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Practicum

Eighteen:

Installing

he

Nut,

Frets,

and

Strings

Photo1. The

ute nutismade

fronbone, ebon),

ol

other hard material.

loryhrd

been hc materialof

choìce ince

he end oflhe

16thcentury,

ut is not

normallyan

acceptablc hoice

od,ìy.Markand

cut the

nutblanklo length.

ForRcnaissance

utes he

rough

blank shoÙld

c approximately

À,lM

5MÌvlx80ríM.

Photo

2. Flatten wo sides

with I flat

sandìng oatd

or

file and see

hat t iìls tjghth

into the

nut rebate

Photo3.

Trace he shape

f the ingerboarcl

nto he

nut using

a 1.2\4Ìú him

or spacel.

Photo

4. File or sand

he nut down o

this raccdllne

and rouîd over-

Thc nul shoulLl

c asclose

o ar cxacl

quartcr

roundsectionaspossible.

hisheìpsthestr'ings

sìideolcr it.

The finallì1cstrokes

houldbealong

he

lengthol the blank.

226

8/20/2019 file16 a

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Photo5.

Sand hc blank with 22i:ì dt

urúil snoorh.

The endssh

ould bc rounded

slightli'and also

sandcd

smooth.Then

sand he enlire

nut wirh dry4ll0

gdr.

Photo6. Polish be nutwith a har.l cottonbullìng

$heel

aùd ire

compound.Poìish

ff ary Nbbing

conr

ound

esi.lu with

a clean ag.

Photo . Using"voùnut

pacing

cÌnplate. arkrhc

nnngspacingonlo

hc nut at

the aporofdre radius,

N

here hs

srooves\,illbe filed. Thc grooves

f

a ulc

nul. unlikc hose or

agrirar orviolin,

do not erirend

o

rhebreak ovef

poìnt

olthe string,

but arejust

shallo$

notchesmidwayin

he curved

uúììce

ofrhe nur_The

e\heme

peghead

neìe

ofthc lute makes

dccpnotch

on the op

of lhe nut un

neccssaÌ.r'.

Photo8. Wilh averyfine mouserailiìle, ut short,jhallow

sroves nto the nul.

Iuse nythumb

asa

gride

hefeto make

hcgrovesmatch

he emplatc

cxacdv.

hecause

1€n ligbtdistanccs_

hich

one ùìighrnot

nolice,cansignificantly

lterrhe

ring spacing.

Photos

9 and 10. Polish

he

grooves

wilh a fine liren

threadand ìne

polishing

ompound.

Wax he

nut with

n

icrocll,slalline

a\

and r is inishcd.

The ute

nut is

notglued

onto

place

b ul heldwirh

slrirgpressure

onlv.

8/20/2019 file16 a

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8/20/2019 file16 a

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The eight rets

on a Rcnaissanceute

are

gencÌallv

arranged o hal theydescendn

diameter owards

he

body. would

qpicallyuse

he ollolviDg iamereÍsl

i)

1.00NrÌvi

2)

.90Mr{

i) .85MM

,l) .82MNr

5).79NrM

6).76NiM

7).73NrM

8 ) . 7 0 M M

I lolvever, ú1vades,odon'tworryabo tbeingrea11y

e\act .

Themiinpointsto

onsidcr re hafthe st i icr

sho ìldbe arge, he 2ndfretshould

drop considerablv

n

dìameter, nd oachofthe rest

shouklbe about.03NlM

sn1allerthan

hcprecedìng-

lf the utehas avery

high action, hat s,

f thc hoight

ofthc strirgsabove

he ingcrboard

at theneckòorly

join

is,lbr eÌample,

n tlìe vicinity

of 5N[, then twould

bebetter

o tie onlìetsofa more

constant ize

or cvcn

rhesaùìe

ize. I. or the other

hand, he action s ow.

thena arger

1l fret together$'iú

a biggerdrop

betweeniets

and endingwith

a.66MMmight help.

The ultm-sirìple

ret knot

I usewasshown

o úe by

Jacob\andc Geest,who presumablyfirst sed t.

Photo 3.

tseginbyburning

he cnd ofthe

piece

ofgur

shich you

ntend or

thc lst liet. This

uscs he stran

s

of

sut

together

o heywon tuntwist,

and swells p

the

end so he knotwoÍ'l

slip. Iuse

a soldcring fon but

a

matchor lcoholf lamowil l

lsowork.

r f a 1.10M\aor

the 1l iict.

Photo14.

With thc lute standing

n rs trebìe

side

facingaway

rcm

you,pass

hebumed end

ol rhe ier

ùnder he sldngs

if

it has

stdngson it)

and

pull

it free

ofthe

neck.

Tie an overhand

nor

(sinply

rhc ilsr half

oi

a "gran

,

knoC'or a "square nor")andrun the knot

out

to near

ho erd of the

ùel

cut.

Passhe

olhcr end of

îhe ength

l f rct

g

t throughthcoverhandknot.

Photos 5

and 16. Slidetheîrer

o theplaceor

hcneck

shere

the next

higher ret will

bc. Pinch he

rer lighrty

to the neck

and

pull

down

on thc ength

ofgur unril rhe

knot ightens

p. Cont inue

opullunt i lyou

hinkthe

gut

mjght

bÌeîk and

rhen elease t.

lt shoukl.lraw

slightll, ack h rough

he knot.

C

ip

rhc extra englh

ot

cùt

olllcavinp a

stubabouttwo

diancters n lergth.

229

8/20/2019 file16 a

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Photo

17. Bur'Ìl he ittle stubends

until lhcy swellup

and

arebrown. Thiswill

prevent

he end iom slipping

back hrough he knot.

Phofo18. w}ìen theyare

cool,about wominutes,

he

liets canbe slidinto

thcircorrect

positions.

Photo

19. Anachronific

thoughtheybe.bodyftets

ate

usually equested y contempoÌaryllrtenists.ò

complete he

octave n aRenaissanceute

would equire

lbur. If used, hese

tcts shouldbe n

arrowand lin and

madeofavery hardwood

suchasebony

or boxwood.

Photo

20. Beginby

planing

a

piece

ofebony o.68MM

thick.

Then.holding t

in the benchvise,

lane

one

edge

uc, thatis,flatand

sqLrare.

Photo21.

Usinga kdfe an.l straightedge.

ut offa strip

about .5N{Mwidc.

Replane he

edgcaùdcut another

strip.

Continueuntil a dozen

orso stdpsaremade-

230

8/20/2019 file16 a

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Photo22. llind that tworks

best o cul lhlj srip

partialry'.with

he kdfe. say wo

or threecuts.and hon

 o break l thc restof the way

off- The cul cdec cnds c)

be straightcl lis wal'.

Photo23.

Holcl he stdpscdgewisen ashallovcroove

salvnnto a srxx)th,hardmapÌe

board. Thc

groove

mrìstbeeriactly

.20MN{cepand.70\4Nr'ide.

One of

the ebonystrips

splaccd n the

groove.

ut sideúp.

Plane t

dowll until theplînejust

glides

over he block.

Photo24. Thenlile

il to cxactly .20NrM.

Phofo25. Bevel he end with

'our

knife andcut the icl

io length.

Photo 6. tsevelthe

lhcrcnLìandhen,with ven

sharp craper,ound he

op edgcofthe fret.

Photo27. Prepare

all the iclsÌou are

going

o use.

decreasehe engthftol11

ixcourseswide

t the 9thlicl

down ojust

lhrce courseswide t

the 12thlìct. These

hìgherfretsaremostf tenneededîorthci iÉtrwo

231

8/20/2019 file16 a

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Photo28. Hold

each ier in

place

and rrl, t, with rhe

chantrelle

unedup topitch, to

check he ntonation.

A J ' u h e

^ . J ( . u I r n t r r k

T ] ì c n . . i r

q .

thinnrier as

a

gúide

brìocation

and o ensure

str.ìightness,lue

he tetsdown o lhebelly. Hold thcfret firmlv agairstthe uler

and downonto

thebcllylor

about ifteen

seconds.

Photo

29. Then ift

the ruler ancl,

lacing

r over he

liet, press

own or

an additional ift-v

o si\ty seconds.

Photo

30. Immediately

ìean

offtheglue squeeze-oul

with

the end

ofthc ruler.

Photo31. Thelinishedfreh

shoukìbe elarivelv

rderh

lookingandmoreor lessf lat .

omeheightadjustmenl

or leveling

o eliminate

anybuzzing s

o be cripected

n

the final

adjustments

tìer he lute hasbecn

trung

up

andtuned.

8/20/2019 file16 a

8/20

l'Ìn sureT

don't need

o tcllyou that

historìcallLrtes

ere

oricinalì

strungwirh

gut

Strings- rom

arcient aîdmcdievaì

times

up urtjlthe

Rcrîissanccperiftl

the

compass

f strirged

nstrumerì s

as jmited

to five

oi si\courses,

nd

you

canbesure

that

hc ast rass

ourse ouldn'thîr,e

souùdcLìàswell

s he

othe^l During

tho

Latc Renaissanceeriod

cveralechniques

lvere ried to make hcweaksoundofrhe

bass

trjngs tronger.

Plain

gul.

cvenhigh

Íristgul,

which s

a ittle nore

llc\ible for

i tscl iamelcr

han ow

wist , jusl

ocsn,t

wofk

r€rJ

wcll by

oLLt randards.

Catlines re

conjcctured

0have

been

sonc hingof

an answe.

'Iòd

ay. hese

arc

ìnàdebytwisting

hree somerimes

wo or

n)url separatc

er

gut

srdngs

ogelher nto

a ropelikc

string$'hiclì

an

el]d Lrpwirh

quite

argcdiameters.

heyseem

o have

beenused

eginnng

are n he

1órlì enrùry.

lor .as

example,he

1581Venele

course

has ring boìesvhichwouklaccepr

cat l incsit s.

ofcourse, ossibìe

hal he

stringholcswere

ddllcd out

largcrata

liìler date). Dudrìgthe

earlyBaroque

Ì ìry

Ló1iì 1620

llcasr, atlincs

efe

certainl) n

1rvor. ncl

spociallyir

raÌrce.enlained

o

urtil the end

oflute

plaling

there.

Clurre t research

yVlimlno

Perutlo

(Aquila

US^ PO.Box8276l.

Ponland.

OR

97282) uggcsrs

har loaded

rrings mighr

alsohave

cona

possibilit_ .

inl

used n

rhe

late 6th

orearly

17thcentul1.

heseoadc.l

frinqs

hale been

chsmicalh

cared

obc

hea\'jera

net

gahh

nìass). tììs rsdonebIioakrre

hem n

a bathof lerw

meral

rrhìrions

lìichwould

atach

nólccularlvlo

rhe

prolcin

fibers.

Thjs

acldilion t

r\,

eiÈh

(massperunitlcngth)

ould

alkrw

hcsame

Lli.rÌnete

slrircs o

be 1une.1ìo$rer.

By

hc middle

f the l7ú

century,

insÌÍumcnts

wero

being

built with

srring

lenglh

andconlpîss

ombin rions

\,hjch

rolrld

onll solrnd

using

ovclspunst

ngs.

Ihese

ncw stliìgs

rvould ìarc

beennrado

wilh

a core

ofsilk fbss

overspunwjth

iine

coPpcr, rh€r.

oÌ

gold$irc.

These

ovefspun tftngs

ernaincd

he avorite

oflì1ost tringplavers nlil and ncluding he

prcsent

ime.

Usualll,.lhe

core

1l:rterialot

nodorn strings

s nvlon

lossard

tlìe

co crìnp$, re

ssilver,plared

oppcr.

Ihcre

isconsid

rable

ontroversr

coùcerning

he useofsul\,crsuspla;tic

1n)'.lor)

trir

gs

or histoticaìli'-based

influments

which.

uniìfiLrnately,

ften

ovorshadows

he realprob

en

which s

hc

\,arying

ecds fdi

crent

playcrs

laying

r

divel1se

iluations.

Conve.

ionLìt sdonr

Dcrcrmi

ing

Srring Tension

The ollowing

ormula

ion Dr. I

clmut Hemrinshaus

suseflrl

. d e n r

I i

g r l ì e

n . i . . r . , t

T t " . I n \ , , r

g r '

. - , , r .

r t . c , r .

. n b ' ' c t e r . r ^ ) . t , r e r . p u

. l r i - j . i . . r . , , r f l ( \

mathematicaì

peratiù andwill

rotbe

coYcredere.)

f x l x d = c x l È

c=constant

1or

gutuse

49 and or

nylon use54)f=frequeùc,-n Hefiz (H,

l=vibrating

engrh

olstring in

mclers

(N,r)

d=diametcr

fstr ìng

r mil l imerersÀ,rNr)

k=ten\ion'

of str ng n

kihgrams (KG)

E-Ìamplc:

What

$ould be

he con.ed

dianeter

of a nvlon

c ' r " - r . .

v

ì i c -

\ .

\ e l - ( r , , c

t . . ' 2 r .

. . u l r q l r i . h . , .

à stmg lensù

of62.Nr

.62ju)

nd

a

proposecl

ension

f.l.0Kct

fx lxd

=

c:

':1,rk

392x.62 , : ì

54:

ra?

a

=

1s+'

],r+1

1:lzx

o:y

'l'he

iollowing àctors.alsoiìomDr. I{ermirghaus.areuscful

lbr deterntining

ension

lìrnges\thenpìtch

crargc

arc maoe.

Intenal

lìrst

mìl1or hird

majorthi rd

louúh

lncrease

Decr€ase

1.000

1.000

1.122

.891

1.26L793

l .415

.701

r.-5EE

.630

1.780

Example:

A

sfiùg hasa

tension

of

p=2.000K.r

ar D'.

What s

the

tcDsion lthe pitch

ìs

aised o

f'? As rhe

ore F is

a mjnor

third

higher

hàn he orìc

D', the tìctor.

according

o

tho able

abovc,s1. :115.

Pr

2.000((;

Ì ' ,

=

1.000r(cx1.415

2.t i0(c

E-\ample:

he tension

ofrhe

entirestringirg

s

6[ìKG.What

s

the

ncreasen

tcùsion f

thc runine

s raised

by a se

itone?

Pr

=

60(.ì

P.

=

6f)KGxl.222

67.300r.c

.\ìother

rNclul

ormula

ionl t|c good

Dr.

Herminglìaus

ejls

us he changc

n tension

when hc

st ng length

changcs.

P .

=

P : ( L . 1 L r ) l

Eranplc: Wha s the changen tersionofar idcnricatsring

\\'hrch

t a ength

of62.iNr .62M)

has

a tension

of2.000KG?

P , = P r ( . r j s \ J 1 . ó 2 M )l

P.

=

2.00[ìKGx

.2

-

.,100Kc

The tension

has ncreasecl

.om

2.000KG

o 2.400KG

ith

thc

change

n strìng

cngrh o

6.qcNr

.68Àr).

\

I

i . , ,

the

enetul

"tu5inrleÒll(

l,res

AdÍ.|

:33

8/20/2019 file16 a

9/20

sa_ shat utessoundberrer\\,hcn lnrngand

pl:ì.-ed

ith

gut

slrirgs,and nrost uten sts$ ould. believe.

gtee

wjth this. There are.ofcourse,

exceptionso thisrulc

b r r e \ e r - . r c n ì

^ r r . n r h . r h (

e . r \ c . a l

_ . . u l

drawìrackso usingor1,

sut fri

gs.

Cul sldùgserc

expensive. heycanbe hlo to three

imes he costof

plain

nllon

strings

or

more).and callincs of

ant$,here

toln

$111o

S38caclìl Ar a rule,

gut

strings

doù'1 asl as ong.crcepting br c:ìtiine\, 'lich

don't

cverseem o lose heir nusìcalqutllitics. rcccntN

heardsomecatìines rade

n l9lJl

which

haru ouer

constantl,\,n tulìe ard regularly layctl,

ami horvcver

ursightly het mìghtbe. he-r'fìll

sound

Lrcat.

.Also.

t

sldrìgs rc

eLT

susceptible

o changesn lempcralurc

and humidlt\.

making hcn 1ìr more .lifiìcult o keep n

Thc choìccofstings for lute is

oda],

greatcr

han t

lìas reen or

perhaps

he

asi lì0lcar. Cood overspun

stings rre nrade r

Savarezhon1 ncc(Savarez,B.P

4356.69212Llon

Cedex.+. rincc) and Pyramid fonl

Ccrlnan

(Saìten

îd

StìnlmpieilLnidbrik ungel

CmbH. PO. Box 6. Il-910ltE

BÌtbcmcuthErlangen.

German]).

I useLa Bella L te nyìon rebles

whìcharc ar

superiortu nvother l 've

1ic. lnLl lcssxpensiveool

The

La Bellao cÍpun bas\es find

ratherinfcrior to

theS.r larczrnd \ ' r 'amidnddon't recom

cnd hcm.

Asample fstr ingingfor 22rV (ói.9c\ t

8 course

lute

alA=:1.10H2.ould be as òllorl,s.

Thisis,r

medium

hìgh Ènsionwhìchs he

ension

plrn

ior

$'hen

dcsignmy utes:

l )

q

2)

rl', l'

3)

alir

1) 111

5 )c i c

6)

Gis

8 ) C rC

Photos 2and

33. I beginby ying l lof the

sldrgs

onto he ute

brìdgc.Make he

pegboxasncatîs

pos\ible,

ndbe ccrtain lìLìt oneofthe

strirgsovert:

anvof the olhers. Cu off rhe efrover ting

îrne the ute

abouta ìLìlfstepow or

thc ti$r fe\\

lìoursor so- hen

bdng it up to full rension.

lind thfu

this i t t leperìod

l lower ensroIre lps

hc ute jnd

l t

 îice

soorer han t

otherwisewoukl.

La Bcllî

La Bella

LîBella

Pr-ramid

ryram

Pyramid

ryramì.1

T\ ramìd

.,13 ,iv

. 5 l N r \ i

l

c)05

x

l

t(x)i i5 2

r0l_5I

l lgAl

L0l8 1011A1

1028 9075

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f

a

Robet Lundberg

t91B-2001

8/20/2019 file16 a

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Erlangen

eries ute

Plans

Thc lollowirìgscvcù ule

plans

wcredmwnbyRoberl

Lundberg o accompany he

"Historical

Lute

Clonstruction"

erìeswhen t nn inAnaican Lutheie.

Eachofthese

plans

s

avaiiabìe

ron

the Guildof

AùcricaÍ Lulhic$ asa ull sizcblacklhepinl. Conlacl

the CAL ollìcc or wcb

pagc

br lull inibrnation.

ThcscdÌawings o notncccssadly cpictany

( \

n I r É I r \ r r u i r r . L \ i , . r l \

ú - p J

r ( r r . ' n i . . ' n f

n

thc original nstrumcnlsmaybe

projccted

ùom availablc

evidence.Some atitudehasbeen taken (r make hem

pract ical,workable

nstrumentsstabletomodern

players-Pìease

lsonote lattle drawjngsare ot

presented

ereat anyparlicular calc,

Theseplans redesigne.lo be ùsed n connectron

$'ith the nftÌnation contained n thisbook. Each

drarving

resents

he

essentialnformaf on needed o

makea

particular

nodcl oÎ lu c. A nunbcr of details

will not appear n the drawings, ecausehe]'are

develope.tfi n

principles

nd elationshipswhich

re

erplaine.l n the ext.

Someofthese

missirg

deiailsare:

theout l ine f thecap, hejuncture f the r ibsand

cap.

thewa], he ribs low togeiherat the neck, he

pattern

of

the rosette, etails

ofthe trebleandbass als, ine

points

of bdclge onstruction.

egs,

onsructionof

fbrlìls,mat€Ìials-hicknesses,nd inishes.

23',7

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8/20/2019 file16 a

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Ancient

Lute Makers

LauxBoss

Bosch):

Arelativeof LauxMaler.He

worked n Maler'sshop n Bolognaabout1530, ut

apparently

ater eturned

o Schongau,

earFùssen.

Several

altered) utesby him survive;he s mentioned

in the Fugger nventory.

Magno

Dieffopruchar (MagnusTieffenbrucker)

Venice,

lourished n

the second

alf

of the

16th

century.

Dated nstruments ange rom L516 o 1670.

The

first

known uthier namedMagnusTieffenbrucker

settled

n

Venice

n 1519

and died here

n 1560.His

luthier sonMagno died n Venice n1576. At leastone

other

Magno Dieffopruchar headed

he

famous

workshop

early

n

the

l7thcentury.

Many other family

membersby

different

names for

instancePaolo, he son

of

Magno

unior,

and

Moisé,

brotherof Magno

unior)

also

worked n

the shopbut their

instruments

appear o

havebeenmadeandsoldwith the"Masno

Dieffopruchar"label.

Josephus oachimus

Edlinger:

Sonandsuccessoro

Thomas

Edlinger

I. He trainedasaviolin maker n

Italy, and

rebuilt

Renaissanceutes n the

Weissstyleas

his ather addone.

ThomasEdlinger I:

d.1729. Aviolin maker n Prague

who was

perhaps

he

most mportant

converterof fine

Renaissanceutes

o 13-course onfiguration.He likely

was

nspired

by the lutenist

Silvius

Leopold

Weiss o

create he bass-rider ox for the 12th

and

13th

courses

of strings,and

probablybuilt

the first

example

or

Weiss

in 1718.

Hans

Frei:

Bologna, lourished n

the

middle

of the

16thcentury. Known from

severalextant nstruments

and various authors ncluding

John Evelyn n his

famousdiary. Recentarchival

documents

summary

n

the recentbook by Pasqual

andRegazzi, e radici del

successo

ella iuteria

a

Bologna)

evealhim to be a

Germanwhom the Bolognese

alled Giovanni Franchi.

His two

sons ook over his shopafter his

death and

madeFrei utes,as

well as

guitars

and heorboes, ell

into the 17th

century.

GeorgGerle: Innsbruck, lourished rom 1569 o 1589.

His

singleextant nstrument s

signed

in

German),

"Georg Gerle,His RoyalHighness'Accountant

n

Innsbruck."

Court

records

showhe built

several

instrumentswhile in Innsbruck.

MagnoGraill: Apprenticedwith

Roman uthier

MagnusBuchenberg

and ook

over the workshopwhen

the elder uthier died

after 1600.Several ery ine, arge

Roman heorboes

yboth makers urvive.

MichielleHarton (MichaelHartung): Padua, lourished

at the end of the 16th century. Severalwonderful lutes

in

original condition survive.

Tiained n

Veniceby

Leonardo Tieffenbrucker, he father of Wendelinus

Tieffenbrucker.

Johann

ChrÍstian

Hoffmann: b. 1683Leipzig, d. 1750.

One of the most mportantviolinmakersof his ime.

Builder

o J.S.

Bach.

Violins and utes.

Martin Hoffmann

(father

of

Johann

Christian):

b.

1653 eipzig,

d.1719. Maker of violins,

gambas,

nd

lutes. \

Hans

Jordan:

Markneukirchen,

Saxony.The most

prominent

20th-century

German

ute

maker before the

revival

of

lute making

according o historical

principles

in the 1970s.

Laux

Maler

(Luca

Maler,Laux Maller, LucasMahler):

Alute

makerworking n Bolognabeginning

a.

1518,

who died here

June 5th,1552.One of the most amous

and mportant lute makers

of all time.

Built

9-ribbed

luteson the

"pearl

mold"

shape.

Formed

an association

of

masters

and

pupils

n 1530which built

well over a

thousandnstruments.

Matteo

Sellas

Mathàus

Seelos):Venice, lourished

during

the

first

half of the 17th century. Many

extravagantnstruments

survive,built of ivory,

or ivory

and ebony,or snakewoodwith nlaid necksandpegboxes.Theorbos,

archlutes,and

guitars

survive

rom

this very activeworkshop

or association.

LeonardoTiefenbrucker: Brother

of Magnus

Tieffenbrucker

senior, ather

of Wendelin

(Vendelio

Venere), nd ounder

ofthe

great

Paduan

Venere

workshop.

Joachim

Tielke: Hamburg,

b.

L64L,

. l7 79. Maker

of

violins,

gambas,

utes, and

guitars.

Many

of

his

extant

instrumentsare made

of

precious

materialssuch

as

vory

and are avishly nlaid.

Marx Unverdorben: Venice, lourished irst half of the

16thcentury. Teacher

and relative of Laux Maler.

Severalbeautiful ute bodies

by

him

survive,

particularly

in London

and

Barcelona.

Wendelio

Venere

Wendelin

Tieffenbrucker) Padua,

flourished rom

1560 o 1620. The first

Wendelin

Tieffenbrucker

whose

name

he Italians apparently

could

not

pronounce

nd husbecame

VendelioVenere

-

probably

apprenticedand

eventually ook over his

father

Leonardo's hop n Padua n

the middleof

the

245

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century.

He died

before1591,

ut the

Venere abel

continued

o appear

n lutesmade

by his

successors

his

nephew

Christophoro

berle

and

great-nephew

WendelinEberle)

until

at east1611.

More lutes

survive

rom

this workshop

han any

other, with

many

examples

n fine

originalcondition;

also

heorbos

nd

bowed nstruments

were

made. An

association

f

several

masters

nd

pupils.

A

Noteon

the

Spelling

of Makers'

Names

The

text

contains number

of

inconsistencies

n

the

spelling

f ancientmaker's

names.

There

are

referenceso LeonardoTiefenbruckerand

Wendelio

Venere, ut there

s also

a facsimile

f a

label (p.

28)

which says

Vvendelio

Venere

de

Leonardo

Tiefembrucker,plus

here s

a Vendelinus

Tieffenbrucker,

and a Magno

Dieffopruchar.

The

author

mentions

aVenere

association

everal

times,

and alludes

o the

possibility

f there

being

three

Magno

Dieffopurchars.

What's

going

on?

Since

we could

not consult

Mr. Lundberg,

we asked

his

friend

and fellow

lute historian

Douglas

Smith

to help

us hrough

this tangle.

Here

is some

of

what

he had

to say.

Somemakers

werenot

consistent

n spellins

theirownnames. nd hi s scomplicated'byrchival

documents

where

another ndividual,perhaps

rom

a different

country,

efers

o the ute

maker

with a

different

spelling or

misspelling),

or

a different

name

altogether.

It was

alsocommon

or

the utes

of

a

particular

shopor

association

o carry

he name

of

the ounder

of that

shop egardless

fwhich

builder

or

builders

made hem.

The reason

s

probably

hat

he ounder's

ame,

ike

Henry Ford's,

had

established

he mage

of the

workshop,

and t

mayhave

made

good

economic

enseo

continue

using he name

ong

after he

ounder

died.

Furthermore,

a typicalshop

mayhave

had

at least

oneapprenticeor familymemberworkingalongside

the

master,

oing ess-skilled

ork

suchas urning

pegs

or making

cases,

nd n

somedocumented

ases

(Venere

and

Maler) there

were

our or

more,so

many

utes

were ikely

to have

been

he result

of a

collaborative

ather

than

a solo effort.

Our examples

bove

are the

luthiers

of the

Tieffenbrucker

amily.

Leonardo

and Magnus

Tieffenbrucker

were

brothers,

sons

of Ulrich

Tieffenbruckerwho

emigrated

rom

Fússen

o

Venice n 1519.

Magnus

stayed

n Venice, robably

takingover

dad's

shop he

was

probably

he

older

son andLeonardowent o Padua,whichwas

ruled

by

Venice.

Over a

period

of

abouta

century

@a.

7520-1620),

therewere

at east

hree

different

Masno

Dieffopruchars

n

Venicewho

would have

called

themselves

Magnus

Tieffenbrucker

n

a German

environment.

The

Italians

couldn't pronounce

Tieffenbrucker

so hey

createdDieffopruchar.

Mang s the

German

name there's

a monastery

f

Saint

Mang,

he

patron

saint

of Fùssen,

y the

castle

on the hill

at the top

of the

town).

Magnus s

the

Latinversion

often

used

by Germans,

nd

Magno

s

the Italian

version.

As noted

n Lundbers's

ist

of

ancient utemakers, ther uthiersprobaÉly uilt

under

his abel

as

well.

As for

the Tieffenbruckers

who

ived

and worked

in Padua,

WendelinTiefenbrucker,

son of

Leonardo,

appears

n

one

place

n the

text,with

a

Latin version

of his first

name,

asVendelinus

Tieffenbrucker.

The

Paduans

reated

a different

name

or

him altogether,

Vendelio

Venere. (This

renaming henomenon

as

not uncommon.

n

Bologna,

or instance,

archival

ecords

showHans

Frei

to have

become

Giovanni

Franchi.)

Lundberg

renders

Vendelio

Venere

asWendelio

Venere, or

the mostpart,

but there

s also

Vvendelio

Venere,

and he abelwhich eads VvendelioVenerede

Leonardo

Tiefembrucker."

As it

turns out,

all

of

these

efer

o one

builder,

and o

an association,

r

school,

f makerswho

roduced

nstruments

bearing

his

name.

Rather

than

trying

to tidy

up an nherently

messy

rthographic

ituationwe

ave

decided,

or

the most

part,

to

use he

names

and versions

of

names

s heywerepresented

n the

original

Am

e c an L

uth

erie articles.