樂器資料集-1－~用刀演奏藝術~

Organistrum
By Edward Turner
Vancouver,
British Columbia
1973
Ontario maple,
European curly maple, walnut, metal, gut
Overall length: 142 cm;
body: 56 x 36; sides: 11 cm

The organistrum is the precursor of the hurdy-gurdy. In both instruments, sound is produced when the strings are rubbed by a crank-activated friction wheel. Because of the organistrum's large size, two musicians were required to play it: one to turn the crank and the other to actually play the instrument, using rotating keys. The keys thus came into contact with two strings, while a third string acted as a drone. The three strings were probably tuned to the tonic, the fifth and the octave, an arrangement well suited to the polyphony prevalent at the time, in which the voices moved in parallel fourths and fifths.

Ornemental detail at the base of the crank: the griffin, a mythical creature.

The instrument appears occasionally in twelfth-century sculptural reliefs in England, France and Spain. It was used in the cloisters to teach music, provide pitch for singers and accompany religious music.

Edward Turner based this organistrum on a twelfth-century bas relief from the portico of San Miguel de Estella church in Santiago de Compostela, Spain. The reproduction displays a remarkable wealth of detail, including a carved griffin head, whose mouth opens onto the crank that activates the friction wheel.

Edward Turner has enjoyed a rich and varied career. After studying architectural design and graphic arts at the École des Beaux-Arts de Montreal, he turned to making harpsichords and stringed instruments as a result of his interest in pre-nineteenth-century music and instruments. He devoted himself full-time to this endeavour after opening a workshop in Vancouver in 1971. He later went to work for the University of Edinburgh, where he conducted research and specialized in drawing instruments from the Russell collection of early keyboard instruments. Harpsichord makers around the world use his technical plans and drawings of the most important harpsichords in the collection.

Turner has played a significant role in the revival of instrument making in Canada. He has built several replicas of early instruments, including harpsichords, lutes and hurdy-gurdies. He has promoted instrument making through workshops and lectures in Canada and other countries around the world, including the People's Republic of China, which he visited in the early 1980s.

In 1985, Edward Turner resumed design and graphic arts. He created reproductions of historic aircraft for Expo 86 and has designed sailboats.

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he vithele was one of the most common bow instruments during the Middle Ages. It was played by nobles, peasants and jugglers alike, and was the favourite instrument of minstrels. Appearing at all festivities, it accompanied songs, dances and epic poems, alone or with a harp, psaltery, lute or recorder.

Vithele (medieval viol)
By Christopher Allworth
Halifax, Nova Scotia
1973
Swiss pine, maple, birch, willow, English yew, gut
Overall length: 83 cm;
body: 53 x 27 cm;
ribs: 8.2 cm
Label: "Christopher Allworth, 1973, Auburn,
Nova Scotia"

The vithele was held on the shoulder in much the same way as a violin, although a number of paintings show musicians seated with the instrument on their knees. The vithele's shape, number of strings and bow can vary greatly. While the instrument's origins are hard to pinpoint, the bow appears to have been used in Spain and Italy in the tenth century, based on the practice in Arab and Byzantine countries. In the eleventh century, the practice spread throughout Europe, and the medieval vithele appeared around this time. The instrument remained in use until the late fifteenth century, when it was gradually supplanted by instruments related to the viola da gamba and the violin.

The tailpiece depicts a wyvern. Christopher Allworth refers to Opus 2 as a "medieval viol" to indicate that it has a lower tessitura and that it is held on the knees.

The instrument is based on an illumination in the twelfth-century York Psalter, which shows King David playing the harp surrounded by minstrels playing various stringed instruments (University of Glasgow, Ms. U.2.3).

The entire instrument is painted with tempera. The back is bright red, and the ribs and peg box are covered with colourful Roman-style leaves. A wyvern, with a deer's head, bird's wings and serpent's tail, graces the tailpiece. Allworth reproduced these decorations from a thirteenth-century English manuscript in the British Museum.

Opus 3 - Vithele

Vithele
By Christopher Allworth
Halifax, Nova Scotia
1974
Beech, pearwood, cherry,
Swiss pine, English yew, gold leaf, gut
Overall length: 73 cm;
body: 42 x 19 cm;
ribs: 5 cm
Label: "Christopher Allworth, 1974, Auburn,
Nova Scotia"

Opus 3 is the smaller vithele. To build this tempera-painted replica, the luthier turned to an illumination in the thirteenth-century Bromholm Psalter and the books of the Trinity Apocalypse (Trinity College, Cambridge, Ms. R.16.2). The motifs on the tailpiece and the ribs are from two psalters preserved in the British Museum.

The tailpiece bears a winged lion whose head is surmounted by a halo, a symbol of St. Mark the Evangelist as he appears in the Westminster Abbey Psalter (circa 1340); and the blue and gold motifs on the ribs of the instrument are inspired by the Luttrell Psalter.

The tailpiece depicts a wyvern. Christopher Allworth refers to Opus 2 as a "medieval viol" to indicate that it has a lower tessitura and that it is held on the knees.

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Psaltery
By Christopher Allworth
Halifax, Nova Scotia
1974
Birch, cedar, brass, gold leaf, quill
Overall length by width: 45 x 33 cm;
ribs: 6 cm
Label: "Christopher Allworth maker,
Yarmouth, Nova Scotia 1974"

The psaltery is a stringed instrument that enjoyed prominence during the Middle Ages. Its strings, stretched over a soundboard, are plucked with the fingers or a plectrum. In paintings, the psaltery is usually shown resting against the musician's chest or occasionally on the knees.

The instrument was played throughout Europe from the eleventh to the early sixteenth century. Its development was influenced by the quànun, or Middle Eastern psaltery, which the Moors introduced into Spain around the twelfth century. The earliest instruments were square, rectangular or trapezoidal. Around the thirteenth century, there appeared a psaltery called the instrumento di porco, so named because of its curved shape resembling a pig's snout. The instrument shown here is a reproduction of this type of psaltery. The three small sides are decorated with a four-leaf motif painted with tempera and gold leaf.

Christopher Allworth

A trained musician, Christopher Allworth became interested in historic musical instruments in the late 1960s. After completing a master's programme in medieval religious music at the University of Illinois, he continued his education at Oxford from 1968 to 1971. His study of the religious iconography and music of the Middle Ages drew him naturally to study the instruments of that period. After returning to Canada, Allworth taught music in Yarmouth, Nova Scotia. In 1984, he moved to Halifax, where he teaches only part-time at the Atlantic School of Theology in order to devote more time to the craft of luthier. He also works as organist and music director at St. John's Anglican church.

The first instruments that Christopher Allworth crafted were reproductions of instruments used before 1450. They include the psaltery, vithele, medieval viol, symphonia (medieval hurdy-gurdy), harp, and lyra (or gigue). In the last few years, he has worked exclusively on bow instruments: the viol, the vithele and the lyra. His wife, Carolyn, paints the decorative motifs in tempera and applies gold leaf, in keeping with the style appropriate to each instrument.

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Lute
Alternating strips of maple and rosewood form pleasing contrast
By David Miller
Saskatoon, Saskatchewan
1979-1980
Maple, spruce, rosewood, beech, pearwood,
ivory, ebony, gut
Body: 51 x 29 x 14 cm;
neck: 25 cm;
peg box: 22.5 cm
Gift of the Massey Foundation
Label: "David G. Miller Saskatoon, Canada #807"

The lute could be found throughout Europe by the late Middle Ages. Its Arab precursor, the ud, was introduced into Spain by Moorish invaders between 711 and 1492. "Lute" is derived from the Arab word and its article, al-'ud. The lute was one of the major instruments in Europe until the late eighteenth century.

During its history, the lute underwent a number of changes. The strings were originally made of gut and mounted in pairs, or courses. Gradually, string quality improved, and the number of strings increased, thereby broadening the lute's range and repertoire. The Renaissance lute had between six and ten courses; this meant from eleven to nineteen strings, as there was usually a single first string. At that time, the lute became a solo instrument, with a repertoire that demanded considerable virtuosity. It frequently accompanied song and appeared in almost all musical ensembles, along with recorders, viols and, somewhat later, the harpsichord.

The belly of this lute is made of alternating strips of maple and rosewood. An Arab-style rose carved in the wood graces the soundboard. The neck and peg box are made of beech, painted black to simulate ebony; the fingerboard is of rosewood; the strings and knotted frets of gut; and the body frets of ivory.

The label is a reproduction of an engraving from the workshop of a luthier published in Paris in 1785, in Art du faiseur d'instruments de musique et lutherie.

David Miller

It was during a stay in Halifax on an acting engagement that David Miller had his first experience as a luthier: he made an Appalachian dulcimer from an instruction manual. He subsequently broadened his theoretical knowledge through books and built a variety of instruments, including lutes, guitars and Appalachian dulcimers. When working on early instruments, Miller strives to reproduce as faithfully as possible their particular acoustic qualities and visual aesthetics. He takes a bit more freedom in crafting traditional instruments, by creating new ornamental motifs or by altering certain technical features in order to improve the instrument.

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Flute
By Harry Bloomfield
Montreal, Quebec
Circa 1982
Maple
46.5 cm
Gift of the Massey Foundation

The flute is apparently of Byzantine origin and seems to have been introduced in Germany before spreading to the rest of Europe.

Until the fourteenth century, the instrument was played mainly in the Rhine region; it was thus occasionally dubbed the "German flute" after it began to be used in other parts of Europe. During the Renaissance, the flute was still a simple cylindrical pipe with six holes and could be of three different sizes. Period paintings often depict the flautist next to a singer, accompanied by a lute, viol or harp.

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Cornett
By Edward Eames
Qualicum Beach, British Columbia
Circa 1965
Wood, leather, brass
54 cm
The cornett, which became popular in Europe in the early sixteenth century, consists of a leather-covered wooden pipe with six holes on the front and one hole on the opposite side. The instrument originated in the Middle Ages and, as can be seen in illustrations from that era, it was made of a curved section of wild goat horn.

In the sixteenth century, cornetts played a vital role in professional music and often performed with sackbuts (precursors of the trombone) in accompanying choirs. This combination was popular until the eighteenth century. However, a seventeenth-century Italian painting shows the unusual combination of a cornett with a violin and a lute.

The cornett shown here is based on an illustration in European Musical Instruments by Frank Harrison and Joan Rimmer, which shows a cornettino, itself a reproduction of a sixteenth-century instrument made in 1963 in England.

Edward Eames

Edward Eames received his musical training in England, in particular as a member of military bands while studying at various military colleges. A graduate in music education, he immigrated to Canada in 1953 and settled in British Columbia to pursue a teaching career. His taste for military music sparked an interest in the early instruments used in brass and wind bands. He began building replicas of wind instruments in order to teach their use to his students and to satisfy his own curiosity. Over the years, he built a dozen historic wind instruments and a few stringed and percussion instruments. In 1973, the National Museum of Man (now the Canadian Museum of Civilization) acquired a number of his works.

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Recorder in G
In the manner of
Sylvestro Ganassi
By Jean-Luc Boudreau
Montreal, Quebec
1990
Quebec sugar maple, brass
45 cm
Die-stamped markings: "Jean-Luc Boudreau Montréal 151090"

Born in 1492, Sylvestro Ganassi was an active musician, equally accomplished on the viola da gamba and the recorder. Connected with the court of the Doges in Venice, he also performed in Saint Mark's Basilica. In 1535, he published an exhaustive recorder method entitled Opera Intitulata Fontegara, which reflects the highly advanced technique of recorder players of the period and the prominent place that the instrument occupied in the music world.

Jean-Luc Boudreau's recorder is a replica of an instrument that was popular at the time Ganassi wrote his recorder method. An innovative combination of a typical Quebec wood with an Italian Renaissance style, the instrument consists of two sections held together with a brass mount. It is tuned to A=440.

Jean-Luc Boudreau has been making recorders and baroque and classical flutes for ten years. Shortly after obtaining a music degree in performance, with a specialization in early flutes, he began to study flute making on his own. In 1983, he received a scholarship from the ministère des Affaires culturelles du Québec to conduct research in European museums, examine original instruments in major collections and visit master instrument makers.

While basing his flutes on historic models, Boudreau enjoys exploring modern technological methods to facilitate his work and enhance the potential of his instruments. He has thus designed special tools for various steps in the construction process, for example, for drilling holes in the pipes and turning the wood. He designs his instruments on a computer and uses synthetic materials, such as moulded polyester resin instead of ivory, to decorate some instruments or build the body of a flute.

Jean-Luc Boudreau has participated in numerous exhibitions in Europe and the United States and has held many lecture-workshops on the making and maintenance of flutes. His Montreal workshop receives orders from Canada, the United States and Europe. He already has some 450 instruments to his credit.

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Pardessus de viole
In the manner of Nicolas Bertrand
By Dominik Zuchowicz
Ottawa, Ontario
1991
British Columbia maple and Sitka, spruce, Gabon ebony, boxwood, bone, gut, silver, gold leaf, linen and glue, oil varnish
Overall length: 63 cm; body: 31 x 18.6 cm; ribs: 7.6 cm
Label: "Dominik Zuchowicz Ottawa 20/12/91 1991"

This beautiful carved head covered with gold leaf calls to mind the sumptuous furnishings that baroque musical instruments were designed to complement.

Beginning in the late seventeenth century in Europe, the viola da gamba was gradually supplanted by the violoncello, whose robust sound was better suited to the orchestras then appearing. However, the viola da gamba continued to enjoy widespread popularity in France until the end of the eighteenth century, during which the pardessus de viole, which is even smaller than the treble viol, was added to the viol family.

The French nobility adopted the instrument enthusiastically. Ladies of the court were delighted with the pardessus de viole, whose small size made it charming and entirely in keeping with the elegance of the era. Moreover, the register of the pardessus enabled it to replace the violin, which women avoided playing as it left unsightly marks on the neck.

Dominik Zuchowicz based this pardessus de viole on an instrument in the Musée du Conservatoire de Paris, itself the work of Nicolas Bertrand (d. 1725), one of the great French luthiers of the period and the "faiseur d'instruments ordinaire de la muzique du Roy" (The New Grove Dictionary of Musical Instruments). A sculpted woman's head, covered with gold leaf, graces the neck of this meticulously crafted instrument.

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Pardessus de Viole Bow
By Philip Davis
Toronto, Ontario
1992
Snakewood, bone, horsehair
71.2 cm

his bow integrates features from a number of original eighteenth-century French and English bows studied by Philip Davis. It is fluted, and its nut is made of snakewood. As few bows for the pardessus de viole have survived, they are difficult to reproduce.

Philip Davis

Philip Davis is a Toronto luthier and bow maker who, in addition to making instruments of the violin family and early stringed instruments, specializes in restoring period instruments. A guitarist by training, he studied sculpture and cabinetmaking at the Ontario College of Art in 1969. When he built a classical guitar as a course project, he discovered an activity that was an ideal blend of his interests.

Through instrument making, Davis has pursued fascinating research on the relationship between the form and function of an object. Between 1975 and 1978, he lived in London, where he studied the construction of period stringed instruments. He received two Canada Council grants and conducted intensive research on major European instrument collections. When he received his second grant in 1983, he studied in Germany for one year with master luthier and bow maker J.J. Schroeder. For the past twelve years, Philip Davis has given a course on stringed-instrument making, which he established at the Ontario College of Art.