CC = CMI Circulating Instrument YSM = Yale School of Music Instrument

Total Page:16

File Type:pdf, Size:1020Kb

CC = CMI Circulating Instrument YSM = Yale School of Music Instrument Yale Collection of Musical Instruments CIRCULATING COLLECTION CHECKLIST Object Number Key: CC = CMI Circulating Instrument YSM = Yale School of Music Instrument Object No. Instrument Maker CC-301 Baroque flute Martin Wenner Flöten CC-302 Baroque flute Martin Wenner Flöten CC-303 Natural Horn Richard Seraphinoff CC-304 Natural Horn Richard Seraphinoff CC-305 Classical bassoon Guntram Wolf CC-306 Classical bassoon Guntram Wolf CC-307 Baroque bassoon Guntram Wolf CC-308 Classical Bb clarinet Joel C. Robinson CC-309 Classical Bb clarinet Joel C. Robinson CC-310 Baroque Oboe Joel C. Robinson CC-311 Baroque Oboe Joel C. Robinson CC-312 Baroque horn Richard Seraphinoff CC-313 Baroque horn Richard Seraphinoff CC-401 Violin Jason Visletear CC-402 Violin Jason Visletear CC-403 Violoncello Jason Visletear CC-404 Viola Jason Visletear CC-405 Viola Umberto Lanaro CC-406 Viola E. R. Schmidt CC-407 Viola Maker Unknown CC-408 Violin Maker Unknown CC-409 Violin Klingenthal CC-410 Violin Jan Juzek CC-412 Violin Albert Knorr CC-421 Guitar Jack Sanders CC-480 Harpsichord Titus Crijnen CC-501 Violin Bow (baroque) WilliamSalchow CC-502 Violin bow (baroque) William Salchow CC-503 Viola Bow William Salchow CC-504 Cello Bow William Salchow CC-505 Bass Bow William Salchow CC-506 Violin Bow (baroque) Louis Bégin CC-507 Cello Bow (baroque) Louis Bégin CC-508 Violin Bow (baroque) Christopher English CC-509 Violin Bow (baroque) Christopher English CC-510 Viola Bow (baroque) Christopher English CC-511 Cello Bow Christopher English CC-512 Violin Bow (short baroque) David Hawthorne CC-513 Violin bow (short baroque) David Hawthorne CC-514 Cello Bow David Hawthorne CC-515 Violin Bow (Classical) Steven Marvin CC-516 Cello Bow (Classical) Steven Marvin CC-517 Violin bow (Classical) Steven Marvin CC-518 Viola bow (Classical) Steven Marvin CC-519 Viola bow Christopher English CC-520 Viola Bow Christopher English CC-521 Cello Bow Christopher English CC-522 Violin bow Christopher English CC-523 Violin bow Christopher English CC-524 Violin Bow Christopher English CC-525 Violin Bow Christopher English YSM -330 Clarinet in E-flat Buffet Crampon YSM-335 Bass Clarinet H. Selmer YSM-336 Bass Clarinet H. Selmer YSM-338 Basset Horn Buffet Crampon YSM-340 Triple Horn Ricco Kühn YSM-470 Violin Antonio Amati YSM-471 Violin Giacinto Ruggieri YSM-472 Violin Karl Ausust Berger (Strad) YSM-473 Violin Karl August Berger (Guarneri) YSM-480 Vihuela David Rubio YSM -500 Violin Bow Harry Fleisher YSM-501 Violin Bow Unstamped YSM-502 Violin Bow Adolf C. Schuster .
Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Jazz Concert
    Artist Series Guitar Faculty Recital Saturday, March 10, 2018 at 5pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents Artist Series Guitar Faculty Recital Elizabeth C.D. Brown & Stephen Howland with guests Paul Galbraith, guitar Sean McGowan, guitar Elliott Turner, guitar Saturday, March 10, 2018 at 5pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Étude No. 2 ......................................................................................................................................... Ida Presti (1924-1967) Danse Rythmique ....................................................................................................................................................Ida Presti Raganana ................................................................................................................................ Annette Kruisbrink (b. 1958) Elizabeth C.D. Brown, guitar Two Pieces from Caught in the Headlights ............................................................................... Michael Karmon (b. 1969) High Beams Big Fuzzy Circles Elizabeth C.D. Brown and Stephen Howland, guitar duo Four Preludes ...................................................................................................................
    [Show full text]
  • Guitarist Paul Galbraith to Present Recital Featuring Works by Bach and Mozart (May 30) by Mike Telin
    Guitarist Paul Galbraith to present recital featuring works by Bach and Mozart (May 30) by Mike Telin On Saturday, May 30 at 4:00 pm in Mixon Hall at the Cleveland Institute of Music, Paul Galbraith (Scotland) will present a recital as part of the Cleveland International Classical Guitar Festival. Galbraith’s program will feature Bach’s “Allemande” from the Lute Suite in E minor, BWV 996 and Cello Suite No. 5, BWV 1011 and No. 1, BWV 1007. The program also includes Mozart’s “Allemande” from the unfinished Suite in C, K. 399 and the Piano Sonata in F, K. 570. Due to Paul Galbraith’s touring schedule, we were unable to speak to him by telephone, although he graciously agreed to answer some questions via e-mail. Mike Telin: Why did you choose these specific pieces? Paul Galbraith: This program came about through an open invitation from the National Gallery of Art in Washington DC. They had asked for Bach/Mozart programs to be submitted by musicians for their approval, with a view to presenting a program consisting solely of those two composers. I submitted a group of pieces which was a kind of idealized program, showing links between Bach and Mozart, and presenting as a centre- piece a very demanding transcription of Mozart's K. 570 piano sonata. In fact, I hadn’t yet learnt it when I sent the program to Washington, but as I was fairly convinced they wouldn't select a guitarist for such an event, I must admit I wasn’t overly concerned.
    [Show full text]
  • FOMRHI Quarterly
    No. 16 JULY 1979 FOMRHI Quarterly BULLETIN 16 2 LIST OF MEMBERS SUPPLEMENT 9 FoMRHI BOOK NEWS 15 COMMUNICATIONS 208 Review: Making Musical Instruments by Bryan Tolley. Rick Baines. 17 209 Record Review: Baroque Guitar by H. Hope. J. Montagu. 18 210 Review: The Bassoon (Part II) by Will Jansen. J. Montagu. 19 211 Review: Musical Instrument Conservation and Technology Journal, No. 1. Ed. Cary Karp. J. Montagu. 20 212 Review: Divisions, Vol. 1 No. 2. J. Montagu. 21 213 Review: Musical Instruments at the University of Iowa by David Ross. Jeremy Montagu. 21 214 Diderot, Viols and False Tables. David Miller. 22 215 On Baroque Lute Stringing and Tunings. D. and E. Segerman 26 216 Acoustics, Appearance and Authenticity - Are our Priorities Right? William Samson. 34 217 The 3 R's: Responses, Rejoinders and Reminders (to the above Com.) Martyn Hodgson. 35 218 Further to Comm. 216. Eph Segerman. 39 219 Early 16th Century Lute Reconstructions. Martyn Hodgson. 41 220 Tonal Balance and Bar Depths. William Samson. 42 221 An Acoustical Problem. Jeremy Montagu. 43 222 On Accuracy of Measurements. L.A. Esteves Pereira. 44 223 On Seasoning Timber. L.A. Esteves Pereira. 45 224 A Note on Electronic Tuning Aids. I.H.Gould. 46 225 The Cataloguing of Instruments and Associated References. Peter Holmes. 48 226 A Serviceable Early Baroque Flauto. Bob Marvin. 50 227 Making Double Reeds for Renaissance Wind Instruments. Kenton T. Meyer and Edward L. Kottick. 52 BULLETIN SUPPLEMENT AND NOTES TO CONTRIBUTORS 59 bull.16. p.2 FELLOWSHIP of MAKERS and RESTORERS ox HISTORICAL INSTRUMENTS Bulletin no.16 July.
    [Show full text]
  • Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
    14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part.
    [Show full text]
  • Xfestival Internazionale
    19 20 FESTIVALX INTERNAZIONALE MILANO|CREMONA CORDE D’AUTUNNO CONCERTS - SYMPOSIUM MASTERCLASS - WORKSHOPS EXHIBITIONS website cordedautunno.centroasteria.it and discover our new facebook page BOOKLET visible and downloadable on the site Buy tickets on the website eventbrite.it, on the event on our facebook page or by following the link on our site: • https://www.facebook.com/Cordedautunno • https://www.eventbrite.it/e/biglietti-x-festival-corde-dautunno-63406130443 • http://cordedautunno.centroasteria.it/ FESTIVAL TICKETS 8-10 NOVEMBER 2019 Earlybird Festival Ticket (On sale until 10/20/19) 40.00 € (Entry to Symposium, Concerts and masterclasses) Students Earlybird Festival Ticket (On sale until 10/20/19) 35.00 € (Students up to 21 years of age - entry to the Symposium, Concerts and master classes) Concert ticket (Admission to the three evening concert) 32.00 € Symposium (Conferences, Lecture-recitals and Masterclass) 15.00 € Stefano Grondona Concert 8/11/2019 15.00 € Laura Snowden concert 11/9/2019 10.00 € Paul Galbraith concert 11/10/2019 15.00 € ACCREDITAMENTO MIUR Il Centro Asteria - Istituto Cocchetti ai sensi dell’art.1 comma 5 e 6 della Direttiva n.170/2016 è Soggetto di per sé accreditato. La partecipazione ai nostri eventi e corsi di aggiornamento gode di riconoscimento ministeriale ai fini della formazione in servizio. I docenti che intendono parteciparvi possono usufruire dell’esonero dal servizio alle condizioni previste dalla normativa. Contattaci per sapere come accedere alle nostre proposte tramite la piattaforma http://sofia.istruzione.it/
    [Show full text]
  • 2000 Sept-Nov
    Boston Classical Guitar Society www.bostonguitar.org Volume 8, Number 1 newsletterSeptember/November 2000 Letter to Members Dear Members: for nature shows, dogsled racing, poetry and country music. He Welcome to our 2000-2001 concert season! We are proud to also composed music of several genres, including works for present the accomplished Italian guitarist and winner of the voice and guitar. In my mind he was one of the greatest sup- 1999 Guitar Foundation of America International Competition, porters of the classical guitar in New England. He aired new Lorenzo Micheli. He will be appearing on Saturday, October 7 guitar CD’s and invited comments, performed benefit concerts at 8:00 p.m. in an intimate setting, the New School of Music in for guitar societies including ours, and invited known and less- Cambridge. The last time a guitarist from Italy came to perform er known guitarists to perform on his show. For 29 years he here was about ten years ago (Emmanuel Segre). I hope to see consistently announced guitar related events, rummaging an enthusiastic crowd for this excellent player. Please see the through his immense stack of calendar listings to find them. The guitar community has truly lost a great friend. Peter enclosed flyer for details, and note that the venue is centrally Clemente has written an article about Mr. Lurtesma in this located. newsletter. During the months of November to February there will be an You will be receiving your membership renewal notice in unprecedented number of guitar concerts and an exhibition at September. Please renew promptly or at the October 7 the Museum of Fine Arts, Boston entitled “Dangerous Curves; concert to take advantage of discounted tickets for the the Art of the Guitar.” Across the street from the MFA, upcoming performances at the MFA and Northeastern University will hold a four day Guitar Fest’ con- Northeastern University.
    [Show full text]
  • The Modern Classical Guitar. the Early 19Th-Century Guitar Was Further
    The modern classical guitar. The early 19th-century guitar was further developed in the second half of the century by the Spanish maker Antonio de Torres Jurado (1817–92), whose experiments led to instruments that became models for his successors. The guitar thus achieved a standard size and form for the first time in its history (seefig.5 above). Torres increased the overall dimensions of the instrument and established the vibrating length of the strings at 65 cm; he developed the fan-strutting system introduced by his predecessors in Seville and Cádiz, using a system of seven struts radiating from below the soundhole, with two further struts lying tangentially below the ‘fan’. The modern bridge, with the strings passing over the saddle to be tied to a rectangular block (fig.15) is also attributable to Torres, and has become standard since his time. It is in the strutting that modern makers have experimented most, varying both the number and the pattern of struts, and even extending the system to include the part of the table above the soundhole. Gut strings became obsolete after the introduction of nylon strings in 1946, with players preferring the higher tension and greater durability offered by the man-made material. For a time the improvements brought about by Torres remained confined to Spain, where a number of distinguished makers succeeded him: Vicente Arias, Manuel Ramirez, Enrique García, Marcelo Barbero and – active in the mid-20th century – José Ramirez, Manuel Contreras, Marcelino Lopez Nieto and others. The revival of interest in the guitar in the 20th century resulted in the appearance of outstanding makers in other countries: Hermann Hauser (Germany), Robert Bouchet (France), David Rubio and Paul Fischer (England), and others in Japan, where the instrument has become extremely popular.
    [Show full text]
  • Author's Post-Print Version. This Has Been Peer-Reviewed
    Author’s post-print version. This has been peer-reviewed but not copyedited. Please cite the version published by the Journal of the American Musical Instrument Society, Vol. 46 (2020). Abstract This article explores the first decade of classical guitar-making in Britain (1948 – 1957) and discusses the efforts of amateurs and autodidacts in the recovery, codification and instruction of craft knowledge and skills. The research for this article draws on two sources of primary data: guitar magazines and the first three attempts in the English language to codify the practical knowledge of classical guitar-making into instructional texts. I begin by identifying the instrument in its historical context. Next, I present biographical summaries of key advocates and outline the work of the first luthiers. I then discuss the Do-It-Yourself texts and argue that classical guitar-making at that time gradually gained cultural legitimacy through the efforts of autodidacts who established the requisite knowledge and skills that were later adopted and validated by educational institutions. Dr Joss Winn [email protected] http://staff.lincoln.ac.uk/jwinn August 4th 2020 Author’s post-print version. This has been peer-reviewed but not copyedited. Please cite the version published by the Journal of the American Musical Instrument Society. Amateurs, Autodidacts, and the First Decade of Classical Guitar- Making in Britain “Owing to the dearth of information available to prospective guitar-makers I was forced to the examination of existing instruments, both
    [Show full text]
  • Guitar in Oxford Music Online Oxford Music Online
    14.3.2011 Guitar in Oxford Music Online Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare ; Ger. Gitarre ; It. chitarra ; Sp. guitarra ; Port. viola ; Brazilian Port. violão ). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type ( see LUTE, §1 , and CHORDOPHONE ). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls.
    [Show full text]
  • Istanpitta Danses Florentines Du Trecento
    ISTANPITTA DANSES FLORENTINES DU TRECENTO HENRI AGNEL MICHAEL NICK HENRI TOURNIER DJAMCHID CHEMIRANI IDRISS AGNEL MENU TRACKLIST TEXTE EN FRANÇAIS ENGLISH TEXT DEUTSCH KOMMENTAR REPÈRES / LANDMARKS / EINIGE DATEN ALPHA COLLECTION 37 DANSES FLORENTINES DU TRECENTO ISTANPITTA 1 ISTANPITTA TRISTANO & MANFREDINA 6’30 PRELUDE FOR FLUTE LAMENTO DE TRISTANO | ANONYMOUS LAMENTO DE LA MANFREDINA | ANONYMOUS ROTTA DE TRISTANO | ANONYMOUS ROTTA DE LA MANFREDINA | ANONYMOUS 2 ISTANPITTA GHAETTA 12’23 PRELUDE FOR CITTERN PRELUDE GHAETTA | HENRI AGNEL GHAETTA | ANONYMOUS SENTO D’AMOR LA FIAMMA | GREGORIO CALONISTA 3 ISTANPITTA IN PRO 6’05 PRELUDE FOR QUINTON IN PRO | ANONYMOUS 4 ISTANPITTA CHANCONETTA TEDESCHA 5’01 PRELUDE FOR CETERA CHANCONETTA TEDESCHA | ANONYMOUS MENU 5 INSTANPITTA SALTARELLO 3’43 PRELUDE FOR FLUTE SALTARELLO IN 4 | ANONYMOUS 6 ISTANPITTA SALTARELLO & TROTTO 7’02 PRELUDE FOR ZARB SALTARELLO IN 5 | ANONYMOUS TROTTO | ANONYMOUS 7 ISTANPITTA ISABELLA 6’34 - PRELU DE FOR ’UD ISABELLA | ANONYMOUS 8 ISTANPITTA TRE FONTANA 5’06 PRELUDE FOR QUINTON TRE FONTANA | ANONYMOUS 9 ISTANPITTA SALTARELLO 4’22 PRELUDE FOR CETERA, QUINTON AND FLUTE SALTARELLO IN 6 | ANONYMOUS TOTAL TIME: 57’09 - HENRI AGNEL CITTERN, CETERA, ’UD, ARRANGEMENTS AND DIRECTION cittern (copy of Renaissance model) tuned d-a-d’-g” by David Rubio medieval cetera tuned c-g-c’-f’ by Marcelo Ardizzone ‘ud- (Arab lute) tuned d-g-a-d’-g’-c”-f’ by Frédéric Pinard MICHAEL NICK QUINTON quinton (fi ve-stringed violin) tuned c-g-d’-a’-e” (violin and viola in a single instrument) by André
    [Show full text]