Dear Luca,
That's an interesting reference and clearly the
term was commonly used in that way since there's
even a label in the Unverdorben swan-neck lute in
Fenton House which reads:
Marx Unverdorben in Venetia 158-
[illegible] 161-
Gabriel David Buchstetter Lauden und /
Geigen-Macher zu Stadt am Hoff nebst / Regenspurg
Anno 1747 / Renoviert un Theorbirt
It seems as if the term was used through the
centuries and in different countries for
different instruments whose only common feature
is having unstopped longer strings carried on a
separate pegbox.
It's only a problem for us when trying to
establish standard terms for ourselves nowadays.
In many ways the most successful scheme is
Friedmann Hellwig's idea of simply giving letter
names for the different shapes and layouts from
his master reference sketches which he outlines
in his article in Early Music Oct 1981 and which
is used in the Lautenweltaddressbuch database.
However this falls down on the difference between
the 18th century mandora and the renaissance
lute, since they both come under A or B
Best wishes,
David
At 23:49 +0200 18/8/19, Luca Manassero wrote:
Louise Gottsched, who wrote the first biographic article about S. L.
Weiss in her husband' BIG "Handlexicon" ("Handlexikon oder kurzgefaütes
Wrterbuch der schnen Wissenschaften und freyen Kºnste", Leipzig:
Gleditsch, 1760), defines the swan neck lute as "theorbieret" (if I
remember correctly) and of course attributes the idea to S. L. Weiss.
Despite what some lutemakers seem to like, I wouldn't define the swan
neck baroque lute as a "theorbo": it introduces much confusion in a
field where we do not need to add more, I believe.
---- Attivato Sun, 18 Aug 2019 23:06:37 +0200 David Van Edwards
<da...@vanedwards.co.uk> ha scritto ----
Dear Howard,
The Tielke is a bizarre German baroque swan neck
style job with an extremely long neck probably
the result of a conversion by Bachmann in 1760.
The Tieffenbrucker is another swan neck
instrument resulting from a conversion possibly
by Fux though 1696 is a bit early unless it was
then intended as an angelique.Neither are what we
would nowadays call a theorbo, though of course
the term was in use then for such instuments.
Best wishes,
David
At 13:37 -0700 18/8/19, howard posner wrote:
> > On Aug 18, 2019, at 10:22 AM, David Van
>Edwards <[1]da...@vanedwards.co.uk> wrote:
>>
>> There are of course several luiti attiorbati in
>> Paris with 7 fingered courses but one of them
>> looks a bit theorbo-ish and might be the one
>> you're thinking of. It's anonymous E.25 (C228) 13
>> courses 1x1, 6x2 @ 710mm + 6x2 @ 1090. Jo´l's
>> catalogue thinks it was converted from a
>> German/Italian renaissance lute into a liuto
>> attiorbato in 17th century. All the real theorbos
>> there have six fingered courses, either double or
>> single.
>
>My information is all second or third-hand, but
>I was also thinking of the "Magno diefobruchar a
>venetia" and Tielke instruments in Paris Musee
>de la Musique, both apparently configured like
>German lutes with 8 fingerboard courses at 82
>and 84 cm.
>
>
>
>To get on or off this list see list information at
>[2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
The Smokehouse,
6 Whitwell Road,
Norwich, NR1 4HB
England.
Telephone: + 44 (0)1603 629899
Website: [3]http://www.vanedwards.co.uk
--
References
1. mailto:da...@vanedwards.co.uk
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
3. http://www.vanedwards.co.uk/
--
The Smokehouse,
6 Whitwell Road,
Norwich, NR1 4HB
England.
Telephone: + 44 (0)1603 629899
Website: http://www.vanedwards.co.uk
