Posted on July 7, 2024October 2, 2024 by Dale Phillips Operation: Bootstraps Britain Operation: Bootstraps Britain by Theron McClure Originally published in Guild of American Luthiers Newsletter Vol. 4, #2, 1976 The English luthiers are two years behind in filling their orders from customers. You cannot buy lutes, viols, etc., “off the hook” in London. A choice of harpsichords is limited. It is not the musical and playing public who caused this short supply of instruments in Britain. It was the luthiers themselves who created and developed the healthy market for instruments. But how? By playing. Makers of those early-type instruments which are so much easier to learn to play then are the symphonic type, built lutes and viols for themselves taught themselves to play them, and presented concerts which developed audiences and buyers for these musical products. American luthiers can do the same thing and have the same successes. How will a prospective buyer of an instrument know whether he wants you instrument if he doesn’t hear it demonstrated for him, and he himself can’t play? Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on August 1, 2022March 5, 2024 by Dale Phillips Letter from London Letter from London by Theron R. McClure Originally published in Guild of American Luthiers Newsletter Vol. 3, #5 & 6, 1975 he early music buff finds much to enjoy in wintry England. During the first two weeks of December, 1975, Renaissance and Baroque music concerts were presented nightly at London’s Queen Elizabeth, Purcell, and Wigmore halls. The quality of performance specialists was held to the highest level; the dozen of early performance specialists was held to the highest level; the dozen of early performance specialists had a wonderful skill. In most performances nineteenth century playing mannerisms had been excised: e.g. vibrato was not heard from London violists. But the teaching of Arnold Dolmetsch and his followers were given little heed. In an all-Dowland concert at the Purcell room, only one ornament was heard from the instrumentalists the whole evening. Early music concerts draw full houses. There is a saying in London, that the old people go to the new music and the young people to the old. But a price has to be paid for this popularity: the larger the audience, the more the viols sound like the celli. Performers can’t keep from straining their instruments toward a commonplace tone. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on March 4, 2022March 5, 2024 by Dale Phillips The Early and the “Modern” Viol The Early and the “Modern” Viol by Theron McClure Originally published in Guild of American Luthiers Quarterly, Volume 6, #1, 1978 The study of paintings, drawings, and woodcuts of early viols shows us that all the viols made and played today are copied from those made and used during the final seventy-five years of the three century span of viol playing. In those last years, instruments had been modified to cope with the tonal and advanced technical demands made upon viol players: trio-sonatas required performances of the same degree of virtuosity and lushness of tone possessed by the skilled flautist and violinist of the day, the end of the seventeenth and the beginning of the eighteenth centuries. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
