Kuadroetatik irtendako instrumentuak

Eta Josuk komentatzen zebanan gañian Eibartarrak posta zerrendan, ba pelikula batetik ataratakua dala emongo dau, baña bere lanbidean ikasten dan "geometria descriptiva" erabiltzen dou erreprodukzione hauek egiteko.

Piskat hobeto azaltzen da hemen...

Dana dala, prespektibaren legeak zuzen zuzen jarraitzea pintura batean dirudienez ez da horren beharrezkoa...edo instrumentu batzuk benetan distortsionatuak zeuden.

Kuadroan ikusten dan instrumentutik egin dogu hamairu sokadun Lirone bat.

Lirone

Now, the lirone is finished.

The owner took it away and is very happy with the instrument. Anyway it neeeds still some fine adjustment on the bridge.

The sound is uuum..., how to define it...., ample, wide, for such a 'small' instrument with so many strings. There are still some sound quality diferences between strings, but one will have to see how does it evolve.

Due to some health and personal matters it took as longer than expected finishing the instrument, so, the owner was willing to take it home.

With all that rushing we forgot to take pictures of the finished instrument, but you´ll have some when it comes back for the final adjustments.

Renaissance violin

Treble violin based on a Francesco Linarol, Venice 1581.

Its autheticity has been argued in an article by Moens and confirmed by the dendrochronology that the soundboard is after 1645.

Anyway we decided to make it, using a bent back anf front.

Lirone

There are a few instruments surviving in museums and it seems that none of them was originally a lirone (except perhaps the XIX c instruments that were built as lironi)


The lack of original instruments made us to base our work on a painting.

Lirone

This is a thirteen string lirone, yet to be finished.


We used the painting as a guide to get the size and general proportions of the instrument.
The painting is Ferdinand Bol´s Dame mit lira da gamba at the kunsthistorisches Museum in Vienna

Treble Vihuela de Arco based on the Goldegg Castle wall painting.

This is a treble viol or vihuela de arco based on a wall painting in Knights' Hall of Goldegg Castle in the Pongau area (1536).


These paintings are atributed to Hans Bocksberger the older together with other painters. His style contains German elements (A. Dürer) as well as Italian characteristics (Renaissance, Mannerism).
He might have learned with his father and perhaps made some learning years in Italy, anyhow had he exact knowledge of Italian style elements of the time.
His style points both German elements (Albrecht Dürer), and Italian elements (Renaissance and Mannerism).

One of the characteristical features of this instrument is the bridge.


The treble leg goes down (we suppose) on to the back trough a hole on the soundboard. This makes the sound closer to an instrument with a soundpost (sth like a viol or a violin) even though the treble string is slightly unbalanced, gives a weaker sound than the rest (At least in this case, where there is no longitudinal bar or thickening of the soundboard).

This kind of bridge/soundpost is also depicted 'on the title pages of the superius, altus and bassus part books of the copies in theBasel Universitätsbibliothek of 'Reutterliedlin' printed by Christian Egenolph in Frankfurt am Main (1535)' (below) according to E. Segerman in his article The development of European bowed instruments










foto: Heinz Kaiser, Kulturverein SCHLOSS GOLDEGG

This instrument shares some features with the vihuela de mano.



It has been built on a board using no mould.
The ribs are inserted in the neck, which goes inside the body and works as a top block.
It has no corner blocks and the joints are reinforced with linen strips. Soundboard is glued on ribs using no linings at all.




The neck in not angled backwards, it is in the same plane as the soundboard. To get the string height, the fingerboard is wedge shaped, giving a thick neck close to the body joint as we can see in the painting.




The soundboard is flat with two small transversal bars aligned with the corners.

Dimension of the instrument have been taken based on a reference, in this case the distance between the eye centers (or interpupillary distance). This way measuring can be 'accurate' providing that the reference measure and the object to be measured are on the same plane. In this case they are not on the exact same plane, so the size of the instrument is not exactly what it is represented on the painting. There is also the fact of the 'loose' accuracy when depicting this instrument. We can see much greater detail on the instrument on the right than on the rest.


The tuning choosen for this instrument has been g c' e' a' d'' taken from the Munich University Library 4º Cod, ms. 718 dated (1523/4) which comes to be the same as Gerle gave in his Musica Teusch (Nuremberg 1532).

Doublebass Violone bow and a tenor viol bow, based on Praetorius. Arco de violone contrabajo y un arco de viola tenor, basados en Praetorius.

This is the bow we made when turning into baroque a modern doublebass. It is looselly based on Praetorius Gross Contra Bas Geig. For this bow length is 870 mm (hair length 670 mm) while the one depicted on Praetorius book is around 940mm

Arku hau kontrabaxua barrrokizatzean egin genuen. Praetoriusen Gross Contra Bas Geig ean oinarrituta dago. Arku honek 870 mm luzeera du, (zurden luzeera 670 mm) eta Praetorius ek bere liburuan agertzen duena 940 mm dituen.

Este es el arco está basado (diriamos inspirado) en el Gross Contra Bas Geig de Praetorius. La longitud total es de 870mms y la longitud de cerdas es de 670 mms.














This is a bow for tenor viol. It looks closer to the Praetorius engravings.
Total length is 690 mm and hair length: 580 mm.

Biola tenore batendako arkua. Arku honek Praetoriousen grabatuetan oinarriturik dago.
Luzeera: 690 mm. Zurden luzeera: 580 mm.

Arco para viola tenor. Easte sí basado en los grabados de Praetorius. Longitud totla: 690 mm. Longitud de cerdas:580 mm.