l m u s e u m , N u r n b e r g . Drawings and X - R a y s . 24
Smithsonian Institution. Drawings, P h o t o g r a p h s and Slides. 33

COMMUNICATIONS
351 On N o m e n c l a t u r e A Rejoinder. J. Montagu. 14
352 The L o w e r - b o u t Back Fold on English T r e b l e Viols. E . S e g e r m a n . 16
353 R e s t o r a t i o n of a R e c o r d e r Edge. T. M i l l e r . 18
354 Sinking H a r p s i c h o r d Soundboards. D. J. Way. 19
355 F i n g e r i n g on the Gaita Gallega. P. Gretton. 39
356 Bending M a s s i v e B e n t s i d e s . J. Kalsbeek. 43
357 The B u s i n e s s End (Sharp End) of the C o r n e t t o . P. Gretton. 45
358 Valves and Mouthpieces for B a g p i p e s . P. Gretton. 49
359 The Inverted Mordent in L a t e 16th and 17th C e n t u r y Music.
E. S e g e r m a n . 53
360 An Inventory of the C h a r l e s van R a a l t e Collection of I n s t r u m e n t s
J. Downing. 57

REVIEWS
361 The B a s s o o n by W. J a n s e n . The M u s i c i a n ' s P i a n o A t l a s ed. S. K.
-365 T a y l o r . B r a s s M u s i c a l I n s t r u m e n t s in the E d i n b u r g h U n i v e r s i t y
Collection by A. M y e r s . Ethnic Musical I n s t r u m e n t s ( s a m e
cullection) by K. P r a t t . Michael Haydn by M. Nagy. Joseph
Haydn by M. Nagy. Shrine to Music M u s e u m , Catalogue Vol. 1,
Keyed B r a s s I n s t r u m e n t s by G. M. Stewart. J. M. 73

FELLOWSHIP O F MAKERS AND RESTORERS

O F HISTORICAL INSTRUMENTS
c / o . F a c u l t y of M u s i c , St. A l d a t e ' s , Oxford OX 1 1DB.
 bull.24, P.2

FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS

Bulletin no.24 July, 1981

MY LOCATION; It's a long and complicated story, but briefly, I went off at
half-cock last quarter. After I wrote the last Bulletin, Jerusalem began
to look a bit less certain, so, to be on the safe side, I put in an appli-
cation for the Curatorship of the Bate Collection at Oxford, which was ad-
vertised at about that time. When I went to Jerusalem at the end of May,
things looked even less certain (60% chance of them deciding to go ahead
or worse) and it was made plain that whatever happened, nothing could be
done for two years — there would be no building available until then, and
even then the building did not look wholly suitable. So, when Oxford
asked me whether I would be available to them, I said yes.
Therefore we are moving to Oxford and FoMRHI will be run from there. The
appointment takes effect on July 1st (ie immediately) so that I can put
the Bate Collection into its new home in the new Faculty building. We
shall have to move house (the prospect is horrifying, as any of you who
have been here can imagine; 1600 instruments, a large library and all the
junk one accumulates in 23 years) and until we find a new home in Oxford,
FoMRHI's address will be: c/o Faculty of Music. St.Aldate's. Oxford 0X1 1DB.
This may remain our address; I've asked the Fellows whether they approve,
and provided we use the c/o (which means care of) I don't think that there
is any risk of FoMRHI appearing to be an official Oxford University publi-
cation (apart from anything else, it doesn't look like onel). So please
note that address now. I hope that things will be forwarded on from here,
but the Post Office is not very efficient at that sort of job, and if
FoMRHI letters arrive here, it depends on the kindness of whoever buys this
house whether they bother to forward (i shall leave them a rubber stamp).
I must apologise to you all for confusing you arid, perhaps, worrying you.
HEW FELLOW: David Way has been elected a Fellow.
EDITOR: Djilda Segerman, who has been responsible since the beginning of
FoMRHI for putting the Quarterlies together and doing whatever editing had
to be done to what you send us, felt that what with two babies to look af-
ter and NRI and the house to run, she had not been as efficient recently
as in the past. She therefore asked the Fellows to decide whether she
should continue in the job and, at the same time, to formalise her (or
somebody else's) position by making the Editorship a formal position (we
have so far only had two officers, an Honorary Secretary and an Honorary
Treasurer, both of them me). The Fellows responded by saying that a)
they had not noticed any diminution in efficiency, and b) they all wanted
her to carry on. She has therefore been elected Honorary Editor and,
although there is no provision for an Editor in the Rules', we will assume
that it is an additional Officer, subject to the same term of office and
conditions as the other Officers (Rule 9a).
The Rules appeared in Quarterly 6, which is long out of print, and as many
of you have therefore never seen them, and as this looks like being a thin
issue, I'll suggest to Djilda that we might reprint them here, just in
case any of you wonder whether we have any.
SECRETARY & TREASURER: These are being voted on this quarter and results
will appear in the next Q. I'm grateful to say that we have had at least
one volunteer for Treasurer.
CORRECTION: pp.85 & 86 in the last Q (Comms."546 & 548): In order to get as
much into each FoMRHIQ as we can, we try not to waste half pages at the
end of a Comm. As a result, it often happens that a single-page (or shor-
ter) Comm. gets chopped into two half pages. For the first time, this has
led to disaster with these two Comms. Comm.346 begins at the foot of
 bull.24. P.3

page 84 of the last issue (Q.23) but continues at the top of page 86.
Comm.348 begins at the middle of page 86, but continues at the top of
page 85» and thus ends before it begins. We wish to extend our apolo-
gies to all concerned, and to any of you who were confused, and to say
that we hope that we won't do it again.
While I'm on this subject, as the author of the reviews concerned, I'd
like to say that the more I use the Leipzig Catalogues the more I admire
them, and also the Eisenach Bachhaus Catalogue (by Herbert Heyde, the author
of the Leipzig Trompeten, Posaunen, Tuben Catalogue and also the Floten
Catalogue) (it is published as Historische Musikinstrumente im Bachhaus
Eisenach, with the Bachhaus as the publisher and the date 1975 > no price
stated). As I said in the last issue, if you were able to follow me
through the zigzags, these catalogues have established the standard for the
1980s, just as Mahillon did with the Brussels catalogues a century ago and
as Bessaraboff did with the Boston catalogue (Ancient European Musical
Instruments) 40 years ago. While there are a few features which one might
like to see expanded (eg more X-ray photographs, as in the Nurnberg brass
and percussion catalogue noted in last quarter's Book News, or engineer's
drawings as in Bessaraboff's catalogue, or the use of photogrammetry as
described in Marco Tiella's Comm.320, and a larger bibliography, though
not necessarily as complete as Bessaraboff's), for sheer detail and pre-
cision and for the amount of information given, these Leipzig and Eisenach
catalogues have established a norm which the rest of us must strive to
equal.
FURTHER TO: Bull.19 p.8: Renke Lody replies to Toon's query whetherplayers
oiled the strin gs of bowed instruments:
In the booi<
Lelirbuch der Geifen- und horcenmacherkunst
by uustav .•idolph Jetton jel
Weimar 1369
pa;re 105
thero i s an answer to the question. .:er.j i s my t r a n s l a t i o n
(excuse ray bad t n p l i s h ) :
otriinrs in ^tocic are moistened with almond o i l , wrapped in a
calf or pig bladder and stored in a t i n box (lilechbuehse)i In
each bladder enclose a piece of t a f f e t a , that also will be
moistened by the almond o i l coickin;; to the s t r i a - ; s . For keeping
the j-jrinr-js for a Ion;1; tirae in ~ood condition and well soundin,,
while boinj fixed on the v i o l i n , i t i s recommended to wipe
then with the t a f f e t a from brid,\e to nut each time after haviu .;
been played, oo the s t r i n s are raoi ^tened a l i t t l e with o i l
that makes tne in f l e x i b l e and avoids drying out; the s t r i n g s
always keep t h e i r soft (sanft) sound, -y the way the o i l also
protects the s t r i n g s from the moisture of ths finders that
touch them whileplaying on tlie fin;;er board, u i i i n has an
especially mild effect on the spun over s t r i n s, because xihe:.
the manipulation i s omitted, they shrink by d r y i n ; so that the
wire covering will get loose, -jefore playing wipe off tne o i l
from the s t r i n g s with a woolen clot:;, especially at the s c s i t i ns
whore they are bowed.
Bull.22 p . 3 : Paul Hailperin says t h a t he, t o o , was t o l d to add alum to hide
glue for w a t e r - r e s i s t a n c e , but also never got the p r o p o r t i o n s . He'-s been
doing t h i s for a while and the glue does show a c e r t a i n w a t e r - r e s i s t a n c e
which seems to improve with age. He's never been able to get a sample abso-
l u t e l y waterproof, but then instruments in normal use are never submerged
for 24 h o u r s .
 b u l l . 2 4 . P.4

FURTHER TO COMM. 307 P a i n t i n g H a r p s i c h o r d s , Thomas Rein w r i t e s :

Davi-i "7ay's a n a l y s i s of gesso is c o r r e c t in modern terms but gesso un-
t i l r e c e n t l y consisted of P l a s t e r of Paris In hide g l u e , not whiting
in glue as r e p o r t e d , '"/hiting is chalk, an I n e r t n o n - s e t t i n g oowder.
P l a s t e r of Paris is burned gynsum and s e t s with the a d d i t i o n of water
i n t o a moderately hard s o l i d . If glue s i z e is used in nlace of water,
a much harder s o l i d is formed. Gesso is I t a l i a n for gynsum. There
were two types of gesso in e a r l y t i m e s . Cennlni in I I Llbro f e l l ' A r t e
defines gesso grosso and gesso s o t t l l e . Grosso is made by mixing
o l a s t e r in glue s i z e to a brushable c o n s i s t a n c y . I t can a l s o be used
as a naste for f i l l i n g d e n t s , e t c . S o t t l l e is made by soaking p i a s t e r
in water for a week u n t i l i t loses i t s s e t t i n g power. I t i s then form-
ed into loaves and allowed to dry in the sun. This i n e r t o l a s t e r is
then mixed with s i z e and brushed on many t i m e s . In both c a s e s , the
wood should be sized f i r s t . Cennlni a l s o mentions scraping the sur-
face between coats with a " r a f f i e t i " or " l i t t l e hook" as Thompson
t r a n s l a t e s . Thompson s t a t e s these are now called " r a s c h i a i i " and con-
s i s t of a scraper with a handle on a s h a f t . Scraping would no doubt
cause l e s s dust than sanding.
Cennlni gives a r e c e l p e for cheese g l u e . Chapter CX11 says:"There is
a glue used by workers in wood; t h i s is made of cheese. After put-
t i n g i t to soak in water, work i t over with a l i t t l e quicklime, using
a l i t t l e board with both hands. Put i t between the boards; i t joins
them and fastens them t o g e t h e r w e l l . "
Theoohilus gives a b i t more exact r e c i p e . He recommends i s for door
nanels and a l t a r s . "Cut soft cheese i n t o small pieces and wash i t with
hot water in a mortar with a p e s t l e , r e p e a t e d l y pouring water over i t
u n t i l i t comes out c l e a r . Thin the cheese by hand and put i t into cold
water u n t i l i t becomes hard. Then i t should be rubbed into very small
pieces on a smooth wooden board, and put back i n t o the mortar and pound
ed c a r e f u l l y with the p e s t l e , and water mixed with Quicklime should be
added u n t i l i t becomes as t h i c k as l e e s . 'Vhen panels have been glued
together with t h i s g l u e , they s t i c k t o g e t h e r so well when they are
dry that they cannot be separated by dampness or h e a t . "
After reading Cennlni I began to wonder whether some type of tern' era
naint might have been used on harpsichords as well as o i l o a i n t . Any-
body know? Does anyone have access to a copy of Natural Varnish Res-
ins by T. lied ley Barry? (London : Ernest Benn, Ltd, 1932)
Thomas adds in his covering l e t t e r : "I have used gesso grosso but not gesso
s o t t i l e or the cheese glue, so I c a n ' t vouch for t h e s e . Gesso grosso with
a l i t t l e dry color i s the best paste wood f i l l e r I ' v e found. I t must be
' k i l l e d ' with mineral or linseed o i l when dry to bring out the best c o l o r . "
"'omm.323: Donald Gill writes (and I mustapologise to him for leaving h i s
note out of the l a s t issue - i t got i n t o the wrong f i l e ) : "I would l i k e to
make a comment on the harpsichord, s p i n e t , v i r g i n a l s question. I have thought
for I don't know how many years t h a t Sam Clutton and Alec Hodsdon used the
position of the bridges to define a v i r g i n a l v . h a r p s i c h o r d / s p i n e t . A v i r -
ginal has both bridges on the soundboard, and the harpsichord/spinet has
one bridge on the soundboard and the other at the wrest-plank end on the
frame. Hence the big difference in sound. If t h i s idea has been shot
down I have missed the execution. I accept of course t h a t the names were
loosely used in the p a s t . " JM adds: Donald i s absolutely r i g h t , of course.
I based my d e f i n i t i o n on shape for simplicity ( i t was done i n i t i a l l y when
John Burton and I were proposing a new c l a s s i f i c a t i o n scheme for musical
instruments — see Ethnomusicology XV:1, 1971 — which was designed for use
by people with no previous experience with instruments, such as curators of
general museums; I have now abandoned t h i s scheme, anyway), with the idea
 bull.24. P.5

that to a great extent this difference of shape (line of the strings in

relation to the keyboard) also implies this difference in the position of
the bridges. I can see, thinking over Donald's comment, that although my
definition does provide a distinction between spinet and harpsichord (the
former with the line of the strings running at an angle to the keys; the
l a t t e r with the line of the strings parallel to the line of the key i t s e l f ,
or at right angles to the name board, whichever one likes to look at i t ) ,
the wrest plank bridge is not ipso facto necessarily off the soundboard —
i t could be moved forward —, and that the fact that the virginals strings
are parallel (roughly) to the name board also does not mean ipso facto that
both bridges must be on the soundboard; one could be moved back to the wrest
plank. I think that my definition s t i l l has some value, particularly as i t
i s obvious at a glance, but i t is essential to add the Clutton & Hodsdon
c r i t e r i a of bridge definition, and, if one should encounter an instrument
(I'd be interested to hear whether there are any) on which the two defini-
tions are in conflict, that the Clutton/Hodsdon c r i t e r i a are the more im-
portant, since what matters is the sound. I would repeat, as Donald also
suggests, that these definitions are for use in naming instruments today;
they are not designed for deciding what Parthenia was played on (see a
Comm. of mine in this issue on Nomenclature).
Bull.23: Theo Miller writes:
With r e g a r d t o David Way's c o n t r i b u t i o n i n B u l l e t i n 2 3 ,
p p . 4 - 5 (which was w r i t t e n i n r e g a r d t o B u l l . 2 2 , p . 3 ) I
f e e l a few r e m a r k s a r e c a l l e d f o r : D . 7 . s a y s "Those who
i n s i s t on b e i n g ' a u t h e n t i c ' , u s i n g o n l y animal g l u e s ,
had b e s t s e l l o n l y t o m u s e u m s . . . " . Now w h i l e Mr. Way's
g i f t f o r o v e r s t a t e m e n t i s p r o b a b l y w i d e l y known, t h i s
a p p a r e n t s l i g h t of t h e u s e of a n i m a l g l u e s s h o u l d p e r -
h a p s be t a k e n s e r i o u s l y . For i t seems t o me t h a t a t l e a s t
one of t h e major c o n c e r n s of many FoMRHI members i s t h e
r e - d i s c o v e r y of t h e t e c h n i q u e s of t h e o l d m a k e r s , a con-
c e r n which d o e s n ' t s t o p w i t h t h e e s t a b l i s h m e n t of t h e
f a c t t h a t , f o r example, animal g l u e s were u s e d , b u t c o n -
t i n u e s i n e x p l o r i n g t h e ways t h e u s e of some t e c h n i q u e s
i n f l u e n c e d o t h e r t e c h n i q u e s , o r i n what way a c e r t a i n
techniTue helped to determine the f i n a l c h a r a c t e r i s t i c s
of a g i v e n i n s t r u m e n t . I t h i n k t h e q u e s t i o n of s u r v i v a -
b i l i t y i s o n l y of s e c o n d a r y i m p o r t a n c e , i t b e i n g l i k e l y
t h a t e a r l y makers were n o t v e r y c o n c e r n e d w i t h w h e t h e r
t h e i r i n s t r u m e n t s l a s t e d u n t i l t h e 20th c e n t u r y o r how
t h e i r i n s t r u m e n t s would s t a n d up t o b e i n g t r a n s p o r t e d
t o v a r i o u s p a r t s of t h e w o r l d . G r a n t e d , animal g l u e s
may n o t be s u i t a b l e f o r the p u r p o s e s of some modern
makers ( o r f a c t o r y m a n a g e r s ) , b u t i t seems t o me t h a t
m a k e r s , p r e s e n t o r upcoming, who a s p i r e t o employ t h e
o l d t e c h n i q u e s i n making i n s t r u m e n t s which can t h e n be
made a v a i l a b l e t o t h e g e n e r a l p u b l i c s h o u l d n o t be d i s -
c o u r a g e d — a n d c e r t a i n l y n o t by one of o u r members! I
have n o t h i n g a g a i n s t t h e u s e of modern g l u e s , and i n d e e d
u r e T i t e b o n d almost e x c l u s i v e l y around t h e workshop ( n o t
on i n s t r u m e n t s , u s u a l l y ) . I a l s o have n o t h i n g a g a i n s t
any maker who p r e f e r s u s i n ; ; a modem g l u e t o a t r a d i t i o n a l
g l u e . 3 u t do l e t ' s be o p e n - m i n d e l and n o t make l i g h t of
modern-day u s e of h i s t o r i c a l t e c h n i q u e s .
Comm.341: In response to Jan Hermans' request about tuning pin finishes.
Steven Clark says that he also has seen the same sort of finish on hitch
pins and stop levers as well as tuning pins. It reminded him of the
finish that used to be used on Kentucky and Pennsylvania flintlock long
 bull.24. P.b

rifles, which gunsmiths call 'browning' and which he has seen on both Euro-
pean and American weapons. Since 17th and 18th century American gunsmiths
were mostly of Dutch or German origin, he assumes that the technique was
imported from Europe. He has been told by a maker of reproduction long
rifles that the solution used to obtain this effect penetrates into the
metal a 'smidge' and forms an oxidized crust which makes the barrel semi-
rustproof when the solution is neutralized. He has not tried the solution
and does not know the technique used to apply it, but if anyone wants to
have a go, two varieties of solution are available from Dixie Gun Works,
Union City, Tennessee 38261, USA. One is Dixie Browning Solution (cat.no.
B14-13-1), costing #2.25. The other is PB1 Plum Brown Barrel Finish,
costing #3.00; this type says that it requires 'no special equipment or
skill'.
Ken Williams has sent further information: "A preparation available here
at #A 4«00 /Jm: four Australian dollars, £2 or so English/for 90ml is
Plum Brown Barrel Finish made by Birchwood Casey, Eden Prairie, Minnesota
55343, USA. The label notes that it contains Bichloride of Mercury and is
very poisonous. Method of use is to clean and degrease parts, heat until
a drop of water sizzles when dropped on, then apply solution for ten minutes.
Rinse in water and wipe dry. Polish with fine steel wool. If not dark
enough repeat. If you can't get this product perhaps you might try bichlo-
ride of mercury as a basis."
JM adds that Ken's information was in the form of a xerox of the letter he
had sent Jan. It is very helpful when members send copies of their answers
to queries to me, because then I can repeat them here for the benefit of us
all.
AWARDS (ie MONEY) AVAILABLE: The Crafts Council (12 Waterloo Place, London
SW1Y 4AU; tel: 01-930 4811) has made some awards for specialist conservation
training, but has still got £5,000 in the kitty and invites applications
from conservators and trainees in independent workshops, museums and other
institutions for assistance with specific specialist conservation training
projects, including attendance at short courses, seminars, work in someone
else's workshop where specialist techniques can be learned, either here or
abroad (but abroad only if the information or expertise is not available in
this country). Write or telephone them for further information and for
application forms, which must be returned by Monday 19th October.
EXHIBITIONS, ETC: You all know about the Early Musical Instrument Exhibi-
tion at the New Horticultural Hall, Westminster (i hope) from October 1st
to 3rd. FoMRHI will have a stand there, and I hope to see many of you,
either as exhibitors or as visitors. The last day of the show will be the
deadline for the next issue, so whatever you don't post to me (at Oxford —
see the first page of this Bulletin — not to Bulwich), you can bring in
and give me at the show.
Hans-Joachim Schroder writes:
As you probably know the town of Heme in the Ruhrgebiet
is annually organizing some "Tage Alter Musik" in December.
This year the main subject is the harpsichord.
From the third to the sixth of December there will be an
exhibition of both historical instruments and modern makers
activities as well as seminars, workshops and concerts.
For further information one has to contact:

Kulturamt der Stadt Heme

Berliner Platz 11
D-4690 Heme 1
W-Germany
T e l . (02323) 595 - 2839

Besides I offer hospitality for 2 people, who aren't

afraid of travelling 30 km to Heme
(a good motorway and train connections are r* • -' 'N
 b u l l . 2 4 , P.7

Hans-Joachim's offer of h o s p i t a l i t y remainds me t h a t I should have s a i d ,

in connexion with the H o r t i c u l t u r a l Hall Exhibition, t h a t we have offered
h o s p i t a l i t y for t h a t in the p a s t , but we won't be able to now — we s h a l l
be camping with my parents o u r s e l v e s .
A notice in the IFMC B u l l e t i n says t h a t Belgian Radio & Television, West-
deutscher Rundfunk Koln, and Radio France Paris are organising a World
Bagpipe Convention on 9"th-13th November in the Great Auditorium of Louvain
University (about 25km from B r u s s e l s ) . There w i l l be 30 or more papers on
bagpipes of a l l s o r t s , concerts of r a r e forms of pipes and so on, and the
Brussels museum i s laying on a s p e c i a l exhibition of bagpipes from t h e i r
own and other museums' c o l l e c t i o n s (from 9th to 29th November). For more
information, write t o : Herman C.Vuylsteke, Coordinator World Bagpipe Con-
vention, BRT - Room 2 F 3, A.Reyerslaan 52, B-1040 Brussels, Belgium.
OTHER ASSOCIATIONS: Doug Eaton t e l l s me t h a t "we are in the process of
forming an Australia wide a s s o c i a t i o n of instrument makers. Early days
yet but looks promising. There w i l l be more to t e l l obviously at a l a t e r
stage" and Maurice Briggs says t h a t they hope to provide a timber bank as
well as an information s e r v i c e . Good luck to them, and I ' v e said t h a t
they are welcome to r e p r i n t ( i f they s t a r t t h e i r own n e w s l e t t e r ) anything
from the B u l l e t i n s and any Comms subject to a u t h o r s ' permission.
Lawrence Brown writes (on brown paper, so i t may come out a b i t d a r k ) :
ksmbers of FOMRHI may be i n t e r e s t e d t o know t h a t t h e Guild of
American L u t h i e r s has oeen c o n s t a n t l y e x p a n d i n g s i n c e i t was
founded n i n e y e a r s a g o . The number of members i s s t e a d i l y
i n c r o a s i n g and now i n c l u d e s b u i l d e r s of many i n s t r u m e n t s b e s i d e s
g u i t a r s . S i n c e many of t h e members a r e p r o f e s s i o n a l i n s t r u m e n t
makers .and r e p a i r m e n , a large number of d a t a s h e e t s and a r t i c l e s
d e a l w i t h p r a c t i c a l s o l u t i o n s t o problems e n c o u n t e r e d i n t h e
v/orkshop. a r t i c l e s i n c l u d e i n f o r m a t i o n on s e t t i n g uo a workshop,
h e a l t h h a z a r d s , i n s t r u m e n t r e p a i r , j i g s and s e t - u p s f o r i n s t r u m e n t
c o n s t r u c t i o n , hand and power t o o l s t h a t can oe c o n s t r u c t e d by t h e
i n s t r u m e n t maker, v a r n i s h i n g and r e f i n i s h i n g i n s t r u m e n t s , roduction
p r o b l e m s , r e v i e w s of l u t h e r i e s c h o o l s i n t h e u . S . . , s o u r c e s o i s u p p l y ,
and many o t h e r t o p i c s t h a t would be of con....on i n t e r e s t t c modern
and h i s t o r i c a l i n s t r u m e n t m a k e r s . In a c c i t i o n t o 36 q u a r t e r l y
j o u r n a l s , 170 d a t a s h e - i t s have been i s s u e d ( a l l baCK i s s u e s cf t h e s e
a r e a v a i l a b l e — s e e a t t a c h e d i n d e x ) . ->n i n s t r u m e n t , p l a n s e r i e s h a s
a l s o been i n a u g u r a t e a . I have p e r s o n a l l y found t h e Guild t o oe
an i n v a l u a b l e s o u r c e of i n f o r m a t i o n f o r wood-working and
i n s t r u m e n t - m a k i n g t e c h n i q u e s t h a t Can oe a p p l i e d t o n e a r J y any
i n s t r u m e n t . The a n n u a l s e m i n a r s and m e e t i n g s w i t h o t h e r i n s t r u m e n t
makers a r e an i m p o r t a n t a s p e c t of t h e G u i l d ( I was q u i t e s u r p r i s e d
a t t h e number of l u t e s ana o t h e r e a r l y i n s t r u m e n t s a t t h e 19/9
Boston s e m i n a r ) .

In a d a i t i o n , I have j u s t 0 ;en a s k j a t o be an a s s o c i a t e e d i t o r of
t h e q u a r t e r l y j o u r n a l , une of the rsc.scns r i v e n f o r my n o m i n a t i o n
t o t h i s p o s i t i o n was my p r o f e s s i o n a l involvement, i n e - r i y
i n s t r u m e n t c o n s t r u c t i o n . The Guild f e e l s t h a t e ^ r l y music i n t e r e s t
amor:; i t s members has become g r e a t enough to w a r r a n t my i n c l u s i o n
on t h e s t a f f .

Cost of 1981 membership i n t h e Guild i s $ 1 5 . 0 0 U . S . ( o v e r s e a s v^O.CCj

C o n t a c t : Guild of nmeric&n L u t h i e r s , 8222 Sobti Park n v e n u e , Tacorr.a
Washington >8/*08.

JM adds: I ' l l send Djilda the index he r e f e r s t o , but I'm not sure i f we
w i l l be able to p r i n t i t as i t ' s already reduced and a funny shape. If
not, write to the address he g i v e s .
 bull.24, P.8

OFFERS: Christopher Mitchell (address in Supplement herewith) is lute

maker and offers a mould-making service for other makers, with solid moulds
from £40, 'toast-rack' moulds from £15 and guitar and viol moulds with
prices depending on the size.
Christopher Bayley (address also in this Supplement) is a bagpipe maker who,
over the past eight or nine years, has accumulated a mass of information on
pipes of all sorts. He has promised to write us Comms on bagpipe making
and meanwhile is always happy to answer any questions — if he doesn't know
the answer straight away, he says he can usually find out fairly quickly.
He says, too, that he is always on the look out for unusual bagpipes and
information on them and would be especially grateful for any information
he hasn't got (he has Starck's leaflet and the Patent) on the Brian Boru
pipes, and their forerunner, the Dungannon pipes. Does anyone know of an
existing set of the Dungannon pipes?
Peter Mactaggart writes:
I note your useful list of general facilities in the current
r.ior.bers list, ind v/oncered if any of your readers would be interested
in having '.j jers i entified.
Having identified soundboard, bridge ahc case voods for several
of my restorer friends, 1 have decided to offer this service commercially.
.' involves cutting three sections ( about .OJn thick; at right
angles to ere an to.er-, and examining them under the microscope.
tandarc features are notefi and corhparec With those -r'nich occur in icnovm
timbers u "i',; uunahed cards (the system was Developed in the days before
computers;. Ideally, a sample of about the size of a dice is desirable
"out this is usually impossible to obtain from a musical instriv.int.
However, rn Lnrrier is not too obscure I have been -.ble to obtain
useful results from much Smaller pieces - nai.chsticks and even veneers -
though obviously sonev.'hat larger samples are preferred.
n our ./ork of restoring decora-ion we alco find the examination
of p.'j . I. sections and t:ie identification of pigments extremely useful,
and we are also ;re.~are': to loo.< at sampies Oi paint for other people
as well.
TOOLS: Theo Miller writes: 0ne use j put
T i t e b o n d t o i s t o make up a b r a s i v e r o d s , g l u i n g a p i e c e
o f s a n d p a p e r t o a l e n g t h o f b r a s s t u b i n g . A f t e r two o r
t h r e e months ( o r f o u r o r m o r e ) , when t h e p a p e r i s s p e n t ,
I s o a k t h e r o d o v e r n i g h t i n w a t e r i n my bathroom s i n k .
Next morning, v o i l a ! the o l d paper i s f r e e o f the rod,
as well as the g l u e , which has c o n v e n i e n t l y d i s s o l v e d .

COURSES: Arthur Robb i s running courses at the North B r i s t o l I n s t i t u t e of

Adult Education i s making Lute, p s a l t e r y and plucked and hammered dulcimers;
with p r i o r arrangement, other s t r i n g instruments can be made. Classes run
from September to April on Tuesday afternoons and/or evenings at Monks
Park School, Filton Road, B r i s t o l , s t a r t i n g on September 15th. If you
know anyone i n t e r e s t e d (or are i n t e r e s t e d y o u r s e l v e s ) , e i t h e r send them
along or put them in touch with Arthur.
Marco T i e l l a has sent me a l i s t of the Milan Musical Summer Courses. We
are too l a t e for the performance courses on original instruments (July l/lO)
but there i s an i n t e r e s t i n g s e r i e s in September (14/19) on r e s t o r a t i o n and
d i d a c t i c s , covering Metallurgical problems, Dendrochronology, Museography,
and Instrument Technology. The s e r i e s takes place at the V i l l a Bernocchi
at Premeno (NO) and costs IL 10,000; there i s a l i s t of h o t e l s , boarding
houses and camping s i t e s a v a i l a b l e . For further information, write t o :
Pro-Premeno, Premeno (NO), I t a l y .
 Bull.24, P.9

REQUESTS: Maish Weisman has a couple: He would like to find a drawing or

a description of an aeolian harp — can anyone help? (i seem to remember
a book a few years ago by Stephen Bonner, but whether he knows that, or
whether it's still available, I don't know).
Also he is looking for cheap pegs for lutes, the kind that are sold with
kits and are mass-produced. If anyone knows where they are obtainable, how
much they cost, for what minimum quantity, etc, he'd be grateful for the
information. His address is in the main list, and different from last
year's.
CODA: That's all for the moment, but I'm writing this a few days before
the deadline I set in the last issue, because of having to skate up and
down to Oxford, so I'll keep it open till then for any late arrivals (and
won't do the Address List Supplement till then either, so that it's as up
to date as possible).
As I said already (in connexion with the Early Musical Instrument Exhibition)
our offers of hospitality here are withdrawn for the moment, though they'll
reopen at Oxford as soon as possible.
DEADLINE FOR NEXT ISSUE: Saturday October 3rd, either by post or by hand
before closing time at the New Horticultural Hall.

Jeremy Montagu
( c/o Faculty of Music
*"*#***## NOTE THIS ADDRESS NOW-( St.Aldate's
" ( Oxford 0X1 1DB, UK.
REQUESTS: Sean Rawnsley i s looking for a workshop i n London, or for t h a t
matter in any other major c i t y in the world; h e ' s had enough of r u r a l b l i s s
and wants a more musically eventful environment. Can anyone help him?
Paul Gretton asks who makes nyckelharpa? (see Memb.List Supplement herewith
for one maker, but rhere must be o t h e r s , t o o ) .
Paul has several other q u e s t i o n s :
ARTIFICIAL IVORY ( a g a i n ! ) : a)A while ago t h e r e was a scandal
about fake netsuke having fooled one of the b i g London a r t
d e a l e r s . Does anyone know how the s t u f f might have been
made? Could Scotland Yard help? b) The shops ( q u i t e common
i n Holland and Germany) t h a t s e l l f u r n i s h i n g s f o r Chinese
r e s t a u r a n t s u s u a l l y have l o t s of k i t s c h c a r v i n g s i n v a r i o u s
q u a l i t i e s of a r t i f i c i a l i v o r y . Gome of them a r e very
convincing and can be chopped up f o r use i n instrument making,
I t would be useful t o know t h e name of t h e manufacturer, much
of t h i s junk comes from Japan.
NATIVE KA3DWOODS: In t h e i r d o - i t - y o u r s e l f book "The ITorth-
umbrian Bag-oipes", Cocks and Bryan say "Formerly, n a t i v e
hardwoods such as "box, laburnum, a p p l e , pear and o t h e r f r u i t
woods were used and t h e s e can s t i l l he employed, but b e t t e r
i n every way a r e v a r i o u s imported hardwoods. Perhaps t h e
b e s t of t h e s e i s African blackwood, hut ebony, cocuswood,
p a r t r i d g e wood and lignum v i t a e are a l l q u i t e s u i t a b l e , nor
is this l i s t exhaustive."
I would be i n t e r e s t e d t o hear from anyone who has used
t h e s e v a r i o u s woods f o r smallpipes or f o r baroque winds.
I am a l r e a d y f a m i l i a r with the q u a l i t i e s of box and the
fruitwoods when used f o r c o r n e t t i , r e c o r d e r s and r e n a i s s a n c e
buzzers and q u a c k e r s , hut I would l i k e t o know more about
t h e i r t o n a l q u a l i t i e s i n o t h e r c o n t e x t s . To t h e Cocks/Bryan
list one can add h o l l y and laburnum.
 bull.24. P.10

LIGNUM VITAS: Has anyone f o l l o w e d t h e a d v i c e g i v e n by Q u a n t z ,

and used t h i s f o r f l u t e s or o t h e r mouth-blown i n s t r u m e n t s ?
What i s t h e e f f e c t of c o n s t a n t l y w e t t i n g and d r y i n g i t ? I
want t o use i t f o r c o r n e t t o m o u t h p i e c e s , f o r which i t would
seem t o he i d e a l , u n l i k e b o x , ebony o r h o r n .
He also provides a Warning and a couple of sources of supply:
WARNING (cf.Comm 3 4 5 ) John Hanchet t e l l s me t h a t he g o t
h i s forms from t h e l o c a l "Handelskammer" ("Chamber of Commerce"),
No d o u b t w e ' r e t a l k i n g a b o u t d i f f e r e n t bumf — t h e ones I
used t o use t o g e t i n s t r u m e n t s i n and o u t of Germany came
from t h e customs o f f i c e a t t h e r a i l w a y s t a t i o n . See how
confused i t a l l i s ?

RECIFE BOOK. FoMRHT members who can r e a d F r e n c h may he

i n t e r e s t e d i n a c h e a p l y - p r o d u c e d , h u t e x p e n s i v e l y - s o l d book
e n t i t l e d "Secrets d ' A r t i s a n s Disparus, anciennes r e c e t t e s
e t p r o c e d e s r e t e n u s en r a i s o n de l e u r e f f i c a c i t e " n . d , e d i t e d
by S.de York. This c o n t a i n s s e v e r a l hundred r e c i p e s f o r a l l
k i n d s of u s e f u l m i x t u r e s of i n t e r e s t t o woodworkers and m e t a l -
w o r k e r s : g l u e s , c o l o u r a n t s , o i l s , v a r n i s h e s , c l e a n i n g and
p o l i s h i n g compounds, e t c . I t would seem t o he a f a c s i m i l e
of a p u b l i c a t i o n from a b o u t 1 9 0 0 . ( B i b l i o g r a p h i c a l d e t a i l s
a r e l a c k i n g . ) I t c o s t s s o m e t h i n g l i k e BFr 5 0 0 . - and i s
a v a i l a b l e from t h e s p l e n d i d " D r o g u e r i e l e L i o n " , r u e de
Laeken 5 5 , B-1000 B r u s s e l s , B e l g i u m , t e l . 2 1 7 4 2 0 2 . T h i s shop is
q u i t e t h e b e s t s o u r c e around f o r a l l t h o s e w e i r d " s u b s t a n c e s "
a v a i l a b l e i n England from Thew, A r n o t t and Co. (See B u l l . 9 , p . 1 0 )

ETHNIC PAINT: The m a c r o b i o t i c shop where I buy my m u s l i and

goatswool socks a l s o s e l l s o l d - f a s h i o n e d p a i n t . The manufac-
t u r e r i s Johan S t a h l e c k e r , B o e k h o r s t s t r a a t 1 2 9 , Den Haag,
The N e t h e r l a n d s ( T e l . 0 7 0 - 4 6 3 3 7 2 ) . The f i r m was founded i n
1879 and t h e l e a f l e t I have goes t o g r e a t l e n g t h s t o s t r e s s
t h a t l i t t l e h a s changed t h e r e s i n c e : "The company i s t h e
p i n n a c l e of c o n s e r v a t i s m and has n o t p a r t i c i p a t e d i n c h e m i c a l
d e v e l o p m e n t s ; i t has r e f u s e d t o e n l a r g e or m o d e r n i z e . " .They
emphasize t h e p u r i t y and e c o l o g i c a l n a t u r e of t h e i r p r o d u c t s .
Some sample p r i c e s (May 1 9 8 0 , i n c l u d i n g 18$ Dutch VAT):
2500 cc l a c q u e r p a i n t Hfl 4 6 . 2 5 ; b a s e p a i n t Hfl 4 1 . 3 0 ; o i l
s t a i n Hfl 3 5 . 3 5 ; 1000cc pure t u r p e n t i n e Hfl 1 2 . 3 5 . The
exclusive d i s t r i b u t o r for the Netherlands i s Speel-o-rama,
D a n i e l S t a l p e r t s t r a a t 3 7 , NL-IO72 XA Amsterdam. They may
p e r h a p s have an a g e n t i n E n g l a n d .
CASES: Hobgoblin Music (17 The Parade, Northgate, Crawley, West Sussex RHIO
2DT; t e l : 0293-515858) are offering a range of cases to other makers at
wholesale prices (eg Cittern at £38.15, lute at £40.11, a l l plus 15% VAT).
The cases are fibre-glass with foam padding, velour lining, and rubber
edging s t r i p . What they don't have as a regular l i n e , they say that they
can probably adapt, and they are adding new lines a l l the time. I imagine
t h e y ' l l be at Horticultural Hall; they were last time, and anyway you have
their address above.
FJJffi: That really is the lot now. I was going to say 'Have a good summer'
but I looked out of the window. Better luck next year (maybe). See some
of you at the Early Mus.Instr.Show in October.
 11

BULLETIN EXTRA Djilda S e g e r m a n .

CONGE A T U L A T I O N S
I a m s u r e t h a t a l l m e m b e r s w i l l w a n t t o j o i n w i t h u s at N R I , and
B e e p r i n t ( F o M R H I 1 s p r i n t e r ) , in o f f e r i n g J e r e m y o u r e n t h u s i a s t i c
c o n g r a t u l a t i o n s for landing the Oxford L e c t u r e s h i p and C u r a t o r s h i p
of t h e B a t e C o l l e c t i o n . We a r e v e r y h a p p y f o r h i m , and h a p p y f o r
F o M R H I ' s a d m i n i s t r a t i o n t h a t h i s t h r e a t e n e d e m i g r a t i o n i s at l e a s t
p o s t p o n e d . O u r o n l y f e a r i s t h a t he m i g h t not h a v e q u i t e s o m u c h
t i m e f o r a n s w e r i n g a l l o u r l e t t e r s and w r i t i n g t h e B u l l e t i n . We
h a v e no f e a r s at a l l t h a t h i s a c c e s s i o n t o t h e a c a d e m i c r e s p e c t a b i l i t y
he s o m u c h d e s e r v e s could e v e r m a k e F o M R H I g e t " r e s p e c t a b l e " .
WOOD
G i o v a n n i T a f u r o (V. G. D o n i z e t t i n. I, 51100 P i s t o i a , I t a l y ) o f f e r s :
B o x w o o d in l o g s : I t a l i a n L i r e s 2500 f o r a k i l o g r a m
B o x w o o d in b i l l e t s : e. g. ( c m . 4 f o r c m . 4) i s a r o u n d It. L i r . 280 f o r 1 l i n e a r
centimetre.
I t a l i a n C y p r e s s W o o d : e. g. f o r a s e t of l u t e r i b s a p p r o x . It. L i r . 2 0 0 0 0 - 2 5 0 0 0 .
e. g. f o r h a r p s i c h o r d c a s e b o a r d d i m e n s i o n s 2 5 5 / 2 2 /
0. 6 c m It. L i r . 50, 000.
P r i c e s i n c l u d e p a c k i n g b u t not f r e i g h t .

STRINGS
P r e - I 9 t h c e n t u r y d e s c r i p t i o n s of t h e c o n s t r u c t i o n of m e t a l - w o u n d s t r i n g s
a l m o s t a l w a y s s p e c i f y s i l v e r , a s t h e m e t a l . In t h e 19th c e n t u r y ^ s i l v e r p l a t e d
c o p p e r w a s a c o m m o n a l t e r n a t i v e . S i l v e r i s v e r y e x p e n s i v e and t h e d i f f e r e n c e
in s o u n d b e t w e e n s i l v e r and c o p p e r w i n d i n g i s v e r y s m a l l , s o u p t o now N R I
h a s only offered c o p p e r - w o u n d s t r i n g s . Silver plated c o p p e r and a l l - s i l v e r
w i n d i n g s a r e now a l s o a v a i l a b l e . S i l v e r - p l a t e d c o p p e r l o o k s m o r e a u t h e n t i c
and s i l v e r is m o r e authentic.

BRASS WIRE
MALCOLM ROSE h a s s u r p l u s t o r e q u i r e m e n t s a b a t c h o f y e l l o v r
b r a s s w i r e made by O r m i s t o n s , v i z :
. 3 5 5 mm ( . 0 1 4 " ) 1 . 5 k g - 5 0 mm ( . 0 2 0 ' ) 1 k g
. ' • 0 mm ( . 0 1 6 " ) 1 . 5 k g - 5 6 mm ( . 0 2 2 " ) 1 k g
. ' l 5 mm ( . 0 1 8 " ) 1 k g . 6 3 mm ( . 0 2 5 " ) 1 k g

Inch s i z e s are approximate. Please w r i t e it* y o u are interested;

t h e p r i c e i s £65 f o r t h e whole b a t c h .

FoMRHI BOOK & MUSIC NEWS Jeremy Montagu

B r i a n J o r d a n h a s s e n t me h i s l a t e s t l i s t s , i n c l u d i n g t h e E n g l i s h Lute
Song f a c s i m i l e s , t h e C h a n t e r e l l e G u i t a r f a c s i m i l e s e r i e s (which includes
a l i t t l e l u t e and v i h u e l a m a t e r i a l ) and t h e l i s t of t h e v a r i o u s series
p u b l i c a t i o n s he s t o c k s . Copies a v a i l a b l e from him (and remember t h a t he
does n o t c h a r g e p o s t a g e t o FoMRHI members).
He i n c l u d e d a f l y e r f o r t h e London Pro Musica E d i t i o n f o r t h c o m i n g Anthony
Holborne P a v a n s , G a l l i a r d s and Almains of 1599» which i s a v a i l a b l e from
LPM ( 1 5 5 , F e r n d a l e Road, London SW4) a t a d i s c o u n t (£8 i n s t e a d of £10,
p l u s £1 p&p) u n t i l t h e end of November. T h e y ' l l presumably have a s t a n d
a t t h e H o r t i c u l t u r a l H a l l , which would save t h e p o s t a g e .
 12

Tony Jjingham has also r e c e n t l y produced a catalogue of books he s t o c k s ,

with a l o t of i n t e r e s t i n g m a t e r i a l i n i t (including the Shrine to Music
Catalogue reviewed in t h i s Q and a couple of things mentioned i n t h e l a s t
Book News).
One t h a t I bought from him the other day i s The Flute by Albert Cooper,
a highly e n t e r t a i n i n g , i f unconventional, account of how he works. He
only makes modern f l u t e s , of course, but since he seems to do i t a l l in
the garden shed, h e ' s very much i n the t r a d i t i o n a l craftsman s t y l e .
Addresses for both Brian and Tony are i n the List of Members.

BOUWBRIEF X I X , Nov.1980

Section 2.2: A c o m p l e t e s e t of B o u w b r i e v e n I-XV c a n b e had

f o r Hfl 2 5 . - from t h e V e r e n i g i n g v o o r H u i s m u z i e k , C a t h a r i j n e -
s i n g e l 8 5 , NL-3511 GP U t r e c h t . 0
2 . 7 : The B r u s s e l s Museum of Musical I n s t r u m e n t s B u l l e t i n ,
V o l . V I I I - 1 / 2 - 1 9 7 8 has a r t i c l e s about Hungarian and I t a l i a n
b a g p i p e s , with drawings and measurements.
3 . 1 : Technical drawings of h u r d y - g u r d i e s are a v a i l a b l e from
Serge Bernet ( l a t e 1 9 t h - c e n t u r y l u t e - s h a p e d instrument by Cailhe-
Decante, 160 f r a n c s ) and Bernard Jacquemin ( l a t e 18th-century
g u i t a r - s h a p e d instrument by B a s s o t ) . The address f o r both i s :
chez Jean-Noel Grandchamp, Chemin d ' A i s e y , F-21400 C h a t i l l o n -
sur-Seine.
3 . 2 . : C o r r e c t i o n s are given of mistakes i;, two drawings "in
c i r c u l a t i o n among Bouwerskontakt members", v i z . t h e Terton
t r e b l e r e c o r d e r from the Hague and a n o t h e r t r e b l e by Debeye.
3 . 3 - A g e o m e t r i c a l drawing by Harry Zwetsloot, e n t i t l e d : " T h e
Mathematics of the V i o l i n . "
3 . 4 : Also by Harry Zwetsloot, a mathematical a r t i c l e on l u t e -
geometry with a drawing t o he used i n combination with p.25 of
Bouwbrief X I I .
5 . 2 : Black Horn i s a v a i l a b l e from M.Sauzedde, 40 ave.Joseph
C l a u s s a t , T h i e r s , France (Tel.802717)• The disadvantage i s
t h a t he wont send anything by p o s t , although he w i l l do turning
t o o r d e r . The e d i t o r s ask anyone who w i l l he i n Thiers t o l e t
them know i n advance, with a view t o making a communal o r d e r .
( T r a n s l a t o r ' s n o t e : FoMRHI members could cooperate h e r e . This
s t u f f i s hard to f i n d , hut useful f o r d e c o r a t i v e r i n g s on
wind i n s t r u m e n t s , c o r n e t t o mouthpieces e t c . )
9.2': C o n t i n u a t i o n of an a r t i c l e by Free Kroeze on the r e p a i r
of harmoniums.
9 . 4 : Photos of a r e c o r d e r under c o n s t r u c t i o n , by Toon Moonen.
9 . 7 : Mention of "a book by Max Mtiller about v i o l i n s " (no
t i t l e given) which c o n t a i n s a French/English/German/Dutch
vocabulary.
1 1 , 2 : A s h o r t r e p o r t on the 5th "Rencontres I n t e r n a t i o n a l e s
de L u t h i e r s e t Maitres-sonneurs" i n S a i n t - C h a r t i e r , France.
( T r a n s . n o t e : The 1981 event i s from 11th to 14th J u l y . Makers
can e x h i b i t themselves and t h e i r i n s t r u m e n t s . See f u r t h e r
information elsewhere i n t h i s FoMRHIQ, although perhaps too
late.)
1 1 . 3 : There i s a Bouwerskontakt workgroup developing instruments
f o r the handicapped. Contact a d d r e s s : P . v a n de Veen,
L i p p e r k e r k s t r a a t 160, ITL-7511 BB Enschede.
 13

BOUWBRIEF XX, Feb.1981. (Supplement to FoMRHIQ 23, p.13)

Section 3,1: A list of drawings of psalteries and tetra-
chords available from Nelly van Ree Bernard, Bennebroekerdref 20,
NL-2121 CN Bennebroek (Tel.02502-6126).
5.1: "Authentic" bronze and brass harpsichord strings can he
had from Remy Gug, 2 rue des Ecrivains, F-67000 Strasbourg,
(Tel.09-3388355040).
5.2: Bone for keyboards: Potvlieghe, Linkebeekstraat 17,
B-9490 Denderwinkende, Belgium.
10.1: New contact address for the "Workgroup Applied Musical
Instruments": Gerwim de Jong, Beukenlaan 9, NL-3741 BN Baarn,
(Tel.02154-12942). They can supply descriptions of the
instruments they have developed and are interested in contacts
with more instrument-makers. The instruments are for the
handicapped.

Contents of Bouwbrief XXI (May 1981) Paul Gretton

Section 2.3. : "Vraag en aanhod" ("Supply and Demand")
is a technical periodical consisting largely of adverts for
technical goods and services. Wood and woodworking machines
are included. Can be ordered from Kluwer Technische
Tijdschriften, Postbus 23, NL-7400 GA Deventer, Tel.05700-
91688.
3.1•: A short , general survey of psalteries, by Nelly van
Ree Bernard. Three pages, distinguishing between the various
shapes, methods of construction, stringings, tunings, playing
positions.
3,2.: Keyboard instruments in Dom Bedos. Part 4, the organized
hurdy-gurdy. A translation of Dom Bedos's remarks by Wim
Krijger. (In Dutch, of course, hut might he useful for the
original illustrations, which are included.)
5.6.: Carded silk for hurdy-gurdies can be ordered from
Firs Godefroy in Eindhoven by sending Hfl 10 per 500gr to
Dutch giro account 3870473* (Wo address given.)
8.5.: Bending solid bentsides, by Jan Kalsbeek. The soaking
method, using a pond and a baker's oven.
9.1.: Building hurdy-gurdies (contd.) Detailed article by
Wouter Dekker.
11.5.: Guitar-building course 19th-30th August, and instrument-
building course 31st Aug. to 10 Sept. Information from
Burgverwaltung, D-8774 Rothenfels am Main, West Germany.
11.6.: Lute and guitar-building course 26 Aug. to 2 Sept.
Francois Cordellier, 84 rue de la Gilarderie, F-44200 Nantes.
-12. : Hurdy-gurdy drawing by Herman Dewit and Toon Moonen.
Flemish instrument. "The drawing has been done in such a way
that one can use it to build an instrument." Hfl 25 from
Vereniging voor Huismuziek, Catherijnesingel 85, Utrecht.
Folk instrument-building course 24-29 Aug. in Belgium.
Info from ANZ, Vrijheidstraat 30-32, E-2000 Antwerpen. (Tel:
031-379392 or 379643)
Bouwerskontakt is organizing "the biggest event yet in
H o l l a n d "" -*-<-"•*• ° •*-"""c Vm-nd-iner musical instruim 3lf.
Builders, museums, demonstra^oub, ounucxoo, ^ u ^ ^ ^ ,
tools e^ -»^-4-Sj«„«™-Ko-n A rhanr.fi for FoMRH. exhibitionists
14
FoMRHI Comm.351
On Nomenclature — A Rejoinder Jeremy Montagu

First, may I express my thanks to Bob Spencer (Comm.337) for his elucida-
tion of this matter. If others working in the field could define their
terms so clearly, and use them as precisely as he has done, we will all
know which instrument is being referred to. I hope that makers, when
they compile their catalogues and price lists will follow this terminolo-
gy (perhaps we should remember that this matter arose simply because I
had no idea what instrument was being offered in the NRI Catalogue — see
Comm.315 in FoMRHIQ 21). If they do so, there will be no risk of a dis-
tant customer receiving quite a different instrument from the one he
thought that he was ordering, and it will save explanatory correspondence
in response to enquiries. Bob's clear definitions will also be of great
help to museum curators and others when they are trying to identify inst-
ruments, and he has done us all a service by writing this Comm.

I wish that I could say the same of Eph Segerman's Response (Comm.338) to
my original query (Comm.323), but so intemperate a paper and, if I may say
so, so surprisingly unscientific a one for a scholar of his background,
does nothing but obscure the whole issue.

Let us, for the moment, leave aside his first two types of organologist,
the 'educator/entertainer' and the 'systematic/structural', and glance at
the 'functional organologist', a term which he seems to use to represent
his own position and attitude. His need, as Eph states it, for '...the
names to be as close as possible to those used by the players...' is
laudable enough and indeed,when working in a closely defined geographical,
social and temporal context, could be anybody's ideal. However, he has
ignored my point that unfortunately, but frequently, one or more, and some-
times all, of these coordinates are missing. When one has an instrument
with a legible maker's name inside, unless the maker be unknown, one has
at least the geographical and the temporal coordinates; when one has a
named line in a piece of music, one often has all three. When, as I
pointed out in Comm.323, one has the corpse of an instrument, without a
label, strings and sometimes other essential parts, the problems are
greater. Here the functional organologist is at a loss (he can guess, of
course, but this is hardly a scientific procedure) unless he has read Bob
Spencer's admirable Comm.

Eph's real problem is that his approach is Europacentric, and pretty tight-
ly restricted temporally as well, and it is this which has led to his
unscientific scorn of the systematic organologist. I sympathise with his
difficulty in regarding the violin as a bowed lute — such special use of
common words to have a precise meaning in a scientific context is often
difficult or confusing for those inexpert in the relevant subject — and
he is, of course, welcome to refer to it as an instrument with a box reso-
nator with a distinct neck with four strings which are rubbed with a bow,
or even as a violin. Indeed, for the only geographical, temporal and
social contexts which interest him, 'violin' is a perfectly adequate term.

For those of us who are reluctant to regard music and instruments as an

uniquely European phenomenon, occurring only from about 1400 AD to 1981,
a different approach is necessary. We are, if I may change instruments
slightly, interested in the similarities, differences, connexions and
separations of, for example, lute, 'ud, cobza, outi, lauto, p'i-p'a, biwa,
mandola, etc (see Sachs, 1913 & 1964, sv.Laute), and when we use the basic
term of 'necked bowl lute' (Hornbostel/Sachs, 1914 & 1961, sv. 321.321) for
all these instruments, we can at once see their basic similarity and their
 15

individual differences. When we proceed to further distinctions between

these instruments, we study their morphology and history and, where known,
their development, one from another. As one does so, it becomes apparent
that while there are clearly distinct short-necked bowl lutes (eg Picken,
1955) and long-necked bowl lutes (eg Turnbull, 1972, and Campbell, 1968),
it may sometimes be captious to divide allied instruments between these
two groups just because the neck of one is a centimetre longer than the
length of the body, and the neck of another is a centimetre shorter, and
that this may apply, also, to instruments which are developmentally derived
from others. Thus some such term as 'extended short-necked lutes' would
simultaneously cover the instruments to which Bob's Comm. refers, reveal
their derivation from the normal European lute (using the term in the func-
tional organologist's sense), indicate that their playing technique on the
fingerboard was similar to that of the normal lute, and, regrettably, per-
haps annoy those whose attitudes are similar to Eph's. At the same time,
the use of such terminology impels a new and more careful look at such an
individual instrument as the Greek bouzouki, which, while recent examples
(eg Baines, 1966, fig.222) seem to indicate that it is a mandolin with an
extended neck (ie an extended short-necked lute), is in fact almost certain-
ly an Europeanised Turkish saz (compare Baines, 1966, fig.221, with Picken,
1975, plates 21-25 and accompanying figures) (ie a long-necked lute) as was
the colascione (Baines, 1966, fig.220) in its day.

Thus, for the researcher who regards music and instruments as subjects for
world-wide study, as aspects of the culture of humanity as a whole, only
systematic organology is adequate as an approach. It would, of course,
be possible to keep those who regard themselves as scientists in other
areas happy by using dog-latin for our terminology. However, since ours
is a science of our own time, when English and other modern tongues are
recognised as scholarly languages, it seems unnecessary to ape the earlier
sciences which adopted their pseudo-latin terminology in the days when
Latin was the only language in which scientific treatises were published.
In those days, since Latin was the accepted international language for
much ordinary correspondence, in fact the readers inexpert in the relevant
science may have had exactly the same problem as Eph has today in English
in distinguishing between the scientific and the colloquial usage of the
same word.

I seem to have ignored Eph's 'educator/entertainer'. His approach, surely,

will depend upon the level at which he is performing either function. If
he be a jazz-man, he will refer to any instrument he blows as a horn, whe-
ther it be lip-activated, a reed or a flute, and he may even use the term
for an instrument he bows or plucks, and his audience will be as happy as
he with this usage. If he is educating children, he will use normal orch-
estral parlance, simplified as may be suited to their ages. If he is in-
volved in university-level education, he will, if teaching incipient musi-
cologists (a term used wholly ethnocentrically in our culture, subject to
much the same temporal and geographical limitations as Eph has revealed
himself to be), probably restrict himself to functional organological ter-
minology. If teaching organologists, or those with a wider and truer
interest in music, he will find that only the terminology of systematic
organology is adequate for the task.

Bibliography
Baines, Anthony. European & American Musical Instruments. Batsford, London
1966!
Campbell, Richard G. Zur Typologie der Schalenlanghalslaute. Heitz, Stras-
bourg & Baden-Baden, 1968.
16

Hornbostel, Erich M.von, and Curt Sachs. 'Systematik der Musikinstrumente.

Ein Versuch', Zeitschrift fur Ethnologie, 1914; translated
as 'Classification of Musical Instruments' by Anthony Baines
and Klaus P.Wachsmann in Galpin Society Journal, vol.XIV,
1961.
Picken, Laurence. Folk Musical Instruments of Turkey, OUP, London, 1975.
'Origin of the Short Lute', Galpin Society Journal, vol.
VIII, 1955.
Sachs, Curt. Real-Lexikon der Musikinstrumente, Bard, Berlin, 1913; revised
and enlarged edition, Dover, New York, 1964.
Turnbull, Harvey. 'Origin of the Long-necked Lute', Galpin Society Journal,
vol.XXV, 1972.

FoMRHI Comm 352

The Lower-bout Back Fold on English Treble Viols.
E. Segerman.

There are a number of surviving 17th and 18th century English treble
viols which, at some time in their history had, besides the usual back
fold at the upper bouts, another back fold in the lower bouts. The
instruments like this that have come to my attention are the V & A Jaye,
an 18th century example owned by Nicholas Benn, an English pardessus
de viole owned by Martin Edmunds and a 17th century example owned by
John Pringle.
The back fold in the upper bouts reduces rib height at the body-neck
joint, and it probably was for reducing weight in the upper block and
the heel of the neck. The back fold in the lower bouts reduces rib
height at the tail, which probably was for increasing comfort when held
against the players neck or shoulder in the da braccio playing position.
Modern r e s t o r e r s have generally assumed that the treble viol was not
originally held in this position, and so the lower-bout back fold has been
considered to be a later modification to allow the instrument to be used
as a substitute member of the violin family. Consequently, all the
examples I am aware of except the V & A Jaye have been rebuilt to full
rib height in the lower bouts.
This restoration decision was made in each case in spite of the fact that
the lower bout folded part of the back is the same piece of wood as the
rest of the back and seems to be original. If it was originally unfolded
and then folded, with the lower-bout ribs just cut down to accommodate
the fold, that part of the back would have had to be made longer, with
the length down the centre being the hypotenuse of a right triangle when
before it was a side. There was no evidence of added wood to lengthen
the back. Perfling near the edges and in geometrical patterns comfor-
tably fit the full folded length.
 17

To explain this 'anomaly', the r e s t o r e r s cite the possibility that the

original unfolded lower bout of the back was longer than the correspon-
ding lower bout of the soundboard. The tail block would then have
originally been made in a tilting position. The folding modification
would then have involved the disassembling of the lower end of the body,
reshaping or replacing of the tail block and trimming the ribs to fit the
end block as well as the folded back. I believe that an original tilting
tail block is unlikely since it is not observed on surviving English
treble viols without the extra back fold, or on other sizes.
The r e s t o r e r s support their hypothesis that the lower-bout fold was not
original by noting that a geometrical perfling design around the centre
line of the back never c r o s s e s the upper-bout back fold in surviving
English instruments. But when such patterns exist on instruments with
a lower-bout fold, a tip of the pattern c r o s s e s the fold. This they
consider unnatural from a craft-aesthetic point of view.
I am not convinced by this view for several reasons. Clearly, perfling
running close to the edge normally c r o s s e s the upper-bout fold without
violating any craft or aesthetic principle. Also if the viol was a member
of a chest, with all members having similar geometrical patterns on
their backs, a prejudice towards uniformity would tend to de-emphasize
the unique lower-bout fold on the treble viol. Finally, perfling after
bending is much easier to do neatly than bending after perfling, and if
the bending was done after, the problems of the latter could so easily
have been avoided by choosing the line of bending slightly higher on the
instrument where the perfling would be missed.
There is some evidence suggesting that English treble viols played by
adults early in the 17th century were at least sometimes played in the
da braccio position. Thomas Coryat in his "Crudities", when d e s c r i b -
ing a performance at the Scuola di San Rocco on 16th August 1608 (see
E. M. 3/1 Jan. 1975, p. 25), praised the playing of treble viols then. The
San Rocco accounts on this occasion clearly record payments to three
different violinists (ibid p. 27). There is no evidence that Italian
violinists played their instruments in any position other than da braccio.
How then could Coryat, an otherwise apparently competent observer
made this e r r o r ? Violin design then was not as standard as it is today,
and some designs could look rather like treble viols. The r e v e r s e was
also true. His mistake could then have easily been made if the playing
of treble viols in this position was familiar to him. One may ask why
he did not call them violins, which should also have been familiar to him.
The vyolen was a well-known dance-band instrument from the 16th century,
but the consequent development of the violin as a 'quality' instrument in
England was still in its infancy in Coryat's time. It is quite conceivable
that he would not have imagined such music played so beautifully could be
from violins.
Continued on Page 52.
18 FoMRHI C o m m 353
Restoration of a recorder edge Theo Miller
I had the opportunity recently to undertake nrc; first re-
pair of a recorder edge, and since the repair turned out
very successfully I thought I would describe here the
method used in the hope that (perchance) it may be of use
to someone else.
Recorder: Roessler Oberlender, boxwood
Damage: 2dge+ had been nicked due to careless handling
and the owner then clumsily removed from .5 to 1mm of
the original edge. Appearance when taken over: (see fig.
1). Aside from the removal of wood there was no other
damage (no cracks, upper and lower surfaces of tongue
int?.ct).
Repair procedure: I decided to insert a block of wood
into the opening, joining it to the existing edge, and
carve it dorm to create a new edge contiguous with the
old. As a preliminary step, the edge was cut back, evened
up, and a mortise was carved in each wall (see fig.2a&b).
A small block of boxwood was then carved into the follow-
ing shape (fig.3), and then glued into the recorder (glue
applied sparingly!) (fig.4). After the glue had dried
and the piece was firmly in place, the remaining upper
part of the block was carved down, and the lower part
filed away, to form the new edge. Stain was then applied,
followed by two very thin coats of shellac as a sealant;
the edge and tongue were then rubbed smooth and the re-
pair was complete.
Comments: Obviously the most difficult step is the proper
shaping of the block with its thin tongue-cover. This
tongue-cover is in effect the upper part of a scarf joint;
its necessity may be questioned but a joint has to occur
somewhere, and I felt that better far hack and providing
a good surface for gluing than 'up front' where gluing
surface would be minimum and the presence of the joint
might affect the voice of the instrument. In setting the
block up initially be sure to check the grain; proper
grain alignment will greatly facilitate doing a good
job of the carving.
This method of repair should work as well for edges that
are even more severely damaged and for those with large
(or small) cracks; in the case of cracks little of the
original edge needs to be removed and the cracks—if
not too great—may even be left untreated.
There is an alternative method of setting the block in,
and this should be mentioned as the shaping of the block
is made much easier.
Procedure: prepare the damaged edge as above, but from
the top of the straightened edge down to 'a' remove the
wood of the tongue as shown below (fig.5). The line 'a'
on the top surface of the tongue should he clean and
straight, the back side of the excavation proceding at a
slightly acute angle down to the floor—this will make
the joint less conspicuous.
However, while the block is easier to shape and the job
potentially neater in appearance than in the first method,
it should be taken into consideration that the larger
 19
amount of wood to be removed may make it less suitable
for restoration of historic instruments.
Terminology: 'Edge' in particular denotes the first
transverse area of wood that the breath comes into contact
with, after exiting the windway; in general it denotes an
indefinite portion of this area of the recorder. The
reader should he able to distinguish between the senses
according to context. 'Tongue' denotes the portion of
wood just behind the edge (particular) and which ascends
to the normal outer surface of the instrument and des-
cends to the normal surface of the bore.

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FoMRHI C o m m 354

SINKING HARPSICHORD SOUNDBOARDS

David J. Way
With the second phase of the harpsichord revival, when we turned away from
piano technology to rediscover the construction methods of the antique
instruments, came the plague of sinking (or sometimes rising) soundboards
20
The thin spruce membrane can change its dimension across the grain by as
much as two centimeters in our American climate, depending on relative
humidity (actual moisture content in spruce only 3 mm thick is difficult
to obtain, but since the soundboard accommodates itself to the relative
humidity quickly, knowing the ambient relative humidity is a sufficient
guide for soundboard work).

To avoid winter cracking, many builders installed their boards too d r y -

resulting in great waves and valleys in the soundboard during the summer
months. Some harpsichords were only playable in the winter time—for six
months of the year the soundboard had swelled up into the strings or sunk
so low that there was no coupling to the bridges.

Of course, much of this extreme movement of the soundboard spruce was the
result of using wood not properly aged. Kiln drying (which in any case
should never be used to take the wood below 12 percent moisture content,
and this very slowly) does nothing to reduce the stretch and shrink of
spruce. Swiss pine (picea excelsis) should be at least seven or eight years
out of the tree, and Sitka at least four. Soundboard wood properly aged
will move only about half as much as wood that is only a year or so out
of the tree. Since we cannot now buy aged wood from a dealer, the inventory
of soundboard wood can be a major investment expense for an active harpsi-
chord bu i lder.

Observation of antique instruments (and old houses) leads us to believe that

ultimately the spruce becomes relatively (but never completely ) 'quiet'.
but this must require at least 20 years, and perhaps longer. It is the first
ten years in the life of an instrument that concerns the builder and affects
his reputation.

For all but the most drastic cases of soundboard swelling up into the strings,
there is a simple solution that in my experience does not affect the sound
of the instrument. A loop ot copper wire fastened between the high point of
the cutoff bar or h' hitchpin rail and one of the frames, to limit the amount
of ri=e. will force deflection of the board within itself without inhibiting
v ibra t ion .

For the soundboard that sinks, the 'happiness bar' was invented- a post up
through the bottom with a coil spring on top, pushing the soundboard up
to a reasonable position. This is destructive of whatever sound the instru-
ment might have; I doubt if any reputable builder still uses it. Back pin-
ning, imparting a«> upward lift to the bridge can solve some cases: this
can be quite radical if the back pin ii set far enough along the bridge
away from the bridge pin so the wire is not kinked beyond its capacity to
move along the pins in tuning.

With dimensions (bridge heights and tapers) approaching the classic instru-
ments, we find that installing the soundboard at 45 percent relative humidity
will protect against the soundboard rising into the strings during a severe
summer, .ind well aged wood will not crack unless the relative humidity
falls below 30 percent for a number of davs .

If a soundboard sinks in the case, we will not deliever the instrument;

the soundboard is torn out ania new one installed. If ~he liners are not
perfectly level, a soundboard will surely sink. Otherwise the tendency of
the board to rise or sink seems to be controllable by the way the wood
is handled in building up the board. All flitches show (however faintly)
the 'cup' or curve across the grain. When the flitches are shot for joining,
the cup must be up, not down, and of course carefully pressed out during
the shooting and gluing. The convex surface of the flitch can be dressed
 21

down with a thickness planer, thus revealing the grain, and the 'rise'
of the grain must be observed from the fuzz left by the resaw. Subsequent
planing and thinning of the board is greatly facilitated if the 'rise' of
the grain is laid all one way, both the thickness planer and a hand plane
will, tear out splinters if grain direction is not considered.

A soundboard laid with the cup up will have a natural tendency to rise in
the case instead of falling. This natural tendency can be defeated if
bridges are glue^'on while the board is too dry, or the ribs and hitchpin
rail are glued to the underside when the board is too damp. Enough time
must fe allowed between these two operations for the board to have come
to complete equilibrium. Sponging the board (as some builders do) is in
my experience unnecessary, and can lead to disaster.

A soundboard that rises instead of sinking does not solve all the problems
of the American climate. Case sides will expand and contract by almost
2 mm, and the bridge will rise and fall in the jiss by as much as 3 mm.
This latter 'Ticvement by tr iangu lat ion comes to only a few tenths of a
millimeter at the gap, but even this is enough to spoil regulation. An
instrument properly regulated in the summer will find its jacks all too
long in December, and an instrument finished in the winter will speak too
late when everything is swelled up in the summer.

The answer to this is not jack bottom screws, but simple shims under the
keyboards which can be adjusted during the first few years. The treble
strings will not move much at all as the soundboard goes up. so the left
side of the keyboards will need to move up (or down) more than the right.
Such an adjustment is certainly much easier and more sensible than turning
the bottom screws of 180 jacks, and should leave the instrument with the
original stagger intact.

How much of all this can be defended as 'ancient practice' I do not know.
Extending the range of the harpsichord to the North American continent
leaves us with problems the old builders did not have to solve. The kind of
radical backpinning needed here is not needed in Europe (but radical negative
downbearing is to be found JTI the Yale Taskin). Laying soundboards with
attention to cup and rise of grain is only good cabinetry, and I do not doubt
that the old builders paid attention to such things.

KUNSTTISTOFISCrES MUSEUM, VIENNA. L i s t of X - F a y P h o t o g r a p h s .

May 1978

Instrument Format Rontgen Nr

Inv.Nr.

56, A.61 Cister von Girolamo

de Virchi*,Brescia 1574 GF 63
23 c.32 Laute von Laux Mailer
Bologna urn 1520 GF 17,18
29 C.33 Laute von Hans Frei
Bologna um 1550 GF 15,16
30 C.34 Laute von Hans Frei
Bologna um 1550 GF 13,14
 22

31, A.35 Laute von Georg b e n e ,

Innsbruck um 1580 GF 9,10,11
42, A.46 Theorbierte Laute
von W^ndelin Tiefenbrucker GF 3,20,21,22
Padua 1596
44, A.48 Theorbierte Laute
von Hans Burkholtzer
Fufien 1596 GF 12,13
55, A.60 Bafllaute
16.Jahrhundert GF 68-78
70, C.75 Alt-Tenorgambe
von Franciscus Linarolus
Venedig um 1520 GF 19,23,61.52
71, C.76 Alt-Tenorgambe
von Antonio Ciciliano
Venedig um 1520 GF 51-60
89, C.94 Lira da braccio
von Giovanni d'Andrea
da Verona 1511 GF 106-108
65, C.70 Viola da braccio
Italienisch um 1500 GF 24,25
91, C.96 Violine von Ventura
Linarol, Venedig 1581 GF 2
95, C.102 Violine,Italienisch
17.Jahrhundert GF 4
102, C.109 Tenorgeige Italienisch
17.Jahrhundert . GF 26,27
104, C.lll Violoncello
von Dorigo Spilman
Padua um 1590 GF 28-31
LG. Violoncello von
Anton Posch Wien 1741 GF 32-35
135, C.146 Altblockfldte,Italienisch
Brandmarke: \{
16.Jahrhundert KF 5
150, C.161 Tenorblockflote,
Brandmarke: \{ Italienisch
16.Jahrhundert KF 38,39
161, C.172 Bassettblockflote
Brandmarke: HIE.S
Italienisch,16.Jhdt. KF 47,48
GdM 88 BaBquerfldte 1501 KF 111,114,118,119
175, C.186 Querfldte,Italienisch
16.Jahrhundert KF 110,113,116
182, C.193 Tenorpommer,Italienisch
l6.Jahrhundert KF 40,41
203, A.214 Krummhorn,
Brandmarke: I.MIlirA,
Mailand, 16.Jhdt. KF 89
GF 49,50
 ^3

''v. 205, A.216 Krummhorn,

16.Jahrhundert GF 49,50
,2
M 2 06, A.217 Alt-Krummhorn
(Jorg Wier,Memmingen
um 1520) GF 124,12 5
213, A.224 Diskantrackett
Deutsch, 16.Jhdt. KF 65,65a,67
214, A.225 Diskantrackett
Deutsch, 16.Jhdt. KF 64,64a,66
216, A.227 BaBsordune
Italienisch, 16.Jhdt. GF 1
217, A.228 Grofibafl-Sordune
Italienisch,16.Jhdt. KF 99-104
221, A.232 Gerader Zink
Italienisch, 16.Jhdt. KF 80-82
223, A.234 Gerader Zink
Italienisch, 16.Jhdt. KF 6,7,8^811,85
u Gerader Zink
225, A.236 Italienisch, 16.Jhdt. KF 86,87,88
1,2!
227, C.238 Gerader Zink
Italienisch, 16.Jhdt. KF 90,91
I
678 Bafi-Krummhorn
Jorg Wier,
I Memmingen 1522 126,127
679 Tenor-Krummhorn
: Jorg Wier,Memmingen 1522 GF 128,129
220, A.231 Gerader Zink
Italienisch, 16.Jhdt„ Y'i 83,84,85
i:
Krummer Zink
Italienisch, 16.Jhdt. KF 36,37
230, A.241
Krummer Zink,
231, A.244 Italienisch, 16.Jhdt. KF 94,97,98
Krummer Zink
232, C.243 Italienisch, 16.Jhdt. 92,93,95,96
Serpent,Italienisch
273, A.248 16.Jahrhundert 109, 120-123
Diskant-Tartolt
212, A.223 Qsterr.,16.Jhdt. 36, a,b,c
Dulzian,
GdM 117 Brandmarke:\/
Italienisch, 16.Jhdt. o 44-46
GdM 173 Tenor-Rackett
von J.C.Denner,
Nurnberg 1709 112,115,117
653 Oboe
von H.Richters
Niederlandisch
Anfang des 18.Jhdts. 42,43
24
G E R M A N I S C H E S N A T I O N A L M U S E U M
8500 Nurnberg 11 - P o s t f a c h 9580

Documentation of Historical Musical Instruments

Guide through the Exhibition of Musical Instruments

John Henry van der Meer, Wegweiser durch die Sammlung Histori-
scher Musikinstrumente (second edition), 96 pp., 18 photographs
(in German, contains a list of all instruments on exhibition)
DM 4,00.

Technical Drawings
In the following, drawings of musical instruments from the
collections of the Germanisches Nationalmuseum are listed.
They are drawn to full scale and are obtainable as blue-
prints. It should be noted that they are primarily intended
as documents for organological research; therefore, some of
the details wanted by an instrument maker might be missing.

Radiographs
A series of radiographs of musical instruments from the
collections of the Germanisches Nationalmuseum has been taken.
Paper contact prints with reversed light values (Rdntgenkontakt-
kopien) of equal size are available of all radiographs made on
film. On various radiographs there is more than one instrument;
when ordering, it should therefore be noted that only the
complete number of instruments under one RB-no. can be copied
(where there is more than one instrument per RB-no. no print
of an individual instrument can be made). Please state RB-nos.
when ordering.
Please state also the purpose for which the prints are going
to be used (for organologic research a reduction of price is
possible).
Furthermore, radiographs of instruments other than listed may
be ordered (prices similar to those in the attached list).
Duplicates of the highest quality can be supplied on request
(please inquire about prices).

Records
Please write for special list.

Please note:
On all prices listed postage ana packing is extra. Please do
not send cheques with your order but wait for our pro forma
invoice. After payment you will receive the drawings ordered.

There will be a new list once or twice per year, extended by

the newly available documentation.
 25
Blasinstrumente - Wind Instruments

MI 120 Stiller Zink, Venedig(?), um 160O.

Aussenansicht (Bohrung s. Rdntgenaufnahme).
77 x 37 cm; DM 6, 50.
MI 122 Kleiner Zink (Quartzink), Deutschland(?), 16./17. Jahrh.
Aussenansicht mit Mundstuckdnnendurchmesser s. Rontgenaufnahme
77 x 37 cm; DM 6,50.
MI 163 Naturtrompete, Johann Carl Kodisch, Nurnberg, um 1700
(bildet mit MI 162 ein Paar).
bitia
: Mit zeitgendssischem Mundstiick und textilem, dekorativen
Gehange.
93 x 101 cm;- DM 21,--.
MI 168 Bassposaune, Isaac .Ehe, Nurnberg 1612.
Gesamtes Instrument.
:-.:
176 x 66 cm; DM 2 6 , — .
MI 217 Naturtrompete, Johann Leonhard (III) Ehe, Nurnberg 1746
(bildet mit MI 218 und 219 einen Satz von drei Instrumenten).
Mit zeitgendssischem Mundstiick und textilem, dekorativen
Gehange.
99 x 92 cm;' DM 20, 50.
MIR 4 2 Krummer Zink, Norditalien, 17. Jahrhundert.
Aussenansicht (innendurchmesser s. Rontgenaufnahme).
:; 77 x 37 cm; DM 6,50.
;:: MIR 113 Naturtrompete, Jan Sander, Hannover 1623.
: : •

Mit Mundstiick und textilem, dekorativen Gehange.

e 93 x 85'cm; DM 18,--.
:;.::
tint
Zupfinstrumente - Plucked Stringed Instruments
MI 44 GroBoktavbasslaute, Michael Hartung, Padua 1602.
Vollstandiges Instrument, mehrere Schnitte. Decke mit
Balken und Starkenangabe.
215 x 95 cm; DM 45, — .
MI 45 Laute (ursprvinglich kleine Theorbe?), Pietro Railich,
Venedig 1644.
Vollstandiges Instrument, mehrere Schnitte. Bebalkung
der Decke, Starkenangabe. S. auch Rontgenaufnahme.
2 Blatter: 111 x 91 cm und 61 x 47 cm; zusammen DM 28,50.
MI 54 Laute, Laux Maler, Bologna, 1. Halfte 16. Jahrhundert.
Decke mit Starkenangaben und Balken im vorgefundenen Zustand.
60 x 41 cm; DM 5, 50.
MI 55 Theorbe, Cristofolo Hoch, Venedig um 1650, verandert von
Leopold Widhalm, Nurnberg 1757.
Decke mit Starkenangabe und Balken im ursprunglichen
und veranderten Zustand.
51 x 4 3 cm; DM 5,-- . •
MI 56 Basslaute, Michael Hartung, Padua 1599.
Decke mit Balken.
6 3 x 4 5 cm; DM 6,50.
MI 245 Theorbe, Martin Hoffmann, Leipzig 169..
Decke mit Balken. D M 5,fo

MIR 908 Erzlaute, Mathias Alban, Bozen 1704.

Decke mit Balken, Starkenangaben.
82 x 52 cm; DM 9,50.

Streichinstrumente - Sowed Stringed Instruments

MI 5 GroOe Bass-Viola da gamba (D^-d, G^-g?), Hans Vogel,

Nurnberg 1563.
Vollstandiges Instrument in mehreren Ansichten.
1 Blatt (in -2 Teilen) 120 x 211 cm; DM 56, — .

MI 6 Tenor-Viola da gamba (D-d 1 ), Hans Pergette, Munchen 1599.

Vollstandiges Instrument in mehreren Ansichten und
Schnitten. Deckenstarken.
223 x 90 cm; DM 45, — .

MIR 782 Pardessus de viole, Michel Colichon, Paris, Ende 17. Jahrh.
Vollstandiges Instrument in mehreren Ansichten.
98 x 81 cm; DM 13, — .

MIR 843 Violoncello piccolo a 5 corde (ursprtinglich Viola da

gamba?), Andreas Jais, Tdlz 1724.
Decke nit Starkenangaben.
35 x 50 cm; DM 9, 50.

MIR 940 Arpeggione, daniert 1351.

Gesamtansicht von vorne und der Seite, Decke mit
Bassbalken und Starkenangabe.
110 x 6 8 cm; DM 16,50. .

Drehleiern - Hurdy-Gurdies

MI 73 Drehleier, Deutschland, 17./18. Jahrhundert.

Drei Ansichten, ornamentale Details.
140 x 80 cm; DM 25,-- .

MINe 52 Drehleier, Lasnier, Charenton 1851.

Drei Ansichten, ornamentale Details.
122 x 70 cm; DM 19, — .

Tasteninstrumente - Keyboard Instruments

MI 79 Regal, Deutschland 1639 (von Christoph Wannenmacher 1639

der Stadtpfarrkirche vcn Friedberg/Hessen gestiftet).
Disposition: Zunge 3', (Zimbel 1/4').
Instrument in verschiedenen Ansichten, Balge (rekonstruiert).
3. auch Rontgenaufnahme.
2 Blatter a 106 x 71 cm; zusamnen DM 33,50.

MI 80 Regal, Michel Klotz, Suddeutschland, 17. Jahrhundert.

Ansicht des gesanten Instruments rr.it den Balgen.
150 x 90 cm; DM 30,--.

MI 263 Oktavcembaio (4',4'; c/e-c^), Italian, 2. Halfte des 17.Jahrh

Drei Ansichten. Die Inner.konstruktion wurde nach einer
sterecskopischen Rontgenaufnahme jezeichnet.
Ohne ausseren Kasten.
125 x 7 5 cm; DM 21,--.
 MI 449 Cembalo (8',8'; Gi/H^-e 3 ), Christian Vater, Hannover 1738.
Gesamtansicht mit mehreren Schnitten und Detailzeichnungen,
Gestell.
373 x 100 cm; DM 8 4 , — .

MIR 1047 Gebundenes Clavichord (hexagonal, C/E-c 3 ), Siiddeutschland,

2. Viertel des 18. Jahrhunderts.
Gesamtansicht, zwei Schnitte.
In Vorbereitung.

MIR 1061 Bundfreies Clavichord, Johann Heinrich Silbermann,

StraBburg, um 1775.
Resonanzboden mit Berippung, Starkeangabe.
58 x 56 cm; DM 7,50.

MIR 1075 Cembalo (G-^-c3; 8', 8'), Carlo Grimaldi, Messina 1697.
US Aufsicht und Seitenansicht mit mehreren Schnitten
und Detailzeichnungen.
Ausserer Kasten mit Ornamentation. Die Innenkonstruktion
des Instruments wurde nach Rontgenaufnahmen gezeichnet.
. : •

2 Blatter a 283 x 107 cm; DM 136, — .

MIR 1078 Cembalo (doppelmanualig, 4 ' /3 • 3 ' ; C/E-c-'', Italien,
17. Jahrhundert.
Gesamtansicht von oben und der Seite, mit genauer
Innenkonstruktion und Starkenangabe des Resonanzbodens.
Ohne ausseren Kasten und Gestell.
248 x 110 cm; DM 60,--.
MIR 1080 Clavicitherium (3',4',8'; C/E-c 3 ), Deutschland,
1. Halfte 17. Jahrhundert.
Schnitt durch die Mechanik bei der obersten und
unteren Taste.
88 x 54 cm; DM 10,50.
MINe 78 Cembalo ("false inner-outer", 8'8', C/E-c 3 ),
Giovanni Battista Giusti, Lucca 1681.
Drei Ansichten. Die Innenkonstruktion wurde nach
einer Rontgenaufnahme gezeichnet.
244 x 100 cm; DM 5 4 , — .
MINe 100 Hammerflugel, Johann Schmidt, Salzburg 1790.
Schnitt durch die Mechanik.
6 2 x 4 2 cm; DM 6, — .
MINe 109 Hammerflugel (F,-g J ), Anton Walter, Wien, um 1795.
Gesamtansicht von oben, von der Seite und von vorne;
Mechanik und genaue Innenkonstruktion
274 x 161 cm (in 2 Teilen); DM 97,--

Dezember 1977
 Prints of Radiographs

Horner und Trompeten - Horns and Trumpets

Ext. 1 MI 205 Buchsentrompete, Adam Buchschwinder, Ellwangen,

1731.
24 x 30 cm; DM 2 4 , — .

RB 262 MI 114 Quartzink, um 1600.

Ansicht senkrecht auf die Grifflocher.
43 x 10 cm; DM 36,--.

RB 324 MI 113 Rohrzink (?), I.W. Hoe, Hof/Bayern, um 1770.

MIR 390 Rohrzink (?), 18. Jahrhundert(?).
Ansicht "von der Seite".
2 Blatter 48 x 10 cm; DM 7 2 , — .

BB 325
MI 116) Z w e i k r u m m e z i n k e n i n S-Form, um 1600.
MI 119 Krummer Zink auf g, Anfang 17. Jahrhundert.
MI 120)
J:t :*I. Zwei stills Zinken, um 1600.
MI 12i)
MI 122 Kleiner Zink (Quartzink), Deutschland(?) , 16./17.Jh.
MIR 38 Quartzink, 16. Jahrhundert.
MIR 41 Krummer Zink, 16. Jahrhundert.
MIR 42 Krummer Zink, um 1600.
Ansicht senkrecht auf die Grifflocher bei MI 116,
119, 122, MIR 33, 41, 4 2; seitliche Betrachtung
bei MI 115, 120, '121.
4 Blatter 30 x 40 cm; DM 144,--. (Vgl. RB 396).

RB 329 MI 111 Tenorzink, signiert HIEROS, Anfang 17. Jahrhundert.

Ansicht von der Seite.
4 Blatter 24 x 30 cm; DM 9 6 , — .
R3 396 MI 122 Quartzink, Deutschland (?), 16./17. Jahrhundert.
MIR 4 2 Krummer Zink, um 1600.
Ansicht von der Seite und senkrecht auf die
Grifflocher.
2 Blatter 30 x 40 cm; DM 72, — . (Vgl. RB 325).

RB 56 3 Mundstiicke z u g e h d r i g zu:
MI 217 Satz von 3 Naturtrcmpeten, Johann Leonhard (III)
- 219 Ehe, Nurnberg, 1746.
MI 162, Satz von 2 Naturtrcmpeten, Johann Carl Kodisch,
16 3 Nurnberg, um 1700.
1 8 x 2 4 cm; DM 15,--.

RB 565 Mundstucke zugehcrig zu:

MIR 113 Naturtrompete, Johann Sander, Hannover 1623.
MI 359 Naturtrompete, Jecrg Friedrich Steinmetz, Nurnberg,
um 1715.
MIR 115 Naturtrompete, Michael Leichamschneider, Wien 1733.
MI 363 Naturtrompete, Ernst Johann Conrad Haas, Nurnberg,
um 17 70.
MIR 109 Naturtrompete, Wolf Magnus Ehe, Nurnberg, um 1*775.
13 x 2 4 err,; DM 15, - - .
 29

RB 566 Mundstucke zugehdrig zu:

MIR 106 Naturtrompete, Johann Wilhelm Haas, Nurnberg,
um 1700.
MIR 111 Naturtrompete, Christian Wittmann, Nurnberg,
um 17 95.
MIR 116 Kavallerietrompete, Anton und Ignaz Kerner,
Wien 1806.
MIR 117 Kavallerietrompete, Carl Gottfried Glier,
Markneukirchen, Anfang 19. Jahrhundert.
MIR 122 Jagertrompete, Balthasar Furst, Ellwangen 1770.
18 x 24 cm; DM 15,--.
RB 567 Mundstucke zugehdrig zu:
MI 173 Altposaune, Hieronimus Starck, Nurnberg 1670.
MI 177 Altposaune, Johann Wilhelm Haas, Nurnberg,
um 1700.
MI 314 Altposaune, Wolfgang Birckholtz, Nurnberg 1695.
MI 360 Tenorposaune, teilweise von Paul Hainlein,
Nurnberg 1677.
MI 168 Bassposaune, Isaac Ehe, Nurnberg 1612.
18 x 24 cm; DM 1 5 , —
RB 575 Mundstucke aus Elfenbein, zugehdrig zu:
MI 122 Kleiner Zink (Quartzink), Deutschland?, 16./17. Jh.
MIR 38 Kleiner Zink (Quartzink), wohl Venedig, um 1600.
13 x 18 cm; DM 9, — .

Floten und Rohrblattinstrumente - Flutes and Reed Instruments

RB 264 MI 101 Altblockflote, Hieronimus Franciskus Kynsecker,
Nurnberg, Ende 17. Jahrhundert.
Strahlenrichtung in der Ebene des Windkanals.
48 x 10 cm; DM 3 6 , — .
RB 265 MI 139 Altblockflote, Jacob Denner, Nurnberg um 1715.
Strahlenrichtung in der Ebene des Windkanals.
48 x 10 cm und 24 x 10 cm; DM 5 1 , — .
RB 266 • MI 140 Altblockfldte, Jacob Denner, Nurnberg um 1715.
Strahlenrichtung in der Ebene des Windkanals.
48 x 10 cm und 24 x 10 cm; DM 51,--.
RB 268 MI 211 Altblockfldte aus Elfenbein, Nikolaus Staub,
Nurnberg, Anfang 18. Jahrhundert.
Strahlenrichtung in der Ebene des Windkanals.
48 x 10 cm und 24 x 10 cm; DM 5 1 , — .
RB 272 MIR 393 Oboe da.caccia, A. Kinigsperger, Roding(?), um 1740
Ansicht "von der Seite".
2 Blatter 48 x 10 cm; DM 7 2 , — .
RB 275 MI 108 Oboe da caccia, in Sichelform, M. Deper,
Mitte 18. Jahrhundert.
MI 110 Englischhorn in Sichelform mit LiebesfuB, J. Baur,
Wien, 2. Halfte 18. Jahrhundert.
MI 133 Bassetthorn in Sichelform mit Buch, Anton und
Michael Mayrhofer, Passau, um 1770.
MIR 394 Englisches Horn in Sichelform, Rocho Baur, Wien,
Ende 18. Jahrhundert.
MIR 395 Englisches Horn in Sichelform (Marke: eine Blume),
2. Halfte IS. Jahrhundert.
30
MIR 396 Englisches Horn in Sichelform, Fornari, Venedig,
1824 (Klappen teilweise nicht original).
MIR 465 Bassetthorn, Wien(?), um 1780.
Alle "von der Seite gesehen".
6 Blatter 30 x 40 cm; DM 216,--.

RB 279 MI 106 Choristfagott, "oh. Christoph Denner, Nurnberg,

Ende 17. Jahrhundert.
MI 124 Tenordulzian (signatur unleserlich), Italien,
16. Jahrhundert.
Ml 125 Choristfagott, Joh. Christoph Denner, Nurnberg,
Ende 17. Jahrhundert.
MIR 403 Choristfagott, Johann Christoph Denner, Nurnberg,
Ende 17. Jahrhundert.
Strahlenrichtung in der grdBeren Achse des ovalen
Querschnitts.
3 Blatter 30 x 40 cm; DM 108,-- (Vgl. RB 280).
RB 280 MI 124 Tenordulzian (Signatur unleserlich), 16. Jahrhundert.
Strahlenrichtung in der kleineren Achse des ovalen
Querschnitts.
2 Blatter: 48 x 10 cm; DM 72,--. (Vgl. RB 279).
RB 323 MIR 370 Oboe, Jacob Denner, Nurnberg, 1. Drittel 18. Jahrh.
Ansicht "von der Seite". Zusatzliches Detail
seitliche Ansicht eines der es-Ldcher.
2 Blatter 43 x 10 cm; DM 72, — .

RB 330 MIR 201 Altblockfldte, J.W. Oberlender, Nurnberg, um 1750.

Betrachtung in der Ebene des Windkanals.
48 x 10 cm und 24 x 10 cm; DM 51,--.

RB 353 MIR 208 Blcckfldte in d (voice-flute?), Joh. Christoph

Denner, Nurnberg, um 1700.
Betrachtung in der Ebene des Windkanals.
43 x 10 cm und 24 x 10 cm; DM 51,--.

RB 399 MI 125 Choristfagott, Johann Christoph Denner, Nurnberg,

Ende 17. Jahrhundert.
Ansicht von der Seite und senkrecht auf die
Grifflocher.
4 Blatter 24 x 30 cm; DM 9 6 , — . (Vgl. RB 279).

RB 425 MIR 282 Querflote, Charles 3izey, Paris 1736.

Ansicht von der Seite.
2 Blatter 48 x 10 cm; DM 72,--.

RB 590 MI 257 Querflote, J;cob Denner, Nurnberg, um 1720.

Mit zusatzlichem Mittelstuck.
Ansicht vcn der Seite.
2 Blatter 43 x 10 cm; DM 7 2,--.

Zupfinstruments - Plucked Stringed Instruments

RB 262 MI 6 7 Hamburger Cithrir.chen, Joachim Tielke, Hamburg,

Ende 17. Jahrhundert.
Korpus des Instruments.
30 x 40 cm; DM 36,--.

RB 284 MIR 873 Mailander Mandoline, Ambrogio Marafi, Mailand,

um 16 90.
MIR 390 Pandurir.a (ursprunglich Klem-Diskantlaute ?) ,
Italien, 17. Jahrhundert.
Korpus vies Instruments.
30 x 40 cm; DM 3 6,-
 n

RB 285 MIR 898 Laute, Johann Blasius Weigert, Linz, 1720.

Korpus.
2 Blatter 30 x 40 cm; DM 72,--.

RB 286 MI 58 Gitarre, Pietro Railich (?), Norditalien,

1. Halfte* 17. Jahrhundert.
Korpus des Instruments. Ansicht auf Decke und
Boden unter einem Winkel von 78°. Auf diese
Weise sind Decke und Boden auf dem Bild gegen-
einander verschoben, so daB deren unterschiedliche
Konstruktion leichter erkennbar wird.
30 x 40 cm und 24 x 30 cm; DM 60,--.

RB 287 MI 58 Alles wie in RB 286, aber "Blickwinkel" auf

Boden und Decke senkrecht.
30 x 40 cm und 24 x 30 cm; DM 60,--.

RB 326 MIR 860 Gitarre mit gewolbtem Boden, Giorgio Sellas,

Venedig 1624.
Korpus
30 x 40 cm und 24 x 30 cm; DM 60,--.

RB 327 MI 394 Laute, Joachim Tielke, Hamburg 1696.

Korpus
2 Blatter 30 x 40 cm; DM 72, — .

RB 362 MIR 903 Theorbe, Leopold Widhalm, Nurnberg 1755.

Korpus des Instruments.
2 Blatter 30 x 40 cm und 1 Blatt 18 x 24 cm;
DM 8 7 , — .

RB 367 MI 45 Laute (ursprunglich kleine Theorbe ? ) ,

Pietro Railich, Venedig 1644.
Korpus und Hals bis zum Ansatz des Wirbelkastens.
2 Blatter 30 x 40 cm und 1 Blatt 24 x 30 cm;
DM 9 6 , — .

RB 371 MI 201 Zister, Michael Bochem, Kdln 1728.

Korpus.
1 Blatt 30 x 40 cm; DM 36,--.
RB 417/419 MI 58 Harfe gotischer Form, Anfang 16. Jahrhundert.
Kdrper von der Seite; oberes und unteres
Korpusende in Draufsicht.
30 x 40 cm und 2 Blatter 48 x 10 cm; DM 108,--.

Tasteninstrumente - Keyboard Instruments

RB 289 MI 79 Regal, Deutschland 1639 (von Chr. Wannenmacher

1639 der Stadtpfarrkirche von Friedberg/Hessen
gestiftet).
Betrachtung auf das Instrument ohne Balg.
Pfeifen herausgenommen (MaBstab dicht liber den
Kanzellen).
2 Blatter 30 x 40 cm und 1 Blatt 24 x 30 cm;
DM 96, — .
Auf Wunsch fertigen wir Radiographien ganzer Tasteninstrumente.
Diese Aufnahmen (Originalaufnahmen auf nicht transparenter Folie!
Keine Kcntaktkopien) kosten:
der erste Quadratmeter DM 210,--; jeder weitere m2 DM 150,--.

We supply radiographs of complete keyboard instruments on request,

These original radiographs (on nontransparent foil! no prints!)
cost:
First square meter DM 210,--; every following sq.m. DM 150,--.

Dezember 1977
Addenda

Technische Zeichnungen

MI 54 Neue Version in Vorbereitung:

Laute, Laux Maler, Bologna, 1. Halfte 16. Jahrhundert.
Rdcken und Fragmente der Decke in mehreren Ansichten.
Balken im vorgefundenen Zustand, Deckenstarken.
MI 245 Theorbe, Martin Hoffmann, Leipzig 169..
Decke mit Balken.
57 x 42 cm; DM 5,50

MIR 1047 Gebundenes Clavichord (hexagonal, C / E - c 3 ) , Suddeutschland,

2. Viertel 18. Jahrhundert.
Gesamtansicht, mehrere Schnitte.
14 3 X 98 cm; DM 31,50.

Rontgenkontaktkopien

RB 443 MI 127 Fagott, Johann Heinrich Eichentopf, Leipzig, um 1730.

Ansichten von der Seite und senkrecht auf die
Grifflocher.
.4 Blatter a 30 x 40 cm; DM 144,--.

RB 605 MIR 914 Gitarre, Norditalien, Anfang 18. Jahrhundert.

Ansicht senkrecht auf den Korpus.
2 Blatter a 30 x 40 cm; DM 72,--.

RB 606 MIR 915 Gitarre, Koliker, Paris, um 1800.

Ansicht senkrecht auf den Korpus.
2 Blatter a 30 x 40 cm; DM 72,--.

RB 607 MIR 876 Kleine Oktavlaute (umgebaut zur Pandurina durch

Erneuerung des Wirbelkastens), Johann Christian
Hoffmann, Leipzig 1745.
Ansicht senkrecht auf den Korpus.
30 x 40 cm; DM 36,--.

Aoril 1978
 : • : • :

NATIONAL MUSEUM O F HISTOPY AND TECHNOLOGY

SMITHSONIAN INSTITUTION, WASHINGTON, D. C. 20560
P r i c e s of D r a w i n g s of M u s i c a l I n s t r u m e n t s in the Collection, and
d e t a i l s of P h o t o g r a p h s .
INSTRUMENT PRICE B&W NEGATIVE NUMBERS COLOR SLIDE NEGATIVE NUMBERS

Single-manual harpsichord, $25 56,321 3/4 view 74-12218 3/4 view in outer
Anonymous, Italian "1693" 56,321A plan view case
(catalogue #326,904)

English bentside spinet, $25 72-10425 3/4 view 74-12216 3/4 view (lid open)
Thomas Hitchcock, London, (lid open)
ca. 1710 (catalogue #62.382) 72-10427 3/4 view 72-10427 3/4 view (lid closed)
(lid closed)
72-10426 plan view 72-10426 plan view
Two-manual harpsichord, $35 56,314 3/4 view 74-12224 3/4 view
Johannes Daniel Dulcken, 56,314A plan view 74-12217 plan view
Antwerp, 1745 56,314B nameboard & 74-12226 keyboards and
keyboard well wrestplank

Two-manual harpsichord, $35 61,272 3/4 view multiple views of restoration

Benoist Stehlin, Paris 61,272A plan view available on request
1760 (catalogue #66.521) 61,272B keyboards

Virginal (rectangular, $25 56,309 3/4 view 74-12222 3/4 view

quint pitch), Andreas 56,309A plan view 74-12223 plan view
Ruckers, Antwerp, 1620 56,309C jack rail 74-12221 detail of lid co
(catalogue #303,543) 49,606 & detail of oo
49,606A decoration
 Clavichord (fretted, double- $25 56,341 3/4 view 74-12220 3/4 view Co
strung) , Anonymous German, 56,341D plan view
18th cent, (catalogue #60.1394)

Grand piano, Johann Ludwig $35 56,409 3/4 view

Dulcken, Munich?, 1790-1800 56,409A plan view
(catalogue #303,537) 56,409B name board

*Fretless banjo, Anonymous $10 74-956 3/4 view

North Carolina, late 19th
century (catalogue #65.716)

•Plucked ("Appalachian") $10 75-6754 3/4 view (the fretting system of this
dulcimer, John Richmond, 75-6755 front dulcimer is "non-standard,"
£. "*J *T r*
Hinto.-i, W. Va., ca. 1350 "*/ B
giving the tonic at the fourth
(catalogue #67.12) 75-6757 side fret rather than at the more
75-6758 pegbox usual third fret.)
75-6759 tail

*Music desk, from two-manual $10

French Harpsichord, Jean Mari
De De Ban, Paris, 1770
(catalogue #73.29)

•Hammered dulcimer, Anonymous $10

American ca. 1830
(catalogue #94,871)
6 bass bridges (d,e,f,g,a,b)
11 treble bridges (c#->g#;
dVal, eVbl, f#l/c#2, gl/d2, All prices are postpaid and include mailing tubes.
a/e2, b V f # 2 , c2/f2, c#2/g#2, Drawings marked * are postpaid but are mailed folded
d 2 /a 2 , e2/b2) rather than in tubes.
 37

1 FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS

1981 LIST of MEMBERS — 1st Supplement, as at 29th June 1981
* in the left-hand margin denotes a change of address or other alteration
from the main List.
Robin Almond, 19 St.John's Terrace, London W10 4RB, UK; tel: 01-969 0480
(hpschd etc; M,R).
* Anthony C.Baines, 23 St.Margaret's Road, Oxford, UK.
Frederick Battershell, Route 3 Box 34X, Roscommon, Mich.48653» USA; tel:
(517) 275-8382 (viols, hurdy-g, dulcmr, harp, psalt; M ) .
Christopher Ian Bayley, 46B Hampton Road, Teddington, Middx TW11 OLH, UK;
tel: 01-977 1777 (bagpipes various, modern string instrs; M,R).
Roderick L.Blocksidge, 23 Beauchamp Avenue, Handsworth Wood, Birmingham
B20 1DR, UK; tel: 021-358 4210 (lutes, early guitars; C,P).
George M.Bowden, Cl.Huerto de Torella 13, Palma de Mallorca, Baleares,
Spain; tel: 27.04.35 (guitar; M,R).
"Lyn Elder, Dominican College, San Rafael, CA 94901, USA (lute, early bowed
string instrs, viols, hurdy-g; M,P).
EMIMA — see Terence Pamplin.
Gianfranco Facchini, Piazza XX Settembre 5» 48100 Ravenna, Italy; tel:
0545/32698 (flute, recorder; M,C,P).
Daniel Foster, Rt.l Box 219,(707 Harding Ave), Blocksburg, VA 24060, USA;
tel: (703) 953-1561 (viols; M,P).
Jeffry J.Hildreth, H657 Edgewood Rd, Auburn, CA 95603, USA (violin, bows,
nyckelharpa; M,R).
Jane Hutber, 70 Burtondale, Brookside, Telford, Salop TF3 1PJ, UK; tel:
0952-594905 (bowed instrs, esp.viols, strings).
Roderick F.E.Jenkins, 24 Whitedown Road, Tadley, Basingstoke, Hants RG26 6BY,
UK; tel: Tadley 4396 (lute, viol; M ) .
Stefan Kinell, PL 13222, S-90291 Taftea/Umea, Sweden; tel: (090) 5H53
(guitar, mandolin, dulcmr, bouzouki, var.ethnic instrs; M,R,C,P).
Duane Lakin-Thomas, 4676 Florida Street, San Diego, CA 92116, USA; tel:
(714) 296-2052 (psalt, cittern, P, res; ren & med ww, P ) .
G.M.Leek, 178 Beasley Street, Farrer, ACT 2607, Australia; tel: 062-862180
(violin, cello; M,R).
Renke Lody, Achter'n Diek 37, D-2244 Reinsbuttel, West Germany; tel: 04833/
1031 (hurdy-g, rebec, fiddle, hornppe, bowed harp, cister; M,P).
* Thomas McGeary, POBox 2327, Station A, Champaign, IL 61820, USA.
Christopher Mitchell, 11A Peacock Yd, Kennington, London SE17, UK; tel: 01-
703 9978 (lute, lute moulds; M ) .
* Jeremy Montagu, University of Oxford, Faculty of Music, St.Aldate's, Oxford
0X1 1DB, UK; tel: O865-47069.
Museu de Musica, Avda.Diagonal 373> Barcelona 8, Spain; tel: 2171157*
J.Neels, Poortjesgoed 56, 3901 LD "Veenendaal, Netherlands.
Ray Nurse, 229 W.Rockland, North Vancouver, BC, Canada V7N 2V9 (lute; M,P).
Terence M.Pamplin, Little Critchmere, Manor Crescent, Haslemere, Surrey,UK;
tel: 0428-51158 (viol, violin, guitar, recorder,P; sec.EMIMA).
John Paul, Parkway, Waldron, Heathfield, Sussex TN21 0RH, UK; tel: Heathfield
2525 (hpschd; M ) .
Sibley Music Library, Eastman School of Music, University of Rochester,
Rochester, NY I4604, USA.
Joseph Spencer, 4243 Wilkinson Ave, Studio City, CA 91604, USA; tel: (213)
506-6161 (hpschd).
Paul H.Spriggs, 3 Woodthorpe Dr, Cheadle Hulme, Cheshire SK8 5LS, UK; tel:
061-485 3574 (brass general, organ, metallurgy).
Stanford University Libraries, Serials Records Division, Stanford, CA 94305,
USA.
Paul Thomson, 110A Dartmouth Road, London NW2, UK; tel: 01-221 6713 (work-
shop: 39A Pottery Lane, London Wll, UK) (lute, early guitar; M ) .
38

Max Thoursie, Ribbings Vag 33, 3-19152 Sollentuna, Sweden (flutes, recorders;
M p
» )« o
Pilar Torres de Quinhones-Levy, Campo Pequeno 24-8 , 1000 Lisboa, Portugal;
tel: 766748 (viols, cello; M,R,C,P).
Horst Vladar, Palmatiusstr. 5, D-5500 Trier, West Germany (lute, theorbo;M,P).
Welsh Folk Museum, St.Fagins, Cardiff, S.Glamorgan CF5 2QA, UK; tel: Cardiff
56944I (all instrs, esp. harp, crwth, pibcorn).
x x x x x* x' x x x z s
General Facilities
Metallurgy: Paul Spriggs
Museums_:
B a r c e l o n a : Museu de Musica (Roma E s c a l a s )
Oxford: Bate C o l l e c t i o n (Jeremy Montagu)
S t . F a g a n s : Welsh Folk Museum (Roy S a e r )
Wood I n d e n t i f i c a t i o n : P e t e r Mactaggart
x x x x x x x x x
Organological Index
String Instruments general: Christopher Bayley Strings: Jane Hutber
Lute Moulds: Christopher Mitchell
Dulcimers .Frederick Battershell Psalteries Frederick Battershell
Stefan Kinnell Duane Lakin-Thomas
Other Zithers: Renke Lody (bowed harp)
Harpsichord etc: Robin Almond, John Paul (h), Joseph Spencer (h)
Lute: Dieter Arzt Roderick Jenkins Paul Thomson
Roderick Blocksidge Christopher Mitchell Horst Vladar
Lyn Elder Ray Nurse
Guitar: Roderick Blocksidge Stefan Kinell Paul Thomson
George Bowden Terry Pamplin
Cittern: Duane Lakin-Thomas (c), Renke Lody (c)
Mandolin: Stefan Kinell
Bowed Strings General: Jane Hutber, Lyn Elder
Bows: Jeff Hildreth Crwth: Welsh Folk Museum
Rebec: Renke Lody Fiddle: Renke Lody
Violin Family: Jeff Hildreth Terry Pamplin
G.M.Leek Pilar Torres
Viole da Gamba: Frederick Battershell Jane Hutber Pilar Torres
Lyn Elder Roderick Jenkins
Daniel Foster Terry Pamplin
Hurdy-gurdy: Frederick Battershell Lyn Elder Renke Lody
Nyckelharpa: Jeff Hildreth
Harp: Frederick Battershell Welsh Folk Museum
Woodwind general: Duane Lakin-Thomas (delete Dieter Arzt)
Transverse Flute: Gianfranco Facchini Max Thoursie
Recorder: (delete Dieter Arzt) Terry Pamplin
Gianfranco Facchini Max Thoursie
Organ: Paul Spriggs Hornpipe: Renke Lody
 39

Pibcorn: Welsh Folk Museum Bagpipes: Christopher Bayley

Brass general: Paul Spriggs Sackbut: Dieter Arzt
Cornett: Dieter Arzt
X X X X X

Geographical Index
Australia: G.M.Leek, ACT Canada: Ray Nurse, BC
West Germany: Renke Lody Horst Vladar
Italy: Gianfranco Facchini Netherlands: J.Neels
Portugal: Pilar Torres
Spain: George Bowden Sweden: Stefan Kinell
Museu de Musica Max Thoursie
United Kingdom: Paul Spriggs, Chesh Roderick Jenkins, Hants
London: Paul Thomson, NW2 Christopher Mitchell,SE17 Robin Almond,W10
Middx to Sussex: Christopher Bayley, Middx Jane Hutber, Salop
Roderick Blocksidge, W.Midi Terry Pamplin, Surrey
Jeremy Montagu, Oxon John Paul, Sussex
Wales: Welsh Folk Museum, S.Glam
United States of America:
Lyn Elder, CA Thomas McGeary, IL
Jeff Hildreth, Frederick Battershell, Mich
Duane Lakin-Thomas, — Sibley Music Library, NY
Joseph Spencer, — Daniel Foster, VA
Stanford University,—

355
FoHRHI Comm. Paul Gretcon

Fingering the Gaita Gallega

Back in Jan."1979 (Bull.14, p.9) I asked for information

about the scale and fingering of fie gaita gallega. I got no
replies. Lore disappointingly, the gaita museum in Gijon
(cf. GSJ XXI,p.174) didn't answer my inquiry either.
Never mind. I have since found (in Cologne University
Music Library) a full-scale monograph on the gaita:
V.Cobas Pazos: Bsbozo de un Estudio sobre la Gaita Gallega,
1955> Porta y Cia Editores, Azabacheria 5, Santiago de
Compostela.
I can't read the text, so I don't know whether it says
anything about the scale (i.e. ".temperament) but there is a
fingering chart for a complete chromatic scale using "open"
fingering with half-holing of tie thumb-hole in the second
octave. This may interest anyone working with other conically-
bored bagpipes or wind-cap instruments, although there is
nothing very unusual about the fingering.
 40

i would still be interested to learn soraetning asouo

how the locals tune the instrument. The one I used to have
produced perfect intervals up to the fifth and then became
very sharp. The recordings I have suggest that the overblown
notes are often sharp, but of course the octave should be
correct. The second octave doesn't seem to be used much in
dance music, but the players spend a lot of time up there
during their improvised preludes.
The gaita is of course important, being typologically
a nore-or-less unchanged version ox the most common western-
European medieval bagpipe. The gaita and che union pipes
are not in fact the only bagpipes that will overblow, as has
frequently been stated. Here in the Netherlands, for example,
Rembert '..'ei.jers' experiments with Dutch breeds have taken him
well up into the second octave.
Here is the fingering chart:

ScUto.
r 0 l > , ^ f •fr*-*
i£ ^jfF^g^
o 0/OMTJC£I e tr* &# er &
• 0 $ 00 9 9 0 0 00 11 9 9 9 0 9 0 0
9 9 § 0 0 0 0 0 0 0 0 0 9 9 0 9 0 9 0 0
9 0 0 0 O 0 O O O 00 $ § 0 00 9 0 9 0
# # O t 0 0 0 0 0 0 0 0 9 9 9 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 9 0 9 0 OOOOO 0
0 0 0 0 0 t O O OOOO0OO0 0 0 9 0 0 0
0 0 Q 0 0 0 0 0 0 0 O O 0 M O O 00 9 0 0 0

jince sending Jeremy my article on the f:m g e r i n g of the

gaita gal lega, I have just heard a broadcast of Gallician
folk musi c, featuring the :aita prominently. Prom the sound
of it, at least some players do in fact use a semi-closed
fingering such as chat of the highland pipes I also ive oo
retract w hat I said about the players not us .n? the overblown
register in dance music — a couple of them were "up there"
with grea t facility in fast tunes, just like- an Irish piper,
I'hey '.-/ere obviously exceptional players, but it shows what is
possible. The tuning was much better than I have heard on
the few a vailaole recordings. If anyone is spending
hols, in -.pain (pilgrimaging to Santiago perhaps,; ITd be grateful
for horse mouth information.
 43

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— 1 0 u 0 Vi •rt oi 3 •rt Oi VH P 0 p •P X n
Vi 0 0 •rt p X 3 • 1* OS 3 0 X CO oi X /""S
P X Vi TJ • CO CQ en 0 0 X rrt 0 0 0 hO p 0 <H 3 CQ
co P b£ 0 a rt > G rt X > Vi o o 0 X •rt K CO
0 •rt Vi 0 0 0 0 Vi oi p VH 0 0 p ft oi 0 a
p CQ Vi VH o 0 X 0 X 3 rrt CQ •rt 3 X X rrt >> r-l o CO ^•N
s
t—1 •rt ft P <rt O p p p 0 ft •rt & 0 P P rt X ft rrt rt rrt N,*'
 45
FoiiRHI Comm. 357 ( " H u t s and Bolts")

iilL BUSINESS ZlZi ( S h a r p E n d ) OP THE C0RJ7ETT0. Paul Gretton

a ) 1'iouthpiece sockets.

No doubt your cornetto now has a conical mouthmiece socket,

like the vast majority of original instruments. (If it was
unavthentically cylindrical when you bought it, you no doubt
took a reamer to it 'immediately, or perhaps waited a few
months until the mouthpiece was so loose in the socket that
it kept falling out. I hope you didn't waste energy wondering
why the maker made it cylindrical.)
To get a snug fit between mouthpiece (hereinafter "mp")
and to allow for tuning — yes, you can tune them — you
need to lap the mp stem with some kind of thread. (Paper,as
recommended by Altenburg in 1795 for trumpet mp's, gets
soggy.) The traditional material, since about 1972, is dental
floss. I used to use Johnson's, available from Boots, 63p for
25 metres, unwaxed. (The waxed kind loses its wax very quickly,
so you may as well buy the floss unwaxed and wax it with a
better wax yourself.) I now think that thick sewing thread
is better and more aesthetic. Some people wax with a piece
of beeswax, but more sticky and effective is the "Thermowax"
cobbler's wax sold by Highland bagpipe makers. (I buy mine
from Hugh iiacpherson (Scotland) Ltd, Bagpipe and Kilt Makers,
17 West Haitland Street, Edinburgh, EII12 5EA, at 20p per
stick. It's made by F.Bali and Co.Ltd, London SW17.) Pulling
the thread across the stick of wax creates sufficient friction
to melt the wax slightly so that the thread gets impregnated.
It will stay in place better if you incise shallow grooves
("combing") on the mp shaft. The mp with the early 18th-
century C.F.Paulus cornett in Basel has this feature. Together
with the Leningrad mp this is perhaps the most convincing
of the "nupposedly original" mp's. I incise the grooves
with a nail, but if you want to be really fancy you can use
a lathe, preferably treadle or water-driven.
A thread binding waxed in this v/ay will stay in place
better and longer without becoming "fuzzy"and will be less
affected by condensation than unwaxed thread or pre-waxed
dental floss. As with reeds, a good fit between mp and
instrument is essential for tone and response, and it is
easier to get such a fit with a conical mp socket. My own
experience, for what it's worth, shows that a cylindrical
socket with a step into the bore is fine with the mp right
in, but when one has to pull it out to tune to the inevitable
flat organ a chambering effect is produced and the edge of
the step acts as a miniature labium with an edge-frequency
of its own, which can be heard as hiss or breathiness in the
tone.

close frf
M**rU-/A6lA4*n

tofof
46
The response, particularly on tO"0 c i i
ana o i
ana on
"all-fingers" f\\, can also "be adversely affected. The
back-core conicity of the mi is also significant here, and
the problem has been recognized ~o-j sore modern (excuse my
French) manufacturer 3 of brass instrument mp's, ./ho go to
great lengths to et a smooth run-in from mp to lead-pipe.
With some of trie trumpet mouth iece: maae i or me oy iiomce
of Cologne » for example, it is possible to cut holes in
paper, so sharp is the end of the stem.

(jH-driathjirx
shvrp
Ornd yvot fv ScMe.) \~
The tv;o "possibly-original" cornetto mp's in the Germanisches
..ationalmuseum (hl*122 and MIRJS-, illustrated in the nice new
catalogue) also have very sharp nozzles ana tne mp oi ti.e
Leningrad cornett is made to fit the mp socket very exactly.
The configuration of the first few centimetres of a brass
instrument has a very considerable influence on its tone
and playing characteristics, and it is worth keeping this
in mind when choosing an instrument or having a mp made.

b) Measuring cornetto mouthpieces (and other small objects).

See Juil.13, p.9 and Bull.19,p.''' • I am at present ut ing the
following methods:
1. B i r e c t measurement
2. Epoxy p u t t y
7. Dental impression compound
4. Plasticine/inked pad
5. Birect inking.
Techniaues and evaluation:
1. Direct measurement. A vernier caliper will give all
the external, and most o± the internal, measurements. The
blunt ends of drill bit or other cylindrical probes will
give the grain and backbore dimensions, assuming that these
are regular*, i.e.: not oval, which they frequently are. if
drills are used, the ends will need to be ground flat.
Ctr ^ -
bti'vUtit
Advanta-es: Simplicity; accuracy (potential, anyway),
;isa7 vant"a ot frood for rounded parts such as the
rim nd the cuo. Banger of scratching the mp, especially
v:hen using the" points of the caliper, (ilastic calipers
are safer~but not co accurate.) There are fine original
mute cornetti in one famous museum whose mp's have been
badly scratched within the last two years by someone
using a vernier carelessly. They weren't like that
before. (By it wasn't me I)
 4/

2. Epoxy putty. John McCann kindly introduced me to this

stuff. The blue and yellow components are mixed to give a
disgusting green. The mp needs to be coated with vaseline,
or silicone grease (suggested by Chris Isbell) or oil , to
ensure that the putty doesn't stick to it. One should let
the rutty start to set a bit before making the impression.
Advantages: Probably accurate, although I'm not
absolutely convinced that it doesn't shrink a little
as it sets. Gives a very good idea of the important
lower-cup/shoulder area, less so of the backbore.
Disadvantages: Takes time to set. Messy and sticky,
requiring great care not to leave traces on the mp.
Potential disaster if used on mp with undercut rim.
3. Dental impression compound. Kalph Bryant generously
let me have some Kerr Dental Impression Compound. It comes
from Kerr (Europe), 1-84018 Scafati, Italy, but isn't hard
to find locally. First apply vaseline or oil. A piece of
the compound is allowed to soften in warm water — 50°C, so
not very hot — and is then pressed into the cup and allowed
to harden.
Advantages: Fast and clean. Accurate, but one has to
avoid folding the compound on itself, which causes
wrinkles in the cast. Hot dangerous to the mp, being
easy to chip or melt out.
Disadvantages: Heed for warm water — not always
easily available in museums. Take a thermos!
4. Plasticine / Inked pad. This method is rather tricky
and requires practice if it is to be accurate. A piece of
plasticine is shaped to a blunt point and pressed into the
mp cup far enough to overlap the rim. (Vaseline is not
essential, but it helps.)
sp/asHaie w 'Cress -Stcbierutf tact

•y *
It is carefully removed and cut off with a razor blade at
The impression is placed with the A end down on a flat
surface and sliced down the centre, This is difficult to
do accurately — one should mark reference points to be
sure one doesn't go askew. One should now have two
identical pieces of plasticine, each with a face which is
a cross-section of the mp cup and rim. This face may be
measured directly, or it may be inked on a fine-textured
ink-pad and used to print cross-sections of the cup onto
graph-paper.
Advantagesi_: Provides immediate cross-section. Very
clean and~ndoubtedly the safest of the methods
described here. With care can be surprisingly
accurate.
Disadvantages Fiddly. Great care is needed in
handling the impression so as not to distort it.
The impression remains soft and is therefore not
very permanent.
48

5« direct in':ing. With non-museum specimens one can ink the

mp rim itself with the ink-pad and print onto graph-paper.
..hen at all possible I use a combination of all these
methods and then cross-check them, but one's choice rather
depends on whether the mp concerned is one's own, a colleague's,
or a museum's. (Some museums, reasonably enough, are very
wary about allowing one to use such methods of measurement.
Others will let you get away with almost anything if you do it
in a back room. A couple will even let you steal the instruments.)
To my knowledge other researchers are currently using the
following methods: beeswax and plaster of Paris casting, d m~.h
(yes, reall.v) and cold-setting silicon rubber (see Cary Karp's
interesting article in FoiuallQ 23.)
A few words about accuracy (not just of cornetto mp's)
Obviously one tries to measure and copy as exactly as possible,
nevertheless, one ','onders just what went on in this respect
during the "early music period." How would "they" have set
about measuring and copying a colleague's mp? Blaster? Wax?
Dough --presumably from stone-ground whole-meal flour? What
standards of accuracy were attainable and, more important,
were expected and accepted? "Eye" and "feel", both literal
and metaphorical, are still the qualities shown by the best
contemporary craftsmen. The trumpet mouthpieces made by
such methods by iionke, for example, certainly satisfy top
players in German symphony orchestras, whereas those made
on magic machines in America often don't.

c) request for help.

Graham Nicholson and I are cooperating in trying to
assemble all the available evidence about historical
cornetto mouthpieces and embouchures. This takes the form
of 1)surving mp's, 2)written sources and j)iconography.
(A fourth kind of evidence, the experience of modern players,
shouldn't be ignored either.)
Previously unknown mp's tend to appear suddenly. Who
knew even two years ago that there were examples in Offenbach,
Leningrad, or Warwick? (Unfortunately, they tend to disappear
just as suddenly, like the one that was in Binz.) The pages
of gjpi'iRluQ have already led us to the one in Leningrad,
thanks to the generosity of Felix Raudonikas, so I think
it's worth asking here again. Could readers let one of us
know of any mp's they may come across, as well as paintings
and drawings of cornetto-players in less well-known churches
and art-galleries? Graham's address is Hauptstrasse 25,
C11-4127 Birsfelden, Switzerland. Mine is Secr.l/i jnandsstraat 26,
NL-6226 CN Maastricht, The Netherlands.
 49
FoMRHI Comm. 358

Valves and Mouthpipes for Bagpipes. Paul Gretton

The traditional bagpipe valve is a hinged piece of leather
bound on to the blowpipe with v/axed thread, in such a way as
to cover the inside end. If well made and looked after it
is generally very effective I have recently, however,
come across two other kinds of valves which may perhaps
provide useful alternatives for some instruments,
The traditional valve has disadvantages. It can
easily be torn if one isn't very careful; the hinge is tricky
to cut (see below) and the thread binding can rot. Replace-
ment takes 20 to 30 minutes, v/hich one may or may not have,
(usually not, according to Murphy's law.) The two valves
described here have the advantages of being very simple and
instantly replaceable. There is no thread binding to rot
and they are intrinsically less susceptible to mechanical
damage.

7W. Vklve (ofen)

Type 1. seen on a gaita gallep;a.

The inner end of the blowpipe is covered by a wire "cage"
formed by two bent pieces of stout ,wire set into the walls
of the pipe at right angles to eachpther. The cage contains
a thin disk of leather or rubber, which performs the same
function as the traditional valve. The disk can be inserted
or removed without dismantling the cage, being easily rolled
up, but it can't fall out. The walls of the blowpipe need
to be stout enough to provide a good seating for the legs
of the cage. ,

M\Kr v

closed) ->>

See
Type 2. seen on an instrument by a Belgian maker.
The blowpipe is lined with an inner tube of metal, the end
of which is covered by one of those soft rubber or plastic
caps one puts over the ends of metal chair-legs. This is
sliced almost right through with a razor-blade — the remaining
thickness aots as the hinge. This valve works exactly like
the traditional one, but can be taken off and replaced in a
few seconds. It needs to be slightly wet before it is
completely airtight.
50 (YOJVCZ Op&K)

Mtal be*

pkHc caf>
fksht 03(7 (slioed)
(unztiud) tenon fofpwj

V\AWv th

Improving the efficiency of the trad, valve.

The two valves described above cannot be fitted to all
bagpipes, and one may decide to stick to the traditional
valve. There are several ways of improving its efficiency.
(These remarks supplement the essential advice given in the
various easily-available Highland pipes' tutors.)
a) Always ensure that the hinge is uppermost, so that
gravity causes the valve to hang semi-closed, Mark the
outside of the blowpipe to show which side is up.
met

b) If the end of the blowpipe is cut off at 45° rather than

90°, the valve will hang closed even without air-pressure
from within the bap.

c) As with all valves, the leather needs to be wet to give

an airtight seal. Condensation from the player's breath
is usually enough, but if the leather has dried out from
lack of use it may be necessary to stand the blowpipe in
an inch of water for a few minutes. Alternatively one can
keep the valve eMed — necessary in any case with bellows-
blown instruments.
d) It is worth experimenting with different kinds and
thicknesses of leather, iiy own preference is for a fairly
thin, supple piece. There are conflicting opinions as to
whether the smooth side of the leather should be down (i.e.:
touching the blowpipe.) I personally think not, because
the soft side is better able to mould itself to the contours
 51
w of the blowpipe opening.
e} The correct placement of the nick which forms the
hinge is vital. It should correspond exactly with the
end of the blowpipe. £-v

1w m
cut
k€rt 4-*fttf_.
•TT!> Jcntrma

^yVw** /V/VVVv* WVW> aU

In all the above diagrams the thickness of lie valve-

leather has been considerably exaggerated.

The blowpipe itself

The inner end. of the blowpipe gets very wet, and after much
use the wood can start to rot, becoming spongy and fragile.
(Perhaps this says something about the quality of the
instrument.) I recently discovered this alarming state of
affairs in an all-maple set of pipes. The solution was to
ensure that in future the parts that get wet would be made
of some material (plastic, metal, vulcanized rubber etc.)
which is not susceptible to damage by water. It is worth
constructing new pipes like this in the first place.
In the case of the said maple pipes, I cut off the
tenon that enters the stock and drilled out the bore of
the blowpipe along its full length, replacing both with a
single tube of aluminium (for lightness, but brass is OK.)
Another, shorter, tube glued over the inner one brought the
tenon back up to its original thickness. The part where the
valve was to be lapped on was grooved and roughened, in
order to give the waxed thread a surface to grip.

*r^em4. valve
(Pus Suff&U
rvtrtenArrw,
airrfarvtfit
k
outfit* ffr$
3ms$ thhi

fmoh^ff

/faiMitnpu**.
tribe
 52

I d i d n ' t use t h e g a i t a v a l v e mentioned above b e c a u s e the

w a l l s of t h e b l o w p i p e were n o t t h i c k e n o u g h . Boon iioonen
e v e n t u a l l y made me a c o m p l e t e new m o u t h p i p e .
A l l t h e above i s o f f e r e d i n t h e s p i r i t of " i t worked
f o r me, p e r h a p s i t ' l l work f o r you" n o t " t h i s i s t h e o n l y
way t o do i t . " I would be g r a t e f u l t o h e a r of o t h e r
methods.

Continued from page 17, Comm 352, Lower-bout back fold on

English Treble Viols.

There is also pictorial evidence that treble viols c. 1600 could have had
back folds on the lower bouts as well as the upper bouts. The drawings
of instruments made by Jacques Cellier in about 1585 in Bibl. Nat. MS
fr. 9152 (see note by Thurston Dart in GSJX(1957), p. 88, and reproduc-
tions in the plates between pp. 62 and 63) include depictions and text
contrasting "la violle" and "le violon". Though the instruments are
shown face-on, the ribs on the treble side are also shown. The outline
of the ribs of the viol implies exaggerated folds of the back in both upper
and lower bouts.
I realise that I have only shown plausibility and have not proved that the
lower bouts on the treble viols concerned are original. On the other hand
there is no serious evidence on the instruments themselves or in our
knowledge of the history of viols indicating that these folds were not
original, and this is the important point.
Having a concept of what an instrument typically was like at a specific
time and place does not justify "restoring" a particular surviving
example that differs from that typical state into that state unless the
differences are very clearly due to relatively modern alteration. The
example may well have originally been atypical, it may have been from
a different time or place, or the concept might in itself be naive.
In conclusion, my opinion is that these "restorations" should not have
been done.
FoMRHI Comm 359 53
The Inverted Mordent in Late 16th and 17th Century Music
by E. Segerman.
My copy of Boethius P r e s s ' s beautifully reproduced facsimile of the Marsh
Lute Book arrived recently. I was admiring it and Robert Spencer's
characteristically excellently-researched introduction when I was shocked
by his statement (p. xxii) "The shake sign # occurs in this piece, to be
interpreted by an upper mordent. " 1
This seems all wrong to me. Spencer knows about and has seen, handled
and studied very many more manuscript sources of English music of that
time (c. 1600) than me, and therefore he may well have information I am
unaware of about gracing practices then which can justify that statement.
Therefore, when I challenge him now to do so, I will be happy to lose this
fight since I and other r e a d e r s will learn therefrom.
Let me put this issue into modern-historical perspective. Going back to
around 1915 and Dolmetsch's "The Interpretation of the Music of the 17th
and 18th Centuries", there is no mention of the t e r m s 'inverted' or 'lower'
mordent. Yet they appear (p. 197) in the listings of various 'tremoletti'
published by Diruta in "II Transylvano" (1593) and (p. 200) by Praetorius in
"Syntagma Musicum III" (1619) p. 235. Praetorius showed thein on alternating
notes of fast scalewise descending and ascending passages. Diruta's example
was the same but only on descending passages. The grace does not appear on
the final note of any of these scalewise passages. This tremoletto is the only
one listed for the relevant type of passage by Diruta, but one of several by
Praetorius.
In 1954, Dart's "The Interpretation of Music" the inverted mordent was
mentioned (p. 120 and 176) as one of the possible interpretations of the
English virginalists sign of two strokes across the note stem. He repeated
this speculation in his article on the subject (GSJ XIV (1961) p. 32). In neither
of these publications did Dart offer any support for, or discussion of it.
Doningtons extensive article "Ornaments" in the 5th edition of "Grove's
Dictionary" (1954) disagreed with Dart on the virginalists' sign, writing
(p. 433) ". . . there is no evidence whatsoever to justify the common modern
use of the upper mordent (Schneller) in the music of this school, with the
just tolerable exception of descending passages rapid enough to make
inverted mordents out of half-shakes' 1 almost forcibly. " In his extensive
discussion of mordents pp. 410-416, Donington suggested that present day
confusion about inverted and ordinary mordents originated in the second
quarter of the 19th century with Hummel and Spohr. He stated: "But in
reality the inverted or upper mordent, which has some Renaissance warrant,
passed completely out of fashion in the Baroque period, until the generation
of C. P. E. Bach, when it returned to favour in a limited degree. "
Donington maintained this position in his book "The Interpretation of Early
Music" (1963). There (p. 197), he illustrated both upper and lower mordents
as versions of the single quiebro or crotchet trill as published by Sancta
Maria in 1565. According to Poulton's translation (LSJ XII(1970) p. 29),
Sancta Maria specified that the inverted mordent was for use in scalewise
descending passages. If such a passage was a sequence of crotchets, the
54

grace was to be applied to alternating notes. It could also occur on two

successive crotchets after a semibreve, crotchets immediately after dotted
minims, and any long notes in the passage, including the last.
If we assume that the reports of Sancta Maria, Diruta and P r a e t o r i u s were
typical of the developmt-nt of gracing style at different times in the same
musical culture, then we would say that the inverted mordent was the
preferred grace used on various kinds of notes in scalewise descending
passages in the middle of the 16th century, by the end of the century it was
restricted only to fast passages of this type, and early in the 17th century
its use was extended to fast scalewise ascending passages, but by then it
was only one of several possible graces to use in these passages.
If any of the English graee signs in virginals or lute manuscripts had a
unique meaning, it would be unlikely that this was the inverted mordent
since they occur on notes not in fast scalewise descending or ascending
passages. If it had a variable meaning, it could have been realised by this
grace in this kind of context.
Donington seems to have been unaware of two obscure Spanish sources that
recommended the use of inverted mordents well before C. P. E. Bach. They
were reported on in Strizich's article "Ornamentation in Spanish Baroque
Guitar Music" (JLSA V (1972) p. 18). One was an instruction book of 1702
for harp by de Heute which gave examples of the 'trinado' which were upper
and lower mordents, and the other was a theoretical work of 1723 by
N a s s a r r e which described graces for keyboard instruments, with the aleado
being either an upper or lower mordent. With no more hard evidence,
Strizich somehow concluded that the inverted mordent was the usual way that
the short shake was executed in Spain in the 17th century. Tyler, in his
book "The Early Guitar" (1980) p. 90 extended this conclusion to cover all of
Europe for the Renaissance and early baroque. I would consider, from the
evidence available, that these claims should at least be restricted to
scalewise passages.
In 1976, the facsimile of the Board Lute Book was published with a study of
the manuscript by Spencer. The section of this study relating to graces was
opened by the apt remark: "It is emphasized that my interpretations of grace
signs are very tentative and offered only as an encouragement to further
r e s e a r c h " . All of the grace signs that were used by each scribe were
catalogued, together with the tablature letters each is associated with, and
usually one (occasionally two) grace name(s) the sign is suggested to
represent. The fifth scribe provides a table associating signs with grace
names which usually differ from the standard names used by Spencer, which
seem to derive from Mace. These are also interpreted. The suggested
interpretation of each standard grace name was given in notes on the listings
for the first scribe.
For the first grace discussed (a dot before the tablature letter), Spencer
wrote: "I think this should be interpreted as a relish (Robinson, Schoole of
Musicke, 1603, sig. c2) or shake (Mace, Musick's Monument, 1676, pp 102-
I03);that is, starting on the note to be ornamented, not above it:
 55

•a.

act
The interpretation here is that both Robinson' s relish and Mace's shake are
inverted mordents. There is much to argue with here. Firstly, on the last
page of Dowland's translation of Besardus's 'Necessary Observations' in
"A Varietie of Lute Lessons" (1610) is written "You should have some rules
for the sweet relishes and shakes. . . but seeing that they cannot by speech or
writing be expressed, . . . This implies that relishes and shakes were not
the same graces and that they were both complex in some way.
Secondly, Robinson did not describe the relish. He described a "fall" as an
appoggiatura from below and then stated that the relish continued with the
note above. There is no information how it proceeded after that. It is not
clear whether Robinson meant that the fall was part of the relish, in which
case the relish started on the note below the primary note, or whether he
meant that the relish continued after the fall, in which case it started on the
note above. It seems to me that either of these possibilities was more
likely than Spencer's assumption that the relish began with the last note of
the fall.
Relishes were different things to different authors. The Manchester Gamba
book (c. 1650) illustrated it as a lower mordent. Mace's relish started with
an appoggiatura from above and ended with a lower auxiliary note. I suspect
that the early 17th century relish included both upper and lower auxilliary
notes.
Finally, Mace's description of the shake mentions only repeated application
of the shaking finger and so rules out Spencer's interpretation of it as an
inverted mordent. Incidentally, Mace was curiously inconsistent with
respect to this grace. On p. 102 he wrote "The first and chiefest [grace] is
the shake, marked thus, with a prick before it, as here you may see (-a). "
Yet in the music he provides in the book, all of which is well provided with
ornament signs, I could find no example of his use of this shake sign. In
profusion one sees the sign >a which he describes as a back fall (appoggiatura
from above, appropriate for short notes) or shaked backfall (a shake starting
on the upper note, appropriate for longer notes, of which there are hundreds
of examples). In his description, the shake starts on the main note but this
starting note is not emphasized. In the 'hard' shake, he emphasized the
"tearing and scratching" motion of the shaking finger which repeatedly plucks
the main note, and in the 'soft' shake he emphasized "beating the string
strongly" with that finger, which makes the upper note more prominent. A
possible solution to the problem of his inconsistency is that he gave a
symbol for the shake starting on the main note for completeness because it
was occasionally used, but when he mentioned its popularity he was thinking
of the shake as a way of producing a grace, irrespective of what the first
note was, therefore including the shaked backfall where the first note was
emphasized.
 56

As with the r e l i s h , the shake could have meant different g r a c e s to different

a u t h o r s , but the s o u r c e s I know of give no indication of the v a r i a b i l i t y in
m e a n i n g of the t e r m . I have been using the n a m e with the a r b i t r a r y a s s u m p -
tion that its meaning with r e s p e c t to the sequence of n o t e s involved was
r e l a t i v e l y c o n s t a n t . V a r i a t i o n s in the t i m s each note was held a r e to be
expected.
In s u m m a r y , I've put down what I know about R o b i n s o n ' s r e l i s h and M a c e ' s
shake and why I don't a g r e e with S p e n c e r ' s s u g g e s t i o n that they should be
i n t e r p r e t e d as an inverted m o r d e n t . And I've mentioned the evidence I am
a w a r e of c o n c e r n i n g the use of the i n v e r t e d m o r d e n t before the l a t e baroque
and why it is unlikely that the signs in question in the B o a r d and M a r s h lute
books w e r e m e a n t to specify thi3 g r a c e .
T h e r e is a good p r a c t i c a l r e a s o n why m o d e r n p r o f e s s i o n a l p l u c k e d - i n s t r u m e n t
p l a y e r s such a s Spencer, S t r i z i c h and T y l e r (and O'Dette, North, etc. ) should
be e n a m o u r e d with the inverted m o r d e n t as the s h o r t shake. When a shake is
indicated in the m u s i c , at the speed that m o d e r n v i r t u o s i t y s e e m s to demand,
t h e r e may only be t i m e for one left-hand finger m o v e m e n t to execute it. It is
to be hoped that t h e s e p l a y e r s will develop a fuller a p p r o a c h to gracing which
will lend e x c i t e m e n t to p e r f o r m a n c e s at the s l o w e r s p e e d s p r o p e r g r a c e
execution should lead them to.

1
An upper or inverted m o r d e n t on a given note s t a r t s with that note quickly
followed by the next diatonic note up and then quickly back to the original
note, which then l a s t s for the r e m a i n d e r of the t i m e originally given it. A
l o w e r or o r d i n a r y m o r d e n t has the second note l o w e r r a t h e r than higher.

*"• A shake is a fast a l t e r n a t i o n of the w r i t t e n note with the next diatonic note
up. It often, but not a l w a y s , s t a r t e d on the upper note, and e i t h e r of the
s t a r t i n g notes could e i t h e r have been e m p h a s i z e d or not. A half-shake is a
s h o r t shake with the upper note usually played twice, after which the main
note sounds for the r e m a i n i n g t i m e . Donington h e r e was r e f e r r i n g to the
usual h a l f - s h a k e , s t a r t i n g on the upper note.

•*** An a p p o g g i a t u r a on a given note s t a r t s the t i m e of that note with either

the diatonic note above or the one below, followed by the note itself for
the r e m a i n d e r . The fraction of the t i m e given to the first note could
be much l e s s than half (eg. in England before th. 18th century) or r a t h e r
mor.- than half (eg. in J. S. B a c h ' s t i m e ) of the total.
 57
FoMRHI C o m m 360
j g niVBHTOB'Y OF THS CHARLES VAN RAALTE COLLECTION OF "TMSTHIMEINTS

John Downing

The Charles Van Raalte oollection of early musical instruments is housed

in Dean Castle, Kilmarnock, Scotland. Originally one of the largest collections
of its kind in Europe, many of the instruments were sold during the 1920' s
reducing the collection to its present size.

The collection consists of about 90 stringed, wind and keyboard instruaents,

about half this number being on display. The instruments date from the 16th
to 19th century and are mostly of high quality and wwll preserved.

It is perhaps rather surprising that this fine collection is not well

known, so it is hoped that this communication will help to bring the collection
to the notioe and appreciation of a wider public.

The inventory reproduced here was orepared by a leading firm of auctioners,

in 1975» for the purposes of valuation and as it stands is a useful description
of the collection. It does , however, in my opinion, overlook important detail
in it's assessment of individual instruments e.g. instrument no. 32, described
as a 19th century guitar lute, is a very fine ivory ( whalebone1?) lute with
original body and neck typically mid-late 16th century in form , converted to
a "guitar-lute" in the 19th century - the maker's label is inscribed Marx
Unverdorben in Venetia J As I have now examined and measured all the fretted
instruments, I have included below my comments on those instruments examined
where I believe important detail has not been recorded by the valuer:-

CQMMENTS ON THE VALUATION INVENTORY

Cat 27. A vaulted back five course guitar in fine original condition engraved
with makers initials/^^"and dated 1621. No makers label is visible!
This instrument is not a chitarra battent*!

Cat 28. A vaulted back five course guitar by Matteo Sellas dated 1638. "Repaired
during the 19th century and converted to a six stringed guitar by the
addition of a replacement bridge and brass fretting. Original rose
and pegs(?) missing.
This instrument is not a chitarra battente!

Cat 29. An ivory lute by Caesar Aldana dated 156? with later (?) neck.
Converted to a wire strung Angelique by the addition of an extended
neck and replacement belly, in the late 17t*h century (?) Makers brand
on the belly in the form of a fish with initials IAH.

Cat 30. A three stringed colascione or long necked lute in original condition
throughout.

Cat 31. An ivory lute converted to a lute guitar in the 19th century.
Body by Wendelin Tiefferibrucker, later belly by Rossman or Hoffman
carries marks of original bridge, and remains of fingerboard 'strings'.
Makers labels inscribed I—
"Wendelinus Tiefenbruker dictus Vene rius Fecit 1571" -(further
verification that Wendelin Tiefferibrucker and Wendelio Venere are the
same person?)
"Johannes R->ssraan/ Lauten und Geigetmacher in Bresslau 1686" -
(Bresslau now named Wroclaw, Poland • label carries maker's
signature.)
"Christian Gottlieb Hoffman Leipzig 1726"
58

Cat 32. An ivory lute converted to lute guitar in the 19th century.
MakerB label reads " Marx Unverdorben in Venetia". Body and narrow
neok are probably original, having the correct geometry and construction
for a mid-late 16th century lute.
The ribs of the body are richly guilded with arabesques.
I am only aware of the existence of three othar lutes attributed to
this maker.

Cat 33. A fine ivory lute - neck and pegbox cutdown and rebridged, now carrying
8 single strings. Belly carries marks cf earlier, wider bridge and
original fingerboard "st ings". Rose design is a double headed eagle
almost identical to that on lute No AR969 in the Runsthistorisches
Museum made by Magno Dieffopruchar and modified by Thomas Edlinger 1732.
The body geometry - nine ribs, small rose diameter, high bridge
position and neck length confirm that this was a "French" or "Baroque"
lute in it's original form - mid - late 17th century.

Cat 34. A lute(?) - or piece of decorative furniture I A similar object may

be found in the Castello Sforzesco collection in Milan.

Cat 35/ A forgery - some parts, pegs, engraved ivory panels look genuine.
35A

Cat 35B Renumbered - see 41.

Cat 39 Rose missing - three bars visible, one on each side of the soundhole
canted upwards about 16° to the horizontal towards treble side and
one between the bridge and bottom of the belly.

Cat 41 Described under 35B.

Very fine ( almost mint ) original condition.
Instrument described under 41 is missing.

Cat 42 Small ivory mandora with narrow almond shaped profile - end clasp
not original.
Instrument much repaired.
Seven pegs in negbox, bridge designed to carry seven single courses,
fixed ivory frets.
Makers brand D.E. on belly,
Italian (?) 17th century (?)

Cat 43 Unlike the other mandoras ( mandolinos ?) inthe collection, which

are lute like in appearance, this instrument with it's flat pegbox,
deep body section and high bridge position resembles a Neopolitan
mandolin - it is dated 1655 though.

I should like to thank Mr J. Hunter, Curator for his permission to examine,

measure and nrepare drawings of the instruments,publish the original inventory
and for his assistance in deciphering the makers labels.

More detailed descriptions of individual fretted instruments will appear

in due course.

POST SCRIPT

'•-'riginal collection owned by Charles van Raalte, Brownsea Castle, Dorset.

Inherited by daughter Margherita who married 8th Lord Hovard .e Walden.
Part of collection sold by auction 13- 23 June 19?7» catalogue prepared
by Canon Galpin.
 g % & H "3 tf~
-a

iHVlEHTofcY - CMAgL£S VAN R A M - T J E . COU-£JUT>OM O F MUSICAL. l N ^ > T g . U M E M T e > *- D f c A N C A S T L E ; .

An I r i s h h a r p by T . E g a n , D u b l i n , 1 8 2 1 , A d u l c i m e r , the t a b l e with two s o u n d -

e n g r a v e d T . E g a n I n v e n t o r , 30 D a w s o n h o l e s i n s e t with p i e r c e d p a r c h m e n t
S t r e e t , Dublin 1821, the whole d e c o r a t e d a r c h i t e c t u r a l r o s e s , t h e s i d e s with
w i t h g i l t s h a m r o c k s a n d a r a b e s q u e s on a c h i n o i s e r i e d e c o r a t i o n , four c o n t i n u o u s
green japanned ground, seven ditals, b r i d g e s , 25 c o u r s e s of s t r i n g s , s o m e
total height 35ins. t r i p l e , s o m e q u a d r u p l e , m a x i m u m width
3 2 i n s . , Italian, probably Venetian, early
18th C e n t u r y
A s m a l l h a r p , u n m a r k e d , the table painted
with m u s i c a l t r o p h i e s and floral g a r l a n d s ,
the body, column and neck black japanned A d u l c i m e r , t h e t a b l e w i t h two s o u n d -
with floral and gilt d e c o r a t i o n , total height h o l e s i n s e t with g i l d e d r o s e s , two c o n t -
2 6 ^ i n s . , F r e n c h , c i r c a 1815 i n u o u s b r i d g e s , t h e s i d e s g i l d e d and
d e c o r a t e d in s e p i a with c h i l d r e n at
p l a y , m a x i m u m width 3 5 i n s .
An E n g l i s h s e r p e n t by T h o m a s P r o w s e ,
L o n d o n , i n s c r i b e d on t h e b e l l m o u n t ,
T h o s . P r o w s e , 13 H a n w a y St. L o n d o n ,
of l e a t h e r b o u n d w o o d w i t h five b r a s s
An E n g l i s h g u i t a r o r c i t t e r n , the back
k e y s , i v o r y b u s h e d f i n g e r h o l e s and i v o r y
a n d r i b s c o m p o s e d of m u l t i p l e b a n d s of
m o u t h p i e c e , c i r c a 1820 t u l i p w o o d and s n a k e w o o d , the n e c k and
h e a d s i m i l a r l y o v e r l a i d , the t a b l e with
a c a r v e d and p i e r c e d m o t h e r of p e a r l
A n E n g l i s h s e r p e n t e n g r a v e d on the b e l l - r o s e d e p i c t i n g a boy and a g i r l p l a y i n g
m o u n t R a l p h C a m p l e m a n , of l e a t h e r b o u n d a flute a n d a h u r d y g u r d y , ebony f i n g e r -
w o o d o v e r l a i d w i t h p o w d e r e d gold, t h r e e b o a r d with i v o r y f r e t s and e d g i n g , l e n g t h
s h a p e d b r a s s k e y s , b r a s s m o u n t s and 3 0 | i n s . , F r e n c h , m i d 18th C e n t u r y
m o u t h p i e c e , c i r c a 1800
en
 A keyed English guitar, the o n e - p i e c e
back and r i b s of m a p l e , the pine table 11 An English guitar by R e m e r u s L e i s s u m ,
C"5
o
with i n s e t carved and p i e r c e d gilt r o s e London 1758, labelled R e m e r u s L e i s s u m
s i m u l a t e d inked purfling, the neck fecit Londoni 1758 and stamped L e i s s u m
p i e r c e d for t h r e e capo t a s t o positions, on the back of the pegbox, the two piece
watch key tuning, the keybox with six back and r i b s of m a p l e , the table with an
ivory k e y s , stamped Smith P a t e n t i n s e t ebonised c a r v e d and p i e r c e d r o s e ,
Box London, total length 2 6 | i n s . , l a s t s i m u l a t e d inked purfling, five capo tasto
q u a r t e r of the 18th Century p o s i t i o n s , nine s t r i n g s in six c o u r s e s ,
length 3 0 i n s . , l a t e r briujie

9. An English guitar by W . R a u c h e r , London

1762, i n s c r i b e d W . R a u c h e r in Chandos 12. A b a s s English g u i t a r , unlabelled, the
St. London 1762, the two piece back and back and r i b s of m a p l e , the table with an inset
r i b s of root m a p l e , the table inlaid with p i e r c e d and c a r v e d gilt m e t a l r o s e , simulated
a p i e r c e d and carved r o s e , simulated ink purfling, the f i n g e r b o a r d overlaid with
inked purfling the neck p i e r c e d for four t o r t o i s e s h e l l and inlaid with bands of m o t h e r
capo t a s t o p o s i t i o n s , ten s t r i n g s in seven
of p e a r l , twelve individual machine heads
c o u r s e s , total length 28ins.
t u r n e d by a watch key, six double c o u r s e s
of s t r i n g s , length 3 5 i n s . , c i r c a 1780
10, An English guitar by F . Hintz, stamped
F . Hintz at the top of the back and at 13 A l y r e guitar by C l e m e n t i and Company,
the back of the pegbox, the two piece
London, i n s c r i b e d C l e m e n t i k Co London on the
back and r i b s of maple of n a r r o w curl,
peg box, the body l a c q u e r e d black with gilt
the table inset with a r o s e p i e r c e d and
c a r v e d with King David playing the h a r p , a r a b e s q u e s , the u p p e r a r m s of the l y r e *
simulated ink purfling, the neck p i e r c e d gilded and t e r m i n a t i n g in a floral motif, the
for five capo t a s t o p o s i t i o n s , ten s t r i n g s head s u r m o u n t e d by a female m a s k on a
in six c o u r s e s , third q u a r t e r of the 18th s u n b u r s t , the six s t r i n g s with w r e s t pin
Century tuning, on giltwood plinth, length 3 0 i n s . ,
c i r c a 1800 (bad w o r m d a m a g e in the back)
 ' I I I . . , .
, - . I I v cl j^X i n t l i .
I < I .. . . . , • . . . .

17. A s m a l l h u r d y g u r d y , the bell s h a p e d body

14. A h a r p l u t e by E d w a r d L i g h t , L o n d o n , d e c o r a t e d in gilt a n d t h e w h e e l c o v e r
i n s c r i b e d Light, Foley P l a c e , London, b l a c k j a p a n n e d a n d d e c o r a t e d with a gilt
the body b l a c k j a p a n n e d , the table f u r t h e r c h i n o i s e r i e s c e n e , the l a t e r keybox with
d e c o r a t e d w i t h gilt a r a b e s q u e s a n d P r i n c e t e n bone a n d t h i r t e e n m a h o g a n y k e y s , the
of W a l e s f e a t h e r s , g i l t w o o d r o s e , s e v e n h e a d , a l s o l a t e r , c a r v e d with a f e m a l e
s t r i n g s o v e r t h e f i n g e r b o a r d , five d i a p h a s o n m a s k , six bone p e g s , S - s h a p e d i r o n
s t r i n g s , four with b r a s s tuning r i n g s , handle with ivory knob, length 1 8 i n s . ,
l e n g t h 3 3 i n s . , c i r c a 1810 body e a r l y 18th C e n t u r y , h e a d a n d k e y b o x
l a t e 18th C e n t u r y

15. A d i t a l h a r p by E d w a r d L i g h t , L o n d o n ,
i n s c r i b e d Light, Foley P l a c e , London, 18. A G r e e k l i r a , the d r o p - s h a p e d body
P a t e n t n u m b e r 2 5 3 , t h e body l a c q u e r e d o v e r l a i d w i t h t o r t o i s e s h e l l and i n l a i d
b l a c k a n d d e c o r a t e d w i t h gilt a r a b e s q u e s , w i t h bone in a s i m p l e r u n n i n g p a t t e r n ,
t h e t a b l e w i t h a n i n s e t gilt wood r o s e , 19 t h e t a b l e w i t h two l a r g e D - s h a p e d sound-
s t r i n g s , 13 c o n t r o l l e d by d i t a l s , h e i g h t h o l e s , t h r e e s t r i n g s with t h r e e l a r g e
3 5 i n s . , c i r c a 1820 r e v e r s e p e g s , l e n g t h 164-ins., 19th
Century

16. An e p i n e t t e d e s v o s g e s , t h e long n a r r o w
body of w a l n u t , t h e u p p e r t h i r d c a r v e d in 19. A G r e e k l i r a , t h e d r o p - s h a p e d body o v e r -
r e l i e f w i t h t h e c r u c i f i x i o n and the p i n e l a i d w i t h a l t e r n a t e p i e c e s of i v o r y and
s o u n d b o a r d with h e a r t - s h a p e d soundhole, ebony, the table with two l a r g e D - s h a p e d
s e v e n i v o r y f r e t s , s i x s t r i n g s with w r e s t s o u n d h o l e s , t h r e e s t r i n g s with t h r e e
p i n t u n i n g , l e n g t h 3 1 i n s . , F r e n c h l a t e 18th l a r g e r e v e r s e ivory pegs, length 164ms. ,
Century 19th C e n t u r y
a>
r

20 A Greek l i r a , the d r o p - s h a p e d body o v e r - 24, An African conical d r u m , s i m i l a r to the Oi

to
laid with bone and inlaid with ebony with a p r o c e e d i n g , d i a m e t e r about 1 3 i n s . ,
c e n t r a l t o r t o i s e shell s t r i p , the table with Ugandan, 19th Century
two D - s h a p e d soundholes, t h r e e s t r i n g s with
t h r e e l a r g e r e v e r s e ivory pegs, length
16ins. , 19th C e n t u r y
25, A tenor mandola, unlabelled, the body
of n u m e r o u s fluted m a p l e r i b s , the
A K r a r , the wooden bowl-shaped body with table with a c i r c u l a r soundhole s u r r o u n d e d
a table of snake skin s e c u r e d to the body by l a t e r inlay of m o t h e r of p e a r l in black
with a multiplicity of t h r e a d s , the c r o s s m a s t i c and beneath, a r e c t a n g u l a r ebony
a r m d e c o r a t e d with a n i m a l sinews, eight plaque inlaid with m o t h e r of p e a r l , a l s o
s t r i n g s , height 21ins. , E a s t African, of late date, the neck and the back of the
probably Ethiopian, 19th Century pegbox inlaid with bands of ebony and
ivory and the fingerboard and the face
of the head inlaid with ivory engraved
with a r a b e s q u e s , 3 8 i i n s . , Italian, late
A bow h a r p , the bowl-shaped body with
ISth C e n t u r y , p o s s i b l y the work of a
hide table s e c u r e d to the body with a
m e m b e r of the Vinacchia family
multiplicity of t h r e a d s tied in a l t e r n a t e
light and dark bands, the curved neck
with eight p e g s , length 3 4 i n s . , Sudanese,
19th C e n t u r y A m a n d o l o n e , the p e a r - s h a p e d body of
n i n e t e e n fluted and purfled r i b s and the
table of c o a r s e - g r a i n e d pine with
An African conical d r u m , the body of c i r c u l a r sound hole s u r r o u n d e d by
wood and the vellum attached with a m o t h e r of p e a r l inlaid into black m a s t i c ,
multiplicity of t h r e a d s , d i a m e t e r about the l a r g e , shaped head inlaid with s t r i p s
l O i n s . , Ugandan, 19th Century of bone and pegged for ten double c o u r s e s ,
Italian, 19th C e n t u r y
 ' * '• doubl- c o u ar- s «? <

A c h i t a r r a b a t t e n t e by M a g n o S t r e g h e r ,
V e n i c e , l a b e l l e d M a g n o S t r e g h e r in ••9. A chitarrone labelled C a e s a r Aldana
V e n e z x a a n d i n s c r i b e d a t t h e b a s e of t h e c r e a t u s 18 N o v e m b . 1567, the body
^ n g e r b o a r d M . S . 1 6 2 1 , the a r c h e d b a c k of t w e n t y one i v o r y r i b s w i t h e b o n y
a n d t h e n e c k w i t h m u l t i p l e r i b s of e b o n y p u r f l i n g b e t w e e n a n d f l a n k e d by two
interpo d w i t h 1VQry p u r f l i ^ ^ e b o n y r i b s , t h e n e c k e b o n i s e d and i n l a i d
p r o f u s e l y l n l a i d with i v o r y , ebony, m o t h e r in i v o r y w i t h a r a b e s q u e s , s e c o n d q u a r t e r
of p e a r l a n d o t h e r w o o d s and t h e s o u n d h o l e of t h e 17th C e n t u r y ; t h e l a t e r t a b l e with
i n t e r s e c t i n g t r i p l e s o u n d h o l e s i n s e t with
rose 7 " P i 6 r C e d P a r c h m e n t architectural a p i e r c e d p a r c h m e n t r o s e , the f i n g e r -
r o s e , the neck, h e a d and f i n g e r b o a r d a l s o b o a r d inlaid with ivory, ebony, m o t h e r
e x t e n s i v e l y i n l a i d w i t h a r a b e s q u e s , five of p e a r l a n d s t a i n e d w o o d s with a f l o r a l
d o u b l e c o u r s e s of s t r i n g s , l e n g t h 3 9 | i n s . d e s i g n a n d t h e s u b s i d i a r y n e c k and p e g -
28 A c h i t a r r a b a t t e n t e by M a t t e o S e l l a s box s u r m o u n t e d by a g r o t e s q u e c a r v e d
V e n i c e 1 6 3 8 , i n s c r i b e d on the h e a d head, the m a i n p e g b o x c a r r y i n g eleven
M a t t e o S e l l a s a l i a C o r o n a in V e n e t i a s t r i n g s and the s u b s i d i a r y pegbox
1 6 3 8 , t h e a r c h e d b a c k with m u l t i p l e c a r r y i n g six s t r i n g s , total length
r i b s of e b o n y i n t e r p o s e d with i v o r y 6 5 2 - i n s . , the l a t t e r p a r t s a l l 19th
p u r f l i n g , t h e r i b s en s u i t e , the t a b l e Century
of p i n e i n l a i d a t t h e b a s e with ebony
a r a b e s q u e s a n d t h e b a s e of t h e n e c k
s i m i l a r l y inlaid, the (absent) r o s e >U.
w i t h i n a w i d e i n l a y of i v o r y and e b o n y A c o l a s c i o n e , t h e body of t h i r t e e n i v o r y
( s h o w i n g s i g n s of l a t e r w o r k ) and t h e r i b s with e b o n y p u r f l i n g b e t w e e n and
n e c k a n d t h e b a c k of t h e h e a d s i m i l a r l y f l a n k e d by two e b o n y r i b s , the n e c k
i n l a i d with a r a b e s q u e s , the f i n g e r b o a r d e b o n i s e d and i n l a i d with long s t r i p s of
a n d t h e f r o n t of t h e h e a d i n l a i d w i t h s i x bone, the pine table with l a t e r i n s e t
i v o r y p l a q u e s e n g r a v e d with a s t a g , a p i e r c e d p a r c h m e n t r o s e and the f i n g e r -
b e a r , a c a m e l , a fox w i t h a g o o s e , ' a b o a r d i n l a i d with n u m e r o u s i v o r y p l a q u e s
h a r e and a hound r e s p e c t i v e l y , originally
five d o u b l e c o u r s e s of s t r i n g s , t o t a l d e p i c t i n g p u t t i at p l a y , the p e g b o x t e r m i n -
length 38ins. , a t i n g in an a p p l i e d c a r v e d l i o n ' s h e a d , OT
t h r e e s t r i n g s with i v o r y p e g s , l e n g t h ' CO

T h e B r i d g e a l a t e r r e p l a c e m e n t ; the 3 8 ? i n s . . I t a l i a n , 17th C e n t u r y (the° t a b l e

I n s t r u m e n t l i n e d w i t h 19th C e n t u r y added later)
Music Manuscript
31 A lute, bearing n u m e r o u s labels including
t h o s e of T i e f e n b r u c k e r , R o s m a n and A l u t e , u n l a b e l l e d , t h e body of u n u s u a l OT
H o f f m a n , t h e body of t h i r t e e n i v o r y r i b s a n g u l a r f o r m e x t e n s i v e l y inlaid with
i n t e r p o s e d with ebony and i v o r y purfling, i v o r y a n d bone a r a b e s q u e s and t w o
t h e l a t e r t a b l e w i t h a p i e r c e d and c a r v e d p l a q u e s d e p i c t i n g p o r t r a i t h e a d s of
r o s e , the neck and shaped head a l s o l a t e r , m e n in r e n a i s s a n c e c o s t u m e , t h e t a b l e
l e n g t h 3 5 i n s . , the back Italian, p r o b a b l y with an i n s e t c a r v e d a n d p i e r c e d b o n e
by W e n d e l i n u s T i e f e n b r u c k e r but c e r t a i n l y r o s e s u r r o u n d e d by f a b u l o u s b e a s t s
16th C e n t u r y , t h e r e m a i n d e r G e r m a n ,
19th C e n t u r y
i n l a i d in m o t h e r of p e a r l and t h e f i r i e e r -
b o a r d with t h r e e i v o r y p l a q u e s e n g r a v e d
A g u i t a r l u t e , t h e body of fifteen i v o r y with m o u n t a i n s c e n e s , r e f l e x pegbox,
r i b s with ebony and i v o r y purfling, each p e g g e d for f o u r t e e n s t r i n g s , l e n g t h 2 4 | i n s ,
r i b d e c o r a t e d w i t h gilt a r a b e s q u e s , and I t a l i a n , 19th C e n t u r y
the table with an i n s e t p i e r c e d and
c a r v e d r o s e , t h e n e c k i n l a i d in e b o n y
a n d i v o r y s i m i l a r l y to t h e b a c k a n d t h e 35. A shaped wooden t r a v e l l i n g c a s e for a
shaped head with six r e v e r s e p e g s , t h e o r b o , l i n e d with r e d s i l k , t h e
length 3 8 i n s . , G e r m a n or A u s t r i a n , e x t e r i o r with p a p e r p r i n t e d with s t a r s ,
19th C e n t u r y shaped b r a s s lock and e s c u t c h e o n ,
h e i g h t 47^-ins.

A l u t e , w i t h i n d i s t i n c t l a b e l , t h e body
of n i n e i v o r y r i b s i n t e r p o s e d w i t h e b o n y 35A A t h e o r b o l a b e l l e d In P a d u a V e n d e l i n u s
and i v o r y purfling, the neck and the T i f f e n b r u c k e r 1562, t h e b a c k of t h i r t e e n
b a c k of t h e r e f l e x p e g b o x i n l a i d with r i b s of z e b r a w o o d ( ? ) a n d t h e t a b l e
ebony and i v o r y c h e q u e r s and the f i n g e r - with a p i e r c e d and c a r v e d r o s e , the
b o a r d a l s o i n l a i d w i t h e b o n y and i v o r y , n e c k and m a i n pegbox inlaid with ebony
t h e l a t e r t a b l e w i t h a r o s e p i e r c e d and and ivory c h e v r o n s and the s u b s i d i a r y
c a r v e d with a double h e a d e d e a g l e , the p e g b o x w i t h two i v o r y p a n e l s e n g r a v e d
p e g b o x now p e g g e d for ten s t r i n g s , with c l a s s i c a l f i g u r e s , the m a i n and
l e n g t h 3 l | i n s . , t h e b o d y I t a l i a n 17th subsidiary pegboxs carrying twelve
C e n t u r y , t h e t a b l e A u s t r i a n 19th C e n t u r y strings each, length 44^ins. , Italian,
19th C e n t u r y
 I .. , -. I . .
'• 1 _' . , . 1 1 . ' • . . . . I i , . . ,
.... I . .. .

37. A m a n d o r e , labelled Michel Angelo Bergonzi

•5B A m a n d o r e l a b e l l e d F e d e l e B a r n i a f i g l i o di C a r l o f e c e in C r e m o n a l ' a n n o 1755,

( nctoN M i l a n e s e f e c e i n V e n e z i a A n n o 1767,
***• ' t h e b a c k of s t a i n e d m a p l e w i t h i v o r y
t h e b a c k of s t a i n e d m a p l e with i v o r y p u r f l e d
r i b s , the neck and pegbox s i m i l a r l y inlaid,
p u r f l e d r i b s , the neck and pegbox t h e t a b l e w i t h an i n s e t m o t h e r of p e a r l r o s e
s i m i l a r l y p u r f l e d and the table with p i e r c e d and c a r v e d w i t h a c r o w n e d d o u b l e
a p i e r c e d and c a r v e d r o s e and l a t e r h e a d e d e a g l e , t h e f i n g e r b o a r d a n d f r e t s of
b r i d g e , t h e p e g b o x t e r m i n a t i n g in a m o t h e r of p e a r l , t h e p e g b o x t e r m i n a t i n g
r e c t a n g u l a r finial, six double c o u r s e s in a s q u a r e f i n i a l o v e r l a i d w i t h a m o t h e r
of s t r i n g s , l e n g t h 2 0 - f i n s . , I t a l i a n of p e a r l p l a q u e , t w e l v e m o t h e r of p e a r l
p e g s , s i x d o u b l e c o u r s e s of s t r i n g s , l e n g t h
2 0 ^ i n s . , c o n t a i n e d in o r i g i n a l fitted t o o l e d
3b. A c i t t e r n l a b e l l e d H a m b u r g 1694, t h e leather case with silver strapwork hinges
body of g u i t a r f o r m a n d t h e a r c h e d b a c k a n d e s c u t c h e o n , I t a l i a n , e a r l y 18th C e n t u r y
w i t h p a n e l s of e b o n y i n t e r s e c t e d by
ivory stringing to p r o d u c e a h e r r i n g -
bone p a t t e r n , the t a b l e with t h r e e sound- 38. A m a n do r e l a b e l l e d P e t r u s M e r i g h i f e c i t
h o l e s , the two s m a l l e r o n e s with p i e r c e d P a r m a e 1767, t h e body of f r u i t w o o d , t h e
p a r c h m e n t r o s e s , t h e l a r g e r r o s e now t a b l e wifck i n s e t p i e r c e d p a r c h m e n t r o s e ,
a b s e n t , t h e n e c k c u t a w a y on t h e b a s s i k e fingerboard* w i t h t w o i v o r y p l a q u e s
side, the f i n g e r b o a r d with b r a s s f r e t s e a c k engraved* vnlk a b i r d , t h e l a t e r p e g -
b a c k e d by i v o r y a n d e b o n y s t r i p s , t h e box p e g g e d for s i x c o u r s e s of s t r i n g s ,
p e g b o x s u r m o u n t e d by a c a r v e d f e m a l e l e n g t y 2 0 | i n s . , N o r t h I t a l i a n , m i d 18th
h e a d , p e g g e d for t e n s t r i n g s , l e n g t h Century
2 5 - j i n s . , G e r m a n , c i r c a 1700

3$. A m a n d o r e l a b e l l e d Geo G u i s e p p e F o n t a r e l i i
f e c e in B o l o g n a 1726, t h e body of a l t e r n a t e
r i b s ©f m a p l e a n d s t a i n e d f r u i t w o o d , t h e
t a b l e witk s o m e l a t e r s i m p l e i n l a y , t h e
finger-beard, n e c k a n d p e g b o x e b o n i s e d and
OT
inlaid in ivory with a r a b e s q u e s , l e n g t h
2 0 i n s . . I t a l i a n , f i r s t h a l f of the 18th C e n t u r y
 *1

4°- A mandora labelled F r a n c e s c o P l e s b e r i 44. A dancing' m a s t e r s kit, unlabelled, the

OT
body ana neck in one p i e c e , simulated OT
f e c i t in IKilano contcado del Sole Anno
inked periling, length 14-jins., English
1613, (miSSing)
18-tk Century

41.IV A maiUlora i unlabelled, the back of stained

45". A Jancing* m a s t e r s kit, unlabelled, the
frui^Wood, t;ke r i b j purfled with ivory, the
one ^iec-A-back and r i b s of m a p l e with
neck and pegbox s i m i l a r l y inlaid and the
inlaid pur-fling, length 1 4 j i n s . , E n g l i s h ,
"table with a p i e r c e d and c a r v e d r o s e , l a t e r
/8ik Canity (damaged)
bridge, the fingerboard inlaid with ivory
s t r i p s , the pegbox t e r m i n a t i n g in a square
•46. A dancing" m a a f e r s kit, unlabelled, s i m i l a r
finial, six double c o u r s e s of s t r i n g s , to ike proceeding 1 6 l i n s . , English, 18th
length 2 0 4 m s . , Italian, e a r l y 18th Century Gen*tUr-y
— Keto •»"» i"»s• »***«| ?

42.C-9A m a n d o r e (missing) - *\o*o *iK>u>v#*v .

**• A pocke-He-by T h o m a s E d l i n g e r , A u g s b u r g
1681 anJ labelled T h o m a s E d l i n g e r lauten
und geiyenmacKcr in A u g s b u r g 1681, the
43. A m a n d o r e labelled E b a r E n r i c o fecit anno back ovorlai«d with a l t e r n a t i v e r i b s of ivory
1655, the back with ivory r i b s purfled anJ {©rioiseakell- the f i n g e r b o a r d and tail-
with ebony, the neck inlaid in ivory with p i e c e Similarly inlaid, the l a t e r head and
a g e o m e t r i c a l design, the table with a
pegbox s u r m o u n t e d by an i v o r y knob, length
p i e r c e d p a r c h m e n t r o s e , with applied ivory- I7£«n$.,
c a r v i n g beneath the b r i d g e , the neck and
fingerboard o v e r l a i d with ivory and inlaid 48. A pochette by Georg W o r l l e , A u g s b u r g
in ebony with a r a b e s q u e s inhabited by b i r d s 1673, and labelled Georg W o r l l e in A u g s b u r g
and r e p t i l e s , r e v e r s e p e g s to head, five 1673, the back, neck, f i n g e r b o a r d and t a i l -
double c o u r s e s of s t r i n g s , 2 l f i n s . , Italian p i e c e all overlaid with a l t e r n a t e bands of
mid 17th C e n t u r y i v o r y and t o r t o i s e s h e l l i n t e r p o s e d with
n a r r o w bands of ebony, the table with s m a l l
h e a r t - s h a p e d soundhole below the f i n g e r -
board and l a t e r s t a r shaped inlay, the
pegbox with ivory p e g s s u r m o u n t e d by a
l a t e r wooden knob finial, length 174-ins.
 ' t"W Cn e - m t v a : a n d t o x - t o
f e b o n y , t*-»«= tt«t>-»'=* w i t J ^
. i . • i . . . i . . . „, • , T T 1 J>^ o i «=• l=»=.i CT«^ t h e i , t • . : «

53, A pochette, unlabelled, the fluted body

•19. A pochette by J o h a n n e s Bagany, labelled of fruitwood with bone purfling, the table
J o h a n n e s Bagany fecit 1735, the body, edged with a l t e r n a t e p i e c e s of bone and
n e c k and t a i l p i e c e inlaid with a l t e r n a t e ebony, the fingerboard with g e o m e t r i c a l
bands of bone and ebony, the ebony inlay of bone and ebony, the pegbox inlaid
f i n g e r b o a r d edged with bone, the pegbox in bone and surmounted by a carved winged
with four ivory p e g s s u r m o u n t e d by a l i o n ' s head with bone teeth, length 19 7 / 8 i n s . ,
c a r v e d lions head, length 1 7 f i n s . , A u s t r i a n G e r m a n , 18th C e n t u r y

50. A pochette by Du Mesnil, P a r i s 1662, 54. A G e r m a n mute violin, unlabelled, of

and labelled Du Mesnil P a r i s 1662, the e c c e n t r i c outline, the two-piece back of
body and neck of walnut c a r v e d from a m a p l e with v a r n i s h of a golden brown
single piece of wood, the table purfled colour, with simulated inked purfling
with twisted s i l v e r w i r e and the walnut and inked floral d e c o r a t i o n on the back,
f i n g e r b o a r d s i m i l a r l y purfled, the pegbox total length 214-ins., 19th Century
s u r m o u n t e d by a c a r v e d female head,
length l o i n s .
53. A F r e n c h violin by Honor D e r a z e y ,
unlabelled, but i n s c r i b e d on the r i b s
A p o c h e t t e , unlabelled, the body of H o n o r a t u s D e r a z e y factor Italiano modo
stained walnut, the table unpurfled, the u r b e M i r e c u r i a , the two-piece back with
neck and pegbox of m a p l e , the l a t t e r n a r q u e t r y inlay of a g i r l and a boy in a
s u r m o u n t e d by a g r o t e s q u e animal head, . ^ r a l setting with a church in the back-
length 1 6 7 m s . , 19th Century ground, a l s o c a r v e d in relief at the top
of the back, double purfling, with v a r n i s h
of a golden brown colour, the pegbox
52. A p o c h e t t e , unlabelled, the beechwood s u r m o u n t e d by a finely carved head of a
body of boat shape, with r u d i m e n t a r y b e a r d e d man, length of back 1 4 i n s . ,
s c r o l l s at the top and bottom, the scroll 19th C e n t u r y
and pegbox from a c h i l d ' s violin, length
l 1 9 i i n s . , Scandinavian, 18t> Century
 "1

Si. A Gi:rr.ian violin labelled Sanctus

Sepaphin U t i n e n s i s fecit Venetys Ann (fO. A t r e b l e viol, unlabelled, the back and OT
17 ••'•, of Viol form without edges, the r i b s of a l t e r n a t e bands of ebony and walnut CO

Lv.o-piece back with v a r n i s h of a golden with ivory purfling, the pine table with
brown colour, the table with flame sound- flame soundholes and inset ivory r o s e
holes, Length of back 14-jins., 19th Century beneath the f i n g e r b o a r d , the t a i l p i e c e and
fingerboard o v e r l a i d with ivory and inlaid
in ebony with s c r o l l i n g foliage, the l a t e r
57. Viol D ' A m o r a labelled Mathias Kloz neck and pegbox s u r m o u n t e d by a c a r v e d
LautenmacWer in Mittenwald Anno 1737, l i o n ' s head, length of back 16 3 / 8 i n s . ,
(missing) G e r m a n , 18th C e n t u r y

**. /\ Viol D'Amora by Antonno Zaifir 1716, 61 A tenor viol by Henry Smith, London 1623 :
labelled Antonno Zaifir . . . Laut und labelled Henry Smith over against Hatton
G i e g e n m e c k e r in. . . 171 o, the pine table House in Holbourne 1623, the t w o - p i e c e
v*/i*tk f l a m e outline, the flat t w o - p i e c e back of m a p l e of m e d i u m curl, the pine
back o f m a p l e , the pine table with flame table with two C - h o l e s and p i e r c e d and
f-koleS; simulated inked purfling, with c a r v e d r o s e beneath the fingerboard,
varnisk ui a golden-brown colour, the
double purfling, the back with purfled
long; pegbox c a r v e d with a c a n t h u s l e a v e s
g e o m e t r i c d e c o r a t i o n , the r e p l a c e d neck
and Surmounted by a c a r v e d blindfolded
and pegbox s u r m o u n t e d by a c a r v e d
ckerub'S head, seven bowed s t r i n g s ,
human head, length of back 17 5 / 8 i n s . ,
"Tourteen. sympathic s t r i n g s , length of
0**
back l ^ j n j . ^ G e r m a n , the bridge and nut T h i s I n s t r u m e n t h a s been converted into
* • i Viola
o f later- da-ta.

59. A tenor viol labelled J o h a n n e s H a s e r t a

E i s e n n a c h Anno 1735, the two-piece back <>Z. A Cor A n g l a i s by F o r n a r i , stamped
of m a p l e , the pine table with flame sound- F o r n a r i a Venzia, the curved body of
h o l e s with v a r n i s h of a golden-brown colour, U-atherbound wood, h o r n m o u n t s , two
the pegbox s u r m o u n t e d by an open s c r o l l , b r a s s k e y s with s q u a r e c o v e r s , length
the back c a r v e d with stylised foliage, carved 3 0 i n s t , Italian, late 18th C e n t u r y
t a i l p i e c e , length of back 1 7 | i n s . , G e r m a n
 ^£ ^ 8 o l d -xziyr o x
t- t i . tan
-=il f t i l i j
*.*». i l p i «

63. A C o r A n g l a i s , u n s t a m p e d , the c u r v e d body 67. An i^otry o n e - k e y e d flute u n s t a m p e d , the

of wood bound in l e a t h e r t o o l e d and gilded S i n g l e k e y of s i l v e r with square c o v e r ,
with a r a b e s q u e s , i v o r y m o u n t s , the two Sounding" l e n g t h , 21 7 / 8 i n s . , E n g l i s h , m i d
o r i g i n a l s i l v e r k e y s with s q u a r e c o v e r s , I 8ik Oarettt-ry, and two i v o r y c o r p s de
the shaft of the low C - k e y e n g r a v e d 1806, r*eckangre(69)
t n r e e l a t e r k e y s on p i l l a r m o u n t s , length
2 9 i n s . , Italian, l a t e 18th C e n t u r y
An i v o r y o n e - k e y e d p i c c o l o , u n s t a m p e d ,
A irenof c o r n e t t , u n s t a m p e d , the l e a t h e r - S l i v e r m o u n t s , the s i n g l e key of s i l v e r ,
<f bound w o o d e n body with s i n g l e c u r v e , the Soundino-length 10 5 / 8 i n s . , E n g l i s h ,
|ea'tker- t o o l e d with g e o m e t r i c a l d e c o r a t i o n , c i r c a \800
-fcke a i n g l a - k e y of b r a s s with s q u a r e c o v e r ,
•fcke4ouck p i e c e and shaft a b s e n t , l a t e r
w o o d e n m o u t h p i e c e , l e n g t h 3 4 | i n s . , Italian *9* S e e f-f«m 6 7
|7lk Ceniury

70. A Celluloid w h i s t l e pipe of s i m p l e f o r m ,

fc-5". A *tk.raa k e y e d boxwood oboe by L e n g l e t , un Stamped, s i x f i n g e r h o l e s, sounding
e i e m p e d L e n g l e t on e a c h joint, the upper lengjtk 11 l / 8 i n s . , G e r m a n , 20th Century
Join*t w i i k b a l u s t e r f e r r u l e , i v o r y m o u n t s ,
i k c t k r e e - k e y s of brass,, the left hand
H—fl-ft" k e y a l a t e r addition, the two o r i g i n a l 71. A •i t rui*^w»oJ-fluifad'accord by L . W a l c h ,
k e y s v»/i*tk c i r c u l a r c o v e r s , twin G and F h o l e s , •jtampefJ L. W*lck, the twin b o r e s
leM-gUv 23*^ins., F r e n c h , e a r l y 18th Century d r i l l e d from, a S i n g l e p i e c e of wood
Wiik tir*f>Ie siSLmpea d e c o r a t i o n , s e v e n
*"••**£ S e e L i n d s a y L a n g w i l l , an Index of M u s i c a l
WinJ-Ute-trumeirtlr M a k e r s , page 93 iwitxed *fi>fferkoles and -twin *£kumb koie,
l e n g i k l a t i n s . , , E n g l i s h , f i r s t half of
-die 19tk Cen-fcurj
£»». A boxwood double f l a g e o l e t by B a i n b r i d g e
and Wood London, s t a m p e d B a i n b r i d g e
IV An Worj i r e k l e o r aalto
i t o r e ce o r d e r ,
and W e e d , 35 H o l b o r n Hill, London,
ttnS"lamp«d, leng4k 1 9 l i n s . , E n g l i s h , OT
P a i e n t i v o r y m o u n t s , five s i l v e r k e y s , CO
Circl 1730
•£wo silver shut -off k e y s , length 19 7 / 8 i n s ,
c i r c a 1830
 •wi

T3. An J y o r y t r e b l e or alto r e c o r d e r , 78. An octave spinet, the c a s e of c y p r e s s w o o d

un$itifr\pedi, length 1 9 t i n s . , English with ebony moulding and j a c k r a i l , the o
circa 1730 facia board painted with c l a s s i c a l s c e n e s ,
the t h r e e octave k e y b o a r d with i v o r y
n a t u r a l s and ebony a c c i d e n t a l s and the
7-v. An. i vory t r e b l e ' f alto r e c o r d e r , two octave and five note k e y b o a r d with
UK Stamped, with l a t e r s i l v e r bands ivory n a t u r a l s and ebony a c c i d e n t a l s , in
retaining crack in head joint, length oak outer c a s e , the i n t e r i o r of the lid
20 l / 8 i n s . . F r e n c h , c i r c a 1735 painted with children at play, width 19 l / 8 i n s . ,
Italian, 17th C e n t u r y , the painting probably
Flemish
1ST. An ivory aopranino r e c o r d e r , u n s t a m p e d ,
tke body in one p i e c e , length 11 3 / 8 i n s . ,
Engllsk, early 18th C e n t u r y 79. An octave spinet with a poetic i n s c r i p t i o n
on the r e v e r s e of the n a m e b o a r d , the c a s e
painted blue with moulded edges and applied
76. A sermeCCft or bird o r g a n , the case of ivory r o u n d e l s , the soundboard s i m i l a r l y
""••akoga/vy with l a t e r b r a s s handle, nine painted with p i e r c e d p a r c h m e n t r o s e , the
lead pipes, the lid with s e p a r a t e hinged k e y b o a r d , c o m p a s s t h r e e octave and five
compirimeni, height 6-jdns., F r e n c h , n o t e s , with a r c a d e d boxwood n a t u r a l s and
l a s t quarter of 18th C e n t u r y , bearing a ebony a c c i d e n t a l s with ivory studs, in
German, r e p a i r e r s label dated 1792 outer c a s e , the i n t e r i o r of the lid painted
with putti and a figure in c l a s s i c a l a r m o u r ,
the e x t e r i o r painted with f l o w e r s and
77. An octava spinet i n s c r i b e d F i l i p p u s m a s k s on a black ground, the stand en suite,
R a c c e r i s A c ^ M a n t u a e 1535, the case width 3 1 j i n s . , Italian, 17th C e n t u r y
With r e p o u s s a l e a t h e r d e c o r a t i o n in
'"^L 4L °£ C a r v e d w a l n u t , the lid painted
>*'*»-» t h e J u d g e m e n t of Z e u s on Mount
Olj-mpaj the two octave k e y b o a r d with
•Fruitvoed n a t u r a l s and stained fruitwood
accidentals, width 13-fins., Italian, 17th
Century ( ? )
 . 1 1 I,
1 3-i i^K. 1 I . I . . . JJ- -T t.l-»

30, An o c t a v e s p i n e t , t h e c a s e of c y p r e s s w o o d , 83. A m e c h a n i c a l s p i n e t , the i n s t r u m e n t

t h e k e y b o a r d c o m p a s s t h r e e o c t a v e and e n c l o s e d within a black l a c q u e r e d c a s k e t
five n o t e s , with e b o n y n a t u r a l s f a c e d with the u p p e r section being a j e w e l l e r y casket,
i v o r y a r c a d i n g and i v o r y a c c i d e n t a l s , double clockwork m e c h a n i s m activating the s e v e n -
s t r u n g , t h e o u t e r c a s e p a i n t e d in b r i l l a i n t teen j a c k s , with h a r p stop, the sound-
c o l o u r s w i t h a p r i n c e s s in a c a m e l d r a w n b o a r d painted with f l o w e r s and s c r o l l w o r k
c h a r i o t a n d o t h e r f i g u r e s on a b l a c k l a c q u e r and t h e l i d a n d s i d e s w i t h a p a i n t i n g of
ground, the i n t e r i o r with a r a b e s q u e s and a n g e l s m u s i c i a n s ( m u c h worn) the b a r r e l
C o m r n e d i a d e l l ' a r t e f i g u r e s in bleu c a m a i e u w i t h t h r e e t u n e s , w i d t h 17 l / 8 i n s . , F l e m i s h ,
on a gold g r o u n d , w i d t h 3 0 4 - i n s . , I t a l i a n 17th C e n t u r y
17th C e n t u r y , r a i s e d on g i l t w o o d s t a n d in
t h e f o r m of a k n e e l i n g r i v e r god b e a r i n g
t h e i n s t r u m e n t on h i s h a n d s a n d h e a d , 84. A folding h a r p s i c h o r d , the t h r e e sections
V e n e t i a n o r R o m a n , e a r l y 18th C e n t u r y hinged t o g e t h e r and folding into a single
r e c t a n g u l a r c a s e , t h e l a r g e s t s e c t i o n with
i n s e t p i e r c e d a n d c a r v e d giltwood r o s e ,
81. A s m a l l v i r g i n a l s , t h e c a s e p a i n t e d blue e a c h p a r t of t h e s o u n d b o a r d p a i n t e d with
a n d d e c o r a t e d in g i l t w i t h s c r o l l i n g f l o w e r s , t h e k e y b o a r d c o m p a s s four o c t a v e s
foliage, the s o u n d b o a r d with p i e r c e d and one n o t e , two j a c k s to e a c h n o t e , with
l e a t h e r t i e r e d r o s e , the k e y b o a r d , c o m p a s s i v o r y n a t u r a l s and e b o n y a c c i d e n t a l s ,
t h r e e o c t a v e s and five n o t e s , with i v o r y l e n g t h 3 9 i n s . , F r e n c h , e a r l y 18th C e n t u r y
n a t u r a l s and e b o n y a c c i d e n t a l s , in o u t e r
c a s e , t h e i n t e r i o r of t h e lid p a i n t e d w i t h
a c o a t of a r m s , t h e e x t e r i o r with g r e e n 85, A s m a l l p o s i t i v e o r g a n , t h e c a s e and
l a c q u e r d e c o r a t i o n (not o r i g i n a l ) , w i d t h c o n t e m p o r a r y s t a n d p a i n t e d b r o w n and
2 7 | i n s . , I t a l i a n , 17th C e n t u r y gold, t h e d o o r s o p e n i n g to r e v e a l the
p i p e s and k e y b o a r d , the l a t t e r with
c o m p a s s of two o c t a v e s , with f r u i t w o o d
82, A s m a l l g e b u n d e n c l a v i c h o r d in t h e f o r m n a t u r a l s and ebony a c c i d e n t a l s and a b o v e ,
of a d r a w e r e n c l o s e d in a c a r v e d b l a c k a r a c k of s i l v e r p a i n t e d d i s p l a y p i p e s ,
a n d g i l t c a s k e t , s u r m o u n t e d by a g i l t - t h e b e l l o w s s i t u a t e d in the u p p e r p a r t
wood f i g u r e of t h e r e c l i n i n g A p o l l o , t h e of the i n s t r u m e n t and w o r k e d by m e a n s
i n t e r i o r l i n e d with d e c o r a t i v e p a p e r , of a l e v e r on t h e left s i d e , s i n g l e r a c k
t h e k e y b o a r d c o m p a s s t w o o c t a v e s , with of p i p e s , t h e i n t e r i o r of the d o o r s p a i n t e d
ebony n a t u r a l s and ivory a c c i d e n t a l s , w i t h k n e e l i n g a n g e l s with c h e r u b s a b o v e ,
w i d t h 18 5 / 8 i n s . , I t a l i a n , 17th C e n t u r y h e i g h t 6 2 j i n s . , F l o r e n t i n e , e a r l y 17th
Century
8b. A p o r t a t i v e organ in Gothic oak c a s e , 89. A Dutch bass d r u m , the shell painted over to

showing signs of c o n s i d e r a b l e r e s t o r a t i o n , its e n t i r e a r e a with battle s c e n e s , a l s o

the delicately worked s c r e e n s enclosing bearing the Lion c r e s t of one of the S t a t e s ,
a single rank of m e t a l p i p e s , the l a t t e r d i a m e t e r 3 l f i n s . , late 17th C e n t u r y , with
l a t e r additions, the keyboard, c o m p a s s b e a t e r , on stand
two o c t a v e s and one note, ebony n a t u r a l s
and ivory overlaid a c c i d e n t a l s , two
bellows at the r e a r , with g e o m e t r i c a l l y 90. A Dutch side d r u m b e a r i n g an unidentified
c a r v e d c o v e r s , height, 2 0 i n s . , F r e n c h ' label on the inside, the shell painted with
e a r l y 16th C e n t u r y a p o r t r a i t of an A d m i r a l and a coat of a r m s ,
each flanked by m e n - o - w a r under full sail,
d i a m e t e r 1 9 m s . , 17th C e n t u r y
'ositive organ (missing)

91. A d u l c i m e r , the sides painted with flowers

88. A positive organ, the oak case with a on a black ground, the table a l s o painted
single r a c k of free standing wooden pipes, with flowers and with two p i e r c e d vellum
each painted around the window with a r o s e s , two continuous b r i d g e s , twenty-
grotesque human m a s k , the t h r e e octave " four quadruple c o u r s e s of s t r i n g s , contained
k e y b o a r d with fruitwood n a t u r a l s and ebony in an outer case with yellow l a c q u e r e d
a c c i d e n t a l s , m a x i m u m height 4 5 i n s . , i n t e r i o r , d e c o r a t e d with g r e e n s t r a p w o r k
G e r m a n 17th C e n t u r y , with l a t e r m e t a l sea and coloured p a p i e r coupe, the e x t e r i o r
h o r s e above the keyboard, the i n s t r u m e n t in painted with a basket of flowers and dark
poor condition and the bellows wanting green s t r a p w o r k on a l i g h t e r g r e e n ground,
width 31 i n s . , Italian, 18th C e n t u r y
 73
FoMRHI Comm. 361 Jeremy Montagu
(see Comms.171, 190, 210, 245, 261, 281, 298, 310, 350)
Review of: Will Jansen, The Bassoon, part X.
We begin with the tag-end of the Bibliography of music including bassoons,
the parts covering bassoon/s and brass, contrabassoon/s and other instru-
ments, music for dulcians, notes on some important concertos (quite inter-
esting, despite a number of contradictions and dubious remarks, such as the
inclusion of horns and trombones among the woodwinds), and notes on the
Vivaldi concertos, with quite a lot of odd statements (eg that they are
unduly short, whereas 8-14 minutes, the timings he gives, are on the long
side for Vivaldi; the nonsense statement:"Did he, like Mozart, Johann
Christian Bach and others, write for the future, for a time when the bassoon
would be a better instrument than it was in his time?") but a very useful
cross-index from Fanna, Pincherle, Ryom and Rinaldi numbers (which is re-
printed here from Chapter 271 )> a s always,in this fascicle there is a good
deal of needless repetition. These sections are followed by an Addenda of
music recently published, some of which has been available for ten years
and more; nor does he even know how many entries there are in his Bibliog-
raphy; on page I664 there are "well over 5,000 works" and on page 1665
"over 4»000". Despite what he says, a good many of the works listed here
and in the fascicles reviewed in the last FoMRHIQ are transcriptions and
arrangement s.
The rest of this fascicle is devoted to Biographies of Bassoon Players
Past and Present, including the whole of the Past (including a few who are
still with us but no longer playing) and the first few pages of the Present.
A surprising number of these biographies have no dates, not even an indi-
cation of their century, which seems a very odd idea; surely if one can
discover any information at all abouta player, one knows roughly when he
flourished, even if one has not got birth and death dates. One thing
that caught my eye was the number that are specified as being "Dutch/Jewish"
or "German/Jewish" and I wondered why; after all, he does not specify
"Dutch/Catholic" or any other religious conviction or persuasion. I hope
that the entries for past players are more accurate than those for the
living (who is Godfrey Gambold, principal bassoon in the Swansea S.O., and
where is Geoffrey Gambold in this list?), for such a list could be a very-
valuable for future researchers. Mr.Jansen has, after all, a wide circle
of friends and contacts, and he obviously has an enormous filing system;
the tragedy is that nobody is going to be able to carry on from where he
leaves off without doing all the research all over again, simply to check
facts and spellings and dates.

362
FoMRHI Comm. Jeremy Montagu
Review of: S.K.Taylor (ed), The Musician's Piano Atlas, Omicron Publishing
Ltd, Sunderland House, Sunderland Street, Macclesfield, Cheshire SK11 6JL,
2l6pp, £8.90 including postage (in T7K).
This lists all the piano manufacturers known to the editor, with their
addresses (and in many cases who really makes the piancs that have a parti-
cular name on them; for instance, did you know that pianos marked Erard
are now made by Wilhelm Schimroel Pianofortefabrik GmbH, Braunschweig?),
and the serial number for each year, or sonetimes for every fifth year.
The list is hy no means complete; for example, under Aeolian, it says
"Aeolian pianos first introduced in Europe in January 1979. No informa-
tion included due to insignificant number of instruments marketed.", but
surely in the days when the Aeolian Hall was the Aeolian Hall instead of
a BBC Light Music studio, they sold pianos and not just organs? A quick
comparison with Rosamond Harding's Appendix G (the list of London makers)

^
74

in the back of her monumental The Piano-Forte (2nd edition, Gresham Books,
Old Woking, 1978) shows that what this book covers is contemporary makers
selling in Europe. Those firms which have been going a long time (eg
Broadwood, from 1775 with no.25; Erard, from 1800 with no.l640; Pleyel,
from 1807 with no.l — also now owned by Wilhelm Schimmel, incidentally;
Steinweg, from 1835 to 1849 in Germany, with nos.1-482, and then as Stein-
way in New York) have listings very useful to the early piano historian,
and there are also such few random date/number correlations of extinct firms
as are known to the editor, either in the main list (eg Pape, Wornum and
one or two others) or in an Appendix.
Certainly this book will be very useful to anyone interested in those
firms which do exist at the present day, and the geographical coverage
seems excellent, with a number of far-eastern firms listed. For the his-
torically minded, it will be of more limited use, though for a number of
names it gives more precise information than can be found in, for instance,
Harding or in Cyril Ehrlich's The Piano (Dent, 1976), which, roughly speak-
ing, carries on from where Harding stops in 1851. For most of us, I'd
say not essential but could be very useful. There is, by the way, a
brief history of the piano from 1709 to 1980 by David Grover in the front
of the book.

FoMRHI Comm. 363 Jeremy Montagu

Review of: Arnold Myers, A Check-List of the Brass Musical Instruments
in the Edinburgh University Collection of Historic Musical
Instrument:; (Reid School of Music, Teviot Place, Edinburgh
EH8 9AG, typescript duplicated, 21pp, £1.00)
Keith Pratt, A Check-List of the Ethnic Musical Instruments
in (the same collection)(same address,14pp,£1.00)
This collection is, of course, what was the Galpin Society Permanent
Collection (plus what was already there before the Galpin Society's gift,
much of which is covered by Keith Pratt's Check-List). Both Check-Lists
give a brief description of each instrument, with essential measurements,
and the source where known (and, for the brass instruments, cross-reference
where appropriate to the Galpin Society's various exhibitions in 1951» 1958
and 1968). It is clear that Mr.Myers, who is now the Honorary Curator of
the Collection, is not only energetic and thorough in his cataloguing, but
also generous, in that much of the brass is his loan to the Collection.
His descriptions are clear, concise and accurate, and this List is highly
recommended.
I cannot say the same for Mr.Pratt's. Mr.Pratt appears to be a Sinologist,
from the fact that the Chinese names are given, in Chinese characters, for
the Chinese instruments, but no non-European characters are used for any
other instruments (nor are all of them given their native names, and some
of those that are given are wrong). Unfortunately he does not appear to
be an organologist, and much of his terminology and description is odd,
confused, inaccurate and plain wrong. For example, the reeds of a sansa
are referred to as teeth; sexagonal is used instead of hexagonal; a taus
(an Indian bowed instrument) is named as a sitar (a plucked instrument);
Chinese ti are said to have 9 finger holes (one is for a membrane, two are
tuning vents, six are actually finger holes — a school-boy howler this
one); the mouth of a duct flute is always called a notch; funnel is used
to mean the staple (i think) of shawms, and so on and so forth. If you
decide to buy this one, so as to know roughly what is in the Reid, be very-
careful v/hen using it and never quote from it.
 75
FoMRHI Comm. 364 Jeremy Montagu
Review of: Michael Nagy, Michael Haydn, Joseph Haydn Gesellschaft Wien,
1981. 33pp. No price stated.
Michael Nagy, Joseph Haydn, ein Uberblick uber sein Leben,
same publisher, 1975. 15PP«
Two brief publications by one of our members, the one on Michael being
rather the more interesting because we know so much less about him.
I wonder why both the Haydns are known by their middle names, rather than
by their first (Franz Joseph for the elder and Johann Michael for the youn-
ger)? Both booklets provide a concise biography, the one on Michael having
rather more space to survey his work, with interesting comments on the
contacts with other composers, especially with Mozart of course.

FoMRHI Comm. 365 Jeremy Montagu

Review of: The Shrine to Music Museum, Catalogue of the Collections, vol.1
The Arne B.Larson Collection of Musical Instruments,
Keyed Brass Instruments, by Gary M.Stewart, 1980.
34PP> 62 illus. #6.50 in US, #7.50 overseas by surface,
#9.50 by air mail (all payments in US dollars only)
from USD Box 194, Vermillion, SD 57069, USA.
Peggy Downie tells me that they plan to issue a new volume of their cata-
logue each year (double reed instruments next), and as they've only printed
1,000 copies of this one, if you want one, you'd better whip an order in
fairly fast. The catalogue covers six serpents, a Russian bassoon, a bass
horn, seven ophicleides and sixteen key bugles. Descriptions are very
brief, with much less information than in the Arnold Myers Brass Instru-
ment Check List from Edinburgh, also reviewed here, and the only measure-
ment given is the overall height/length (not the body length, although it
says "Length of body"). Were it not for the fact that every single inst-
rument is photographed from the front and from the back, one would regard
this "Catalogue of the Collections" as the most summary of check-lists.
If one has, for financial or other reasons, to keep the information down
to what one would normally think of as check-list quantity, and yet wants
to produce something that can be called a catalogue, this lavish use of
illustration is the ideal compromise. But I hope that it may be possible
to provide fuller information in future volumes, especially for those
instruments where measurements are rather more critical (after all, about
all that could be given here is bore length, unless they went into the
sort of full detail that Leipzig goes in for — see this Bulletin, p.2/3).
Copies are available in UK, by the way, from Tony Bingham (£4.50 plus
postage) and perhaps elsewhere also.
EDITOR'S NOTES
My a p o l o g i e s that t h i s i s s u e i s s o jumbled up. S e v e r a l i t e m s w e r e in
n o n - s t a n d a r d s i z e s or with v e r y faint type, and t h e s e had to be joined
to s i m i l a r ones on the o t h e r half of the sheet of p a p e r for r e p r o d u c t i o n .
F u r t h e r to the Bulletin page 2. The R u l e s t a k e 3 p a g e s . ! We'll
print t h e m next t i m e if it's a thin i s s u e or if s e v e r a l m e m b e r s say they
want it.
Deadline for the next i s s u e is OCTOBER 3rd, to J e r e m y ' s
NEW ADDRESS: c / o F a c u l t y of M u s i c , St. A l d a t e ' s , Oxford OX1 1DB,
o r (a few days l a t e r ) to m e at 18 Moorfield Road, M a n c h e s y e r M20 8UY
as usual.

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