Good idea, but no, absolutely unlikely.  They were documented to be in 
storage, and were removed for observation in 1907, when a "Heckel" looked 
at them, and put back into storage in the castle..

ed

.At 01:57 PM 2/6/2008 +0000, Martyn Hodgson wrote:
>  Thank you for this.
>
>Just a thought,  but the marks on the belly over and above the rose sound 
>a bit like the sort of marks left by a strumming guitarist.  Could it have 
>been used as a 'Wandervogel' lute/guitar in the early20th century? I 
>realise it's got many more than 6 courses but I presume they might not 
>have felt the need to string them all if it was just, say, a son of the 
>house having a strum on the old lute he found in the 
>attic......................
>
>MH
>
>
>Edward Martin <[EMAIL PROTECTED]> wrote:
>Dear ones,
>
>I have an interesting story.
>
>Dan Larson and I just returned from the National Museum of Music, in South
>Dakota. It was an absolutely fantastic experience. They have many, many
>lutes by Harton, Diefenbrouchar, Sellas, Edlinger. They also have guitars
>by Stradivarius, Sellas and Voboam. Many violins by Stradivarius, Ganeri,
>Amati, etc. It was unbelievable.
>
>The museum let us have full access to the Edlingers! We examined them for
>about 10 hours, and I got to hold them in the playing position, etc. They
>have been examined in the 1970's by Lundberg and others. One is 76 cm
>mensur, the other is 81 or 82 cm, and they were perhaps originally by
>Tieffenbrucker, or perhaps a Bolognese maker. Later, they were converted
>to 13 course baroque lutes by Thomas Edlinger; the longer instrument in
>1724, the shorter one in 1728. The 76 cm is flat back in 11 ribs of bird's
>eye maple, the 82 cm is multi ribbed yew.
>
>What really startled me was the 76 cm lute. It is documented that these
>lutes had been in a Czeck castle for hundreds of years. It appeared to me
>that 2, or 3 different players used this lute. It showed heavy usage, so
>it was more than likely played at a professional level. One player played
>near the bridge, due to smudge & dirt marks from the fingers, as well as
>the thumb. These marks were wide, and seemingly from finger marks. One
>player played close to the rose , and used a long nail, as there are
>multiple thin scrape marks (perhaps hundreds of these marks), from a long
>right hand nail. That player even played in front of the rose, towards the
>neck, on all the diapason courses! It tells me that on this particular
>instrument, there were more than one player using very different
>techniques. As well, they played a technique with the thumb pointed
>towards the rose, as the old paintings show, but _NOT_ by the bridge.
>
>The longer lute in yew showed patterns and evidence of it being played very
>close to the bridge. The little area at the treble end of the bridge was
>worn down from overuse of the pinky being planted there.
>
>It seems that these lutes, although in possession by the same family in the
>same castle, are similar in that they are both Edlinger conversions to 13
>course baroque lutes with bass riders. They do appear to have had
>dissimilar techniques and player positions, as evidenced by the wear on the
>sound boards, suggesting that the same player did not play the 2
>instruments, and the shorter one had at least 2 different players.
>
>All in all, in was a humbling experience, to examine these masterpieces, so
>close up, and to hold them in playing position. The marks I mentioned on
>the shorter instrument do not show up well on photography, but are very
>open & obvious to the naked eye.
>
>ed
>
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>
>Edward Martin
>2817 East 2nd Street
>Duluth, Minnesota 55812
>e-mail: [EMAIL PROTECTED]
>voice: (218) 728-1202
>
>
>
>
>
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>
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>8:57 PM



Edward Martin
2817 East 2nd Street
Duluth, Minnesota  55812
e-mail:  [EMAIL PROTECTED]
voice:  (218) 728-1202



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