COST STSM Report. STSM Applicant: Mr Sebastian Kirsch, Germanisches Nationalmuseum, Nürnberg (DE),

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Bruno Thompson
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1 COST STSM Report COST STSM Reference Number: COST-STSM-FP Period: to COST Action: FP1302 STSM Applicant: Mr Sebastian Kirsch, Germanisches Nationalmuseum, Nürnberg (DE), STSM Topic: Technology and cultural history of altered lute instruments - PhD project in musicology at the Ludwigs-Maximilians-University, Munich Host: Philippe Bruguière, Cité de la musique - Philharmonie de Paris, Paris (FR), pbruguiere@citemusique.fr 1) Purpose of the STSM The analysis of historical objects as authentic proof of the past concerns not only their originality but also the history of the object, the alterations caused by age, damages and repairs. One group of objects which shows the dichotomy of original and alterations in a particular way is the group of musical instruments. Old instruments were always highly appreciated items, mythical stories are telling of the extraordinary sound quality. De facto all preserved historical musical instruments are changed by repairs and alterations. In this way they unite different shapes and become diachronic objects. My PhD thesis in musicology at the Ludwig-Maximilians-University, Munich focusses on the network of material, cultural, technological and sociological factors that keep old instruments in use. I examine the historical-cultural transformations and the technological needs as well as the changes in performance praxis which lead to the alterations of the honoured old instruments. Therefore I wanted to study several instruments in the Paris collection in order to analyse more and more examples of altered lutes, compare it to my previous results, but also to improve my acquisition form in view of building a data base and to develop my methods of examination. 2) Description of the work carried out during the STSM At all I could study 9 lutes in detail during my stay in Paris (Tab. See below Nr.3 Main results obtained). The Laboratoire in the Musée de la musique offered me a workplace. I had also the possibility to use different examination tools like a USB-connected handy microscope or an endoscope. I took the basic measurements of every instrument in order to check the data which is

2 accessible in the catalogue by Joël Dugot (Catalogue des collections du Musée de la musique: Les luths (occident), Paris 2006) as well as measurements of different details like the width of the bridge, occasionally the diameter of the bores in the bridge or distances of former fret positions. Since my goal is to find categories of the different alterations and to analyze the historical placement of the different intervention, I was focusing on the history of the object, which means especially marks and traces of repairs. I filled my acquisition form which is separated into the following parts which represent not only the different parts of the instruments, but also the possible parts which can be changed in order to adapt it to a transformed musical taste: Measurements, description of the bowl, description of the belly, description of the bridge, description of the neck, description of the pegbox, description of the alterations organized by parts as well as tags. I took photos of the crucial parts in order to develop a standard set of photos for one instrument which show all possible altered parts. 3) Description of the main results obtained During my stay I could process my acquisition form from a word-list based document to a excel sheet which can now be used as basis for building up a data base. For every instrument I tried to find the history or biography of the object and to correlate the repair labels with the observed phenomena or to date undocumented repairs. The following list gives an overview of some main results:

3 Instrument 1 Inventory number E Maker History of the object, remarks Laux Maler Daniel Sinier & Francoise de Ridder, France 2003/4 Different repairs and alterations, before reconstruction by Sinier & de Ridder in 2003/4 the instrument was in the shape of a baroque guitar. At all I could count 11 different reinforcements in the bowl. This amount of different papers and parchments gives an idea about how often the instrument had to be opened. On the belly there are four different generations of bars, but at least two are apparently original. Interesting brand marks on the inside of the belly. The neck was renewed during the last restoration. Different layers of reinforcement

4 Instrument 2 Inventory number E.26 Maker History of the object Jacomo Stadler anonym This instrument used to be a big chitarrone. According to the visible repair marks, not many changes were made apart of cutting the upper, long pegbox and keeping the small one. There is just one additional layer of reinforcements in the belly, so it can be said that the alteration to a guitar is the only major intervention. As the X-ray image shows, even the position of the braces is still original. A new bridge was made. An interesting fact is, that the old small pegbox was kept, but the former unsymmetrical cut-out was widened to make in more symmetrical. Cut out in the peg box was made wider

Instrument 3 Inventory number E.980.2.332 Maker Magno Stegher Reparé par Arnold Dolmetsch / Londres Sept. 1893. History of the An old lute with a new belly, which was made by Dolmetsch.

5 Instrument 3 Inventory number E Maker Magno Stegher Reparé par Arnold Dolmetsch / Londres Sept History of the An old lute with a new belly, which was made by Dolmetsch. The neck was also replaced. Some interesting features show craft techniques of 19 th century object instrument building. The bridge is supported with three nails, which can be seen in other repairs made at that time. The first rib on the treble side of the belly is completely renewed. The old rose is inserted in the new top plate. The reinforcements in the bowl show that there was at least one more repair before the historicizing restoration by Dolmetsch. Repair label by Dolmetsch

6 Instrument 4 Inventory number E.2346 Maker Georg Aman Georg Aman, Lauten- und / Geigenmacher,in Augspurg. / 1739 Reparé par Roos /Strasbourg 1868 History of the object The date of production 1739 is very late for a big theorbo or chitarrone like this. In the inside there is just one type of reinforcement. It is possible that the intervention that brought the instrument in the current shape was the only big repair. Now the shape is like a guitar with 6 single strings. The pegbox used to have a bass and a treble rider and at all it was possible to carry 24 pegs. The neck is, however, too small for so many strings. It seems that the old pegbox was reused like in the case of E.26, in order to create a historicizing type of guitar-lute. Narrow pegbox with way too many pegs

7 Instrument 5 Inventory number E.0243 Maker Gregori Wenger Gregori Ferdinand Wenger / Lauten und Geigen Macher. / Fecit Augustæ 1741 Anonym History of the object This instrument is an interesting combination of two old instruments. The bowl is made by Wenger, the neck is from a big mandola or guitar. However, there are several reinforcements in the bowl, which means, that at least this part of the instrument was repaired at least three times. At the connection of top plate and neck there is a piece of tortoiseshell which has a piece of conifer wood underneath, which means it could possibly be the rest of the pick guard of the other instrument. Parts of tortoise shell in on top of the belly, combination of the materials of two different instruments.

Instrument 6 Inventory number E.998.2.2 Maker Hans Fichtoldt hans fichtoldt / in fiessen / 1627 History of the object Repr. Phe.

8 Instrument 6 Inventory number E Maker Hans Fichtoldt hans fichtoldt / in fiessen / 1627 History of the object Repr. Phe. Praude nels 1908 (Draude) ε Cologne Originally this was a 10-course lute. It was later changed to become a 13-course baroque lute. The pegbox comes from a different instrument. It is too wide and was used before with a treble rider. The veneer at the pegbox comes from a different instrument, probably from a theorboe. In order to keep the precious neck, it was widened by adding a piece of ebony. During the repair of 1908 the bridge was kept, but the bridge tips were changed into a curled style. Bridge with traces of the former tips.

9 Instrument 7 Inventory number E.1184 Maker History of the object Anonym Anonym A 10- or 11-course lute was altered to a 6-course mandora. An interesting fact is that the pegbox is made of one piece a technique which is rare, but known for example from Sebastian Schelle s instruments. Almost no other signs of repairs. A big additional nail goes through upper block and the below part of the neck, but comes out close to the neck. The neck joint was made for a wider neck. The nail connecting neck and upper block is visible.

Instrument 8 Inventory number D.AD.48483 Maker Wendelio Venere Wendelinus Tieffenbruker dictus (?)/ Venere : Patauÿ faciebat Matthias Fux/Röm. Joseph Klein, Violin- Kays. May.

10 Instrument 8 Inventory number D.AD Maker Wendelio Venere Wendelinus Tieffenbruker dictus (?)/ Venere : Patauÿ faciebat Matthias Fux/Röm. Joseph Klein, Violin- Kays. May./ HoffLautenmacher in Wienn /Instrumentenmacher / in Würzburg / reparirt History of the object The bowl is built in the Bolognese style like it was in fashion in the 17. ct. to suit a 10-course renaissance lute. Fux changed the disposition to an 11- course lute and therefore made a new neck. Later it was changed by an unknown repairman to a 13-courde-lute. This proves the additional bass rider. In another repair the bridge was fastened with a string through the chanterelle-bore and another bore hole in the bass side of the bridge. Klein s repairs are easily to recognize by a characteristically red glue. He reinforced the top plate with big wooden pieces and fastened the pegbox with nails. The black colored fingerboard tops and purfling around the top plate is also done by Klein. Black painted fingerboard tips, made by Klein in order to hide a damage

Instrument 9 Inventory number D.AD.40381 Maker Jacob Hes Jacob Hes in Vinetia. / 1586 Vincentius Lucarini / Restavravit Faventiæ An.

11 Instrument 9 Inventory number D.AD Maker Jacob Hes Jacob Hes in Vinetia. / 1586 Vincentius Lucarini / Restavravit Faventiæ An History of the object Additional ribs at the neck joint in order to hide a damage. The repair of 1802 seems to be one of two major interventions. Lucarini made out of a 6- or 7-course lute a type of mandolin with 6 courses and a bridge, which was not glued on the top. Traces of old frets are witnesses of this state which had a string length of approximately 580 mm. A second layer of ribs underneath the neck hides a former damage. A second intervention was made to change it into a guitar disposition with 5 courses. The amount of pegs is 14, but 4 pegs are renewed, which is a good hint that the instrument was really used in the 5-course state. 4) Future collaboration with host institution On Thursday, , a meeting was arranged to plan a future collaboration of the two institutions. Especially for a possible collaboration concerning the instruments of Laux Maler different programs were discussed. 5) Foreseen publications/articles resulting or to result from the STSM In context of the comparison of the two methods, a common publication is intended.

The Berr lute from the Museum of Fine Arts - A report from Boston

The Berr lute from the Museum of Fine Arts - A report from Boston Some years ago, I visited the Museum of Fine Arts in Boston (https://www.mfa.org/) and spotted a rather small baroque lute supposed to