sabato 26 aprile 2008

Viola d'amore a chiavi

Viole a chiavi della chiesa di Tofta (Tierp, Svezia), seconda metà del XV secolo

Viola d'amore a chiavi, Siena, 1408

Schlusselfiedel (Viola a chiavi), Knochenhauerhamtshaus, Hildesheim

Libri - Books

Eugène de Bricqueville, "La Viole d'amour"
Librairie Fischbacher, Paris, 1908

Michael und Dorothea Jappe,
"Viola d'amore Bibliographie"
Amadeus Verlag, Winterthur, Schweiz, 1997

Harry Danks, "The Viola d'amore"
Edition Bois de Boulogne, West Midlands B63 4SP England, 1976

Heinz Berck, "Viola d'amore
Friedrich Hofmeister Musikverlag Hofheim, Leipzig, 1994

"Amour et sympathie"
Edition Ensemble Baroque de Limoges, Limoges 1995

Tesi sulla viola d'amore

venerdì 25 aprile 2008

Viola d'amore by Michael Andreas Partl (Wien, 1751 ?)

Viola d'amore by Johann Joseph Hentschl (Brünn, 1750)

Viola d'amore by Mathias Fichtl (Wien, 1711)

Regarding the viola d'amore Schorn (Leidolff), Museum Salzburg

To judge by the workmanship, the carved head and the overall appearance, this beautiful viola d'amore, although bearing the label of Johann Christoph Leifdolff, was most likely built by Johann Schorn in Salzburg around 1700. The instrument has been preserved in its original condition, including the bridge, all of the tuning pegs, perhaps even the tailpiece. Some of the bass strings appear to be original as well, and will be submitted for examination by string makers.
While still living in Innsbruck, Johann Schorn (1658-1718) received commissions, as had Jakob Stainer somewhat earlier, for instruments from the Archbishop of Salzburg, Max Gandolph von Kuenburg (1668-1687), an enlightened aristocratic clergyman, generous patron of the arts, whose ambitious programmes transformed the city into a center for Baroque art, architecture and music of unparallelled brilliance. It was he who summoned Heinrich Ignaz Franz Biber and Georg Muffat to his service. On the recommendation of the Capellmeister Matthias Biechteler (ca. 1670-1744) Johann Schorn was appointed Court Violin Maker (Hoff Lauten- und Geigenmacher) in 1713, transfering his workshop to Salzburg. The influence of his Innsbrucker colleague, Jakob Stainer is so evident in Schorn's works, that his violins could easily pass for that maker's creations. His sons, Johann Paul and Johann Joseph, maintained the very high quality of violin making in Salzburg into the 18th Century.
Working together with the suggestions of Heinrich Biber, Johann Schorn may be rightfully credited with having invented the viola d'amore. Indeed his instruments may be considered the finest of them all. One of his violas d'amore is to be found in our collection. Although bearing the label of Johann Christoph Leidolff, that viola d'amore could hardly be by anyone else but Johann Schorn. The carved head of a blinded Cupid and the decorations on the rear of the peg box are identical to those found in the two violas d'amore known to have been made by Schorn now preserved in the Museum in Salzburg.
Wolfgang Amadeus Mozart played on a Johann Schorn violin. Ludwig van Beethoven owned a Salzburg violin, at present in the Museum in Bonn, which, although bearing no label, could very well be an instrument of this master or one of his sons.

mercoledì 23 aprile 2008


Viola d'amore Guidanti, Bologna, 1717
(Nice, Palais Lascaris)

Viola d'amore, Michael Strohl, Berlin 1906
(Berlin, Museum)

Baryton after Simon Schodler, 1782, by Ferdinand Wilhelm Jaura, 1934

Pardessus de viole, Paul François Grosset, Paris 1742
(Berlin, Museum)

Viola da gamba, Barak Norman, London 1697
(Berlin, Museum)

Viola d'amore (1760)

Viola d'amore, C. Wörll (Wien, 1730)

Biber: Partia VII (Harmonia Artificiosa)

Antonio Vivaldi: Concerto RV 540 (manuscript)

Viola d'Amore, mid eighteenth century; and Viola da Gamba, early eighteenth century

Viola d'Amore, mid eighteenth century and Viola da Gamba, early eighteenth century.
The Viola d'Amore (literally "love viol," probably so named for its sweetness of tone), in the foreground, was used for chamber music and solo playing in the eighteenth century. In the German tradition, as shown here, it was strung with seven bowed and seven sympathetic strings. In the background can be seen part of the neck and elaborately carved peg-box of a Viola da Gamba (or bass viol) attributed to Pieter Rombouts of Amsterdam. Such viols were constructed in various sizes, and usually had six strings, with a seventh occasionally added (as in this example) to extend the lower range. (H. Blackiston Wilkins Collection)
(Photograph by Jim Higgins)

Viola d'amore Eberle (Napoli, 1772)

Viola d'amore by Jean Baptiste Deshayes Salomon (Paris, ca. 1740)

Viola d'amore by Johannes Schorn (Salzburg, ca. 1700 - Label: Johann Christoph Leidolff, Wien, 1750)