Tielke Bass Viol 2

Some pictures of the finished instrument
Algunas fotos del instrumento acabado
Bukatutako instrumentuaren argazki batzuk

Photos by Belen Saez

LA TELEVISIÓN ES NUTRITIVA?

Long time again without any post. So there it goes one whith little to do with instrument making.
Lately I´ve found some videos for television lost in the net (and some old video tapes...)

There is the last one. It was for the regional television (ETB) and, well, er...
POSTDATA. "Luthierra" (09.02.17)

Baai, aspaldi ez dugula ezer idazten (beste lan batzutan buru belarri). Hor doiaz blog honen gaixakin zerikusi gitxi dakan zeozer. Azkenaldixan telebistarako bideo batzuk topau dittut, bat bideozintan eta azkena sarean. POSTDATA. "Luthierra" (09.02.17). No Comment!

Hace tiempo que no escribimos nada (otros trabajos nos retienen). Esta entrada poco tiene que ver con el tema del blog, pero vale para "haser unas risas". He encontrado varios videos y aqui va el último cronológicamente hablando. Para un programa de la televisión regional Vasca, ETB. POSTDATA. "Luthierra" (09.02.17).

Lo cuan me recuerda algo que oía de pequeño en la televisión:
Ta honek burura ekarri dizkit txikitan telebistan entzuten nittuan batzuk:
All this reminded me of a song I use to listen on tv when I was a little boy,:
AVIADOR DRO - La TV es nutritiva
oh, and also this one:
POLANSKI Y EL ARDOR - Ataque preventivo de la URSS

Tielke bass viol

After all these months without any posts, (studying something as different as renaissance viols) there are some pictures of an unfinished 7string bass viol.
It´s been a long time I wanted to make something based on Tielke. I had the oportunity to measure and study a couple of instruments by this maker (one in the Museu de la Musica in Barcelona and the other at the Orpheon collection).

Not that this instrument is based on any of those but it follows Tielke´s style.

It is a small bass, as often some players prefer. There are some extant instruments this size. Back is arched (instead of flat as we are used to on viols) and as well as the sounboard it is not carved but bent (technique used by many makers Tielke among them).

Hilabete asko ezer idatzi barik, beste gauza batzutan musturrak sartuta.
Hemen daoz amaitzeke daon 7 sokako Tielke baten argazki batzuk, betiko moduan txarto atarata.
Aspaldi nebillen holako instrumento bat eitxeko goguakin ta azkenian hor dao. Bartzelonako Museu de la Musica-n eta Orpheon bilduman dauden Tielke ren baxuak ikusi eta aztertu ondoren eigindakua. Ez dau hauetako baten ere ez oinarriturik.

Baxu txiki bat da, nahiko erabil erraza tamaina aldetik.
Bai aurreko tapa eta atzekoa "abobedatuak"daude, horren ohikoa ez dena zango biola hauetan. Forma hau beroaren bidez ematen zaio, teknika oso erabilia garai hartako Europako biolagileen artean

Tras algún tiempo sin publicar nada, (y estar "estudiando" violas renacentistas) aqui van tres fotos de un inacabado aun bajo de viola de 7 cuerdas.
Hace tiempo que quería hacer algún instrumento basado en Tielke. Tuve la oprtunidad de medir y estudiar un par de bajos de Tielke (uno en el Museu de la Musica y otro en la Colección Orpheon). No es que este instrumento esté basado enninguno de esos dos, pero sigue el estilo de Tielke.

Es un bajo de tamaño pequeño, ya que hay músicos que prefieren este tipo de instrumento más manejable. Parece que en los tiempos deTielke también, ya que sobreviven unos cuantos bajos pequeños.

El fondo es abombado en vez de plano como estamos acostumbrados a ver en las vihuelas de arco o violas de gamba. Tanto la tapa como el fondo están doblados en vez de estar tallados de una pieza de madera (técnica usada por muchos constructores entre ellos Tielke).

A ‘Soundposted‘ Renaissance viol

I was asked to make a ‘reproduction’ of early renaissance viol by a player who was not satisfied with the sound of other flat top instruments he owned. He wanted a more powerful instrument, so he asked for one of these instruments where the treble bridge leg acts a soundpost.
It is based on a on a wall painting in the Knights' Hall from the Goldegg Castle in Southern Austria. These paintings are atributed to Hans Bocksberger (or Bocksperger) the older (c.1536). He might have learned with his father and perhaps made some learning years in Italy.His style points both German and Italian elements[1].

Photo by Heinz Kaiser, Kulturverein SCHLOSS GOLDEG
Even though the instruments do not seem to be very accurate representations,we took the ‘tenor’ viol on the right as the reference to work from, as it has been depicted with more detail than the rest.
From this instrument we got the overall proportions between neck and soundbox length, choosing a 565mm stinglength for a tenor and 375mm for the treble.

One of the characteristical features of this instrument is the bridge.
The treble leg goes down on to the back trough a hole on the soundboard. This makes the sound closer to an instrument with a soundpost (closer to a baroque viol) )even though the treble string gives a weaker sound than the rest (At least in this case, where the soundboard is evenly thicknessed and there is no longitudinal bar).
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)' according to E. Segerman in his article ‘The development of European bowed instruments’[2] See below.

This is not such an uncommon feature as it seems at a first tought. It is found in many traditional instruments from eastern europe to south america. There are also bass instruments with this feature in Castello del Principe (Museo Civico) di Merano[3] and scattered in some places as Slovakia, the southern part of Poland, other parts of Tirol, eastern part of Germany, the Italian Alps or Slovenia.

Bridge is positioned quite low on the soundboard and it is clearly curved.
It looks quite high for the idea we have of rennaissannce viols.

This instrument shares some features with the vihuela de mano.
It has been built on a board using no mould.

Each rib being a separate piece bent with heat (as stated on the violeros ordinances)[4] instead of carving the soundbox from a block or sawing the ribs in one continuous piece from a board (carved ribs) a common way of building at that time(as can be seen in some extant lira da Braccio and some viol paintings).
It has no corner blocks and the joints are reinforced with linen strips. The soundboard is glued on ribs using no linings at all.

The ribs are inserted in the neck, which goes inside the body and works as a top block.

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.(Impossible to say what the original has but this is something we can see in the extant vihuelas and for example in the Grünewald isenheim altarpiece).

The bow is very light and with not many hairs. It has no nut.
Hairs are inserted in a mortise on where the nut would be(on a baroque bow) and it goes trough a hole in the stick at the tip.
Held as the musicians on the painting do it works quite nicely (once one gets used to play with a nutless bow).

The tuning choosen for the tenor 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).

[1]http://de.wikipedia.org/wiki/Hans_Bocksberger_der_%C3%84ltere

[2]http://www.nrinstruments.demon.co.uk/Bowed2.html#footnote28

[3] MOENS, Karel ‘ La nascitá del violino nei Paesi Bassi del sud: alla ricerca di un luogo dove collocare l`inizio della storia del violino’ en /Claudio Monteverdi, omperatore della musica/, Rovereto, Academia Roveretana di Musica Antica, 1993.

[4] Ordinances for the craft of Joiners and ‘violeros’ from Sevilla 1572
http://fondosdigitales.us.es/books/search/digitalbook_view?oid_page=143259
Livro dos Regimentos dos offiçiaes mecanicos da mui excelente e Sempre leal Cidade de lixbona Anno MDLxxij A Viola de Mão em Portugal (c. 1450-c.1789). Manuel Morais Nassarre. Revista Aragonesa de Musicología XXII http://ifc.dpz.es/publicaciones/biblioteca2/id/9

Treble Vihuela de Arco on Youtube

This is a video where you can see and hear the Treble Vihuela de Arco I made some time ago.
The band playing is Ensemble 1500 and they are playing Neuma and Alle Psalite from the Montpellier Codex, XIII century.

Hemen orain dela hilabete batzuk egin nuen arku biguela baten bideoa ikus daiteke, eta entzun ere.
Taldea Ensemble 1500 da eta Neuma eta Alle Psalite jotzen dute XIII.en mendeko Montpellier eko kodizetik.

En este video podemos ver ( y oir) una vihuela de arco soprano hecha hace algunos meses.Los y las músicas son el Grupo de Música Antiga 1500. Tocan dos piezas del Códice de Montpellier ( S.XIII) Neuma y Alle Psalite

The Vazquez Collection of Historical String Instruments from 1500 to 1789

The Vazquez Collection exhibition

Basauri (Basque Country)

Torre Medieval Ariz

20 March- 26 April. 2009.

Very interesting exhibition indeed.

We have to thank José Vazquez for letting us measure and take pictures of the instruments.

5 string cello neckcraft

On last post I said something about some pics of a cracked Bass Viol (but forgot to take some). It was a soundboard crack. We glued that too and now it is back working. By the way, the doublebass is also in healthy condition and being played by the students.

This time this is a 5 string full size cello. The neck was broken and as it was on the narrow side for 5 strings the owner decided to have a neckgraft done and a wider, more comfortable new neck.

We also did the decoration edges of fingerboard and tailpiece.

It has a new bridge with the proper string spacing an a baroque shape.

We changed the endpin for a button.

Azkenengoz idatzitako post-ean Biola baxu baten konponketari buruz hitzegiten nuen, bueno ba azkenian ez argazkirik ez ezer, bukatu genuen eta han joan zan bueltan.

Oraingoan 5 sokako biolontxelo bat da. Lepoa, mastilla apurtu zitzaion eta berria jartzea pentsatu genuen, berezkoa zuena hestu xamarra bait zan, eta berria zabalagoa egin dugu erosoagoa izateko. Lepoa bakarrik aldatu da, burua (marrakiloa eta kabilatokia) lehengoa mantenduz.

Horretaz gain diapasoi eta kordaleko hertzetako dekorazioa egin dugu, zubi berri bat estilo barrokoan (5 sokarentzako toki erosoa jarrita) eta metalezko pika kendu eta egurrezko botoi bat jarri diogu.


En el anterior envio comenté que subiría algunas fotos de la reparación de una Viola Bajo, pero al final no las saqué y acabamos de restaurar el instrumento y volvió a su lugar de origen.

Esta vez es un violoncello de 5 cuerdas. Se rompió el mástil y se optó por poner uno nuevo ya q el anterior era ligeramente estrecho para 5 cuerdas.

También se le puso la decoración en los bordes del batidor y cordal, un puente de estilo barroco con la distancia entre cuerdas adecuada para 5 cuerdas y un botón en lugar de la consabida pica de metal.

Crack, crack, crack

Latelly I got repair work to do, and I have a viol and a doublebass with the same crack on the same place...
Now that´s the only thing they have on common. Next time some pictures of the viol.

Azkenaldi honetan konponketa lanak, kontrabaxu bat eta zango biola bat arrakala batekin toki berean.
Baina horrek dira antzekotasun bakarrak. Hurrengoan zango biolaren argazkiak

ültimamente trabajo de reparación. Un cotrabajo y una viola de gamba/de arco con una raja en el mismo punto. Hasta ahí las similitudes. La próxima vez imágenes de la viola.

Proper pictures of the Lirone

Along with a doublebass to repair I got these pictures of the Lirone, taken by Belén, someone who knows how to use a camera (unlike me). Thank you !

Lironearen ganorazko argazkiak, Belen ek ataratakuak. Eskerrikasko!

Algunas fotos del Lirone, sacadas/tomadas por una buena fotógrafa. Gracias Belén.

Lazarraga eta musika instrumentuak. Renaissance musical instruments in Basque.

Hauek dira berpizkunde garaiko harizko instrumentuen gainean, euskeraz topatu ditzazkegun aipamen batzuk.

Egon egongo dira beste batzuk, baina nik ez ditut ezagutzen. Zuk badakizkizu idatzi diezaigukezu

Joan Perez Lazarragako ak 1567. urte inguruan idatzitako testu batetik atereak.

These are some references to string musical instruments from a recently found manuscript c.1567.
It is a 'pastoral play' , in fact it is Jorge de Montemayor's La Diana but writen in Basque.
Along with the play there are many poems, all by the same author Joan Perez Lazarragako.

Estas son algunas referencias quehe encontrado sobre instrumentos de cuerda en Euskera del s.XVI. Escritas por Joan Perez Lazarragako basadas/traducción de /plagio de La Diana de Jorge de Montemayor. Pastores, ninfas y sirenas...

Biguela

Baii, goiko lotura gaztelaniaz da, euskeraz inork ez du
oraindik ezer idatzi (nork? Nik? Nooo, sorry too busy...edo)


Bigueleaz / cançio baten cantaetan / yl banadi
nic deusat parcaetan / biçi banax / jaquingo deut bengaetan

au esanda...

Narbaez guiçon sabioac / oyta egun dau agindu

Tenplaçen asi çan biguelea /contentaetarren bere aytea /
esanjc ay Jesus ene coitea
67
Comiença la musica
M 1
Udabarri guztiz aleguerea /mayaçeco lora ederraena/

çe yndaçu beti oneinbat pena

Artu eben biguelea eta utra boz amorosoaz asi çan manera onetan cantaeta

Poeta gacha idoro doçu / sirena ene laztana
[...] bentajaoc esateco
[...] nigana



Kontuan izan behar dugu garai hartan biguela/vihuela generikoa dela edozein harizko instrumenturentzat, horrela ba arku instrumentu bat edo hari pultsatuzkoa izan daiteke.

Testu hau Jorge de Montemayor en La Diana_n 1542 "oinarritua" dagoela (uum bueno plagioa da? edo euskerara itzulpen bat??) lan orijinala irakurrita agian argitu dezakegu arku edo hari pultsatuzko instrumentu bat den. BadakiguMontemayorek 'contrabajo' bezala abesten zuela (garaiko gizona).


Rrabel_a

Silveroc bada bere ugaçabari liçençia escatu eguionean joan çidin Silveragana çeñari negarrez egoala despedidu eguion eta ya joateco egoan puntuan atera eben rrabel
bat bere maucarean çena jaiten ebela asi çan negar eguiten onela

Orrdu onean guera çatez / donzella linda erana
noxbait noxbait acorda çatez / çurea nola naxana

Esaitasun parebaguea / nigaz çegaiti daucaçu
mugerr arrizco bioça bano / gogorragoa çuc doçu

Ni onerean joateco / causea oyta çara çu
jaun çerucoac ene laztana / oy deguiçula parcatu

Argi dago hau arkuzko instrumentua dela. La Dianan sarri agertzen da artzainen eskutan. Ekialdetik Arabiarren munduan barrena Europara ekarritako arkuzko instrumentuen familiakoa. Arku bihuela, gamba biola eta bibolinaren familiko instrumentuen aintzindaria.

Arpa

[...] eben burua bere besoaen ganean eta Sil-
[...] bigueleari ychita artu eben berequin
[...] arpa bat eta asi çan bere mina Sil-
[...]declaraetan manera onetan



Arpaz zer esan? Nahiko ezaguna den instrumentua. Maniura izena ere jasotzen dabela Aita Donostiak1635.urteko kopla batzuetan. (J.M. Beltran "Soinu Tresnak euskal herri musikan")
Bertan ikusi instrumentu honi buruz esaten dena.. .ahaztua nuen, interesgarria.

Zer da Lirone bat ???

Baaale, Lira haundi bat, baina horretaz aparte ¿¿¿
Lironea XVI eta XVII. mendeetan erabilitako harizko musika instrumentu bat da (zangoen artean edo altzoan jarrita arkuaz jotzen dena).
Ez du melodiak egiteko balio baizik eta ahotsa laguntzeko gehienetan (Mikel Laboak gitarrarekin egiten zuen bezela).

















Lira da Braccio aren familiko baxua izango litzateke.
Lira hau Italian asko erabilia izan zen XVI. gizaldian berriro ere ahotsarekin batera. Instrumentu hau ostera sorbaldan jarrita jotzen zan, bibolina bezala (baita akordeak egiteko melodia beharrean).
Kuadroan arroxas jantzitako dagoen Apolo bezala...

Berpizkunde garaian Italian, Apolo edo Orfeoren eskutan jartzen zuten instrumentu hau (nahiz eta grezia klasikoan arkuz jotzen ziren instrumentuak guztiz ezezagunak ziren).

























Dena dela ez zegoen oso argi zein zen Apolo edo Orfeoren instrumentua, Lira, Citara, biguela, kitara...

Ikusi bestela zer dioen Covarrubiasek bere 1674 ko hiztegian, Citara Lirone bat bezela definitzen du...

Bai, 'lioso' xamarra...
Tesoro de la lengua castellana o española Sebastián de Covarrubias Orozco
fol. 194v
















Lirone jotzaileak badira gaur egun ere, historian izan diren bezala , Apolo, Orfeo, Homero...Hori bai, ez dute inor bizirik larrutzeko ohiturarik, Apolo maitagarriak bezala...
Bai, bi kuadrotan horretan ari da greziar musikaria.
Hemen lurrean ikus daitekeena Lirone bat da (9 soka eta 2 bordoi ?¿?)
Xirula bat ere bada, bai baina hori Marsias ena da eta momentuz ez dirudi horren behar haundirik izango duenik...


Lirone musika entzuteko lotura batzuk besterik ez dira falta, baina ez dakidanez nola egiten dan, youtuben bilatzeko esango detzuet, bertan oso musika polita bait dago (Lironea beste instrumentu batzuekin batera agertzen da...)

Thirteen string lirone 2.

そしてここに終了する器械のある映像がある。前のポストで言われるように、この器械はウィーンのkunsthistorisches博物館のFerdinand Bol ss "貴婦人mitリラdaビオラダガンバ"のによって絵画に基づかせている。

And here there are some pictures of the finished instrument.

As said on the previous post, this instrument is based on a painting by Ferdinand Bol´s ''Dame mit lira da gamba'' at the kunsthistorisches Museum in Vienna.

It does not follow the exact outline of the painting, on the actual instrument corners are less pronounced (even though this ''curvy'' shape can be seen on other instrument paintings).













It has thirteen strings ( two bourdons) and even though there is no view of the back it is arched.

Strung all in gut.


The bow is pretty long and it held from the nut without touching the hairs to get the maximung playing length.

This is what Adriano Banchieri said in his "Conclusioni nel suono dell'organo" (Bologna, 1611)

Alle viole devesi tirare le arcate intere, chiare & sonore & in particolare il lirone, ó Viola Bastarda cavarne le parti con molto giuditio & fondamento di buon contraponto & pratica