1-20 of 81 results  for:

  • Instrument Maker x
  • 16th c./High Renaissance (1500-1600) x
Clear all

Article

Article

Jeannine Lambrechts-Douillez and G. Grant O’Brien

In 

Article

Jeannine Lambrechts-Douillez and G. Grant O’Brien

In 

Article

Frank A. D’Accone

[Argiropulo, Isacco]

(b c1450; d Rome, 1508). Italian organist and organ builder. He was the son of the expatriate Greek scholar, Giovanni, who taught Greek philosophy at the Florentine Studio from 1456 to 1471. He studied both organ playing and organ building under Antonio Squarcialupi, who recommended him to Duke Galeazzo Maria Sforza of Milan. He was employed at the duke's court from 1472 to 1474, and his keyboard virtuosity was as much admired there as it had been in Naples, Rome and Bologna. Though he maintained close ties with Florence, he later settled in Rome, where his knowledge of Greek gained him a post at the Vatican. His activities as an organ builder, repairman and consultant are recorded in, among other places, Milan (1472), Genoa (1475) and in Rome (1496). He has sometimes been confused with Heinrich Isaac.

B. Becherini: ‘Relazioni di musici fiamminghi con la corte dei medici’, ...

Article

David Lasocki, Denis Arnold and Fabio Ferraccioli

In 

Article

(fl Venice, 1570–79). Italian harpsichord and virginal maker. Although many antique instruments were fraudulently given Baffo’s name, his genuine, signed work comprises only three harpsichords and one virginal. Two further harpsichords and five polygonal virginals may also be identified as his work (see Wraight), one of which is the so-called ‘Queen Elizabeth’s Virginal’ (Victoria and Albert Museum, London; see Virginal). This virginal and the signed harpsichord of 1574 (see Harpsichord , fig.) in the same collection are excellent examples of the highly ornate style of case decoration used in late 16th-century Venetian instruments. Documents record that Baffo also made instruments for the court at Ferrara. Baffo’s harpsichords are of considerable interest since they were made for unusual pitches. The Victoria and Albert Museum harpsichord and one of 1579 (which originally had the unusually wide compass C/E–c″″) in the Musée de la Musique, Paris, were both built to be tuned a 4th lower than one of the most common 8′ pitches of the time (...

Article

Lorenzo Bianconi

revised by Andrea Chegai

(b Urbino; fl 1591–6; d ?Venice, ?1607). Italian composer, poet and instrument inventor. A connection with Urbino is suggested by the dedications to the Della Rovere family of his two surviving publications; his book of madrigals further includes a preface addressed to ‘miei Signori & Patriotti’ of Urbino. He was maestro di cappella at Venice Cathedral (S Pietro di Castello) from 1591 until at least 1596. His whereabouts after 1596 are unknown; a notice in a necrology from S Maria Formosa, Venice, may refer to his death in 1607.

Balsamino is the author of a tragicomedy, La perla (Venice, 1596), which draws heavily on Tasso’s Aminta. He may have intended portions of the drama to be sung: one scene closes with a parody of the poem Ancor che col partir, famous for its setting by Rore. His only music publication, a book of six-part madrigals (Venice, 1594...

Article

David Lasocki, Denis Arnold and Fabio Ferraccioli

[Bassani, Piva]

Italian family of musicians, instrument makers and composers, active in England. The family originated in Bassano del Grappa, about 65 km north-west of Venice, where they were known as Piva. Jeronimo [Gieronymo, Hieronymus] (i) (d ?Venice, ?1546–50), the founder of the musical dynasty, is first recorded in a contract of his father's dated 24 March 1481; in February 1502 he and his eldest son Jacomo [Jacopo] (b ? Bassano, before 1488; d Venice, 1559–66) were engaged to tune the organs in the churches of Bassano. They seem to have made the move from Bassano to Venice shortly afterwards. Jeronimo was apparently the ‘Ser Jheronimo trombon’ who worked in the trombe e piffari of the Doge of Venice around 1506–12. Numerous documents call him ‘maestro’, probably indicating the leader of an ensemble or an instrument maker. Lorenzo Marucini (1577) describes him as ‘inventor of a new bass wind instrument’ and ‘most excellent ...

Article

Guy Bourligueux

(fl Rouen, Angers, France and Le Mans, France, 1517–44). French organ builder. He worked at St Maclou, Rouen (1517), and repaired the small organ in Angers Cathedral (1521). From 1528 to 1535 he built the great instrument for the Cathedral of St Julien, Le Mans. After the Angers organ burned on ...

Article

Guy Oldham

revised by Umberto Pineschi

(b Perugia, c1545; d Dec 13, 1608). Italian organ builder. He was the son of Marino and Margherita Biagi. He had several brothers and sisters, one of whom, Stefano, was also an organ builder. Nothing is known about Luca's apprenticeship and first works; he is first heard of in connection with the organ of S Maria Nuova in Perugia in 1585: ‘the first and worthy work of the Cavalier Luca of Perugia’. The S Maria Nuova organ was replaced by a new electro-pneumatic instrument in 1960, although its spectacular façade survives. The pipes are arranged in seven groups: two extreme groups of two rows each (the upper rows consisting of dummy pipes), and five central fields, the largest pipe of each being spirally embossed.

Biagi was in Rome by 1593, when the organist Zucchelli obtained work for him on the organs of S Lorenzo in Damaso and the Cappella Gregoriana in S Pietro, and shortly afterwards in the construction of an organ at Frascati. In return, Biagi completed without charge a small transportable organ that Zucchelli had bought from the nuns of Monte Magnapoli and used to hire out to churches for services....

Article

Denzil Wraight

[Jerome of Bologna]

(fl c1521). Italian harpsichord maker. A ‘Jerome of Bologna’ was referred to by Michel Corrette in Le maître de clavecin (Paris, 1753), but otherwise little is known of this maker who worked in Rome. His only known harpsichord, dated 1521, is now at the Victoria and Albert Museum, London. It was held to be the oldest surviving harpsichord, which distinction has passed to an instrument of 1515–16 by Vincentius. A harpsichord in the Castello Sforzesco, Milan (cat. no. 579), falsely dated 1503 and now converted to a crude clavichord, was probably made in 1539 but is of similar size and style and assists in identifying the original state of the Hieronymus instrument.

Recent examinations of the 1521 harpsichord have led to conclusions that supersede some of those of earlier literature (Hubbard, Schott and Grove I). Originally the instrument was single strung and, as Debenham discovered, had a 50-note compass. Wraight (...

Article

(b ?Saffig, nr Koblenz; fl 1516–42). German organ builder. He is sometimes referred to as ‘Schöffe und Bürger von Koblenz’. His significant work can be traced in the regions of the Lahn (Weilburg), the Mosel (Trier Cathedral) and the Rhine (Liebfrauenkirche, Andernach; Liebfrauenkirche, Dominican church and Florinskirche, Koblenz), and also in the Netherlands (Dominican church, Maastricht; Onze Lieve Vrouw, Tongeren; and St Amor, Munsterbilzen). Breisiger was a member of a distinguished family, and was himself a highly cultured man. As an organ builder he took a lead in the development of ‘new’ stops (narrow-scaled flue stops, various types of flute, Cornet V or VI, reeds with full-length resonators, Pedal flutes of 2′ or 1′ pitch), and at the same time made technical innovations in key actions and coupling. His work attracted great interest in the Netherlands. He wrote the most important and informative 16th-century instructions for registration, which are still consulted....

Article

[Matheus]

(b ?Büchenberg, nr Bernbeuren, c1566–70; d c1627–8). German lute maker, active in Italy. He was first mentioned in Roman sources in December 1591, when he married Virginia, daughter of the luthier Pietro Alberti; the last reference to him is in 1626. His workshop in Rome included Magno Graill from 1599 until 1626. Baron (1727) wrote that Buechenberg ‘was German by birth but worked after the Italian fashion with small staves’. This refers to the bodies of his instruments, which are usually of multi-rib construction, using striped heartwood and sapwood yew. His handwritten labels, in a flowing italic script, bear the wording ‘Matheus Buechenberg/Roma’ with the date. He also used a brand-mark consisting of a tree resting on a triple mountain (Büchenberg = beech-mountain). This brand is clearly visible on a theorbo in a portrait by Luciano Borzone in the Palazzo Bianco, Genoa. His theorbos include some of the largest surviving specimens, some of which are fitted with single fingerboard courses....

Article

O.W. Neighbour and Susi Jeans

[Jan] [Bouville, Bonville, Jean]

(b ?Old Radnor, Radnorshire, 1562–3; d Antwerp, 12–13 March 1628). English composer, organist, virginalist and organ builder, probably of Welsh birth, active also in the southern Netherlands. He was one of the leading keyboard virtuosos of his time and an important composer of keyboard music.

Susi Jeans

The date of birth above derives from the Oxford portrait of Bull (see fig.1 and §4) and is probably more reliable than the one some three years earlier deducible from his marriage licence in 1607 (see §2). Wood stated that Bull was descended from a Somerset family but provided no evidence. It is more likely that he was born in Radnorshire, where, in and about Harpton (or Herton), several families with the surname Bull resided. This assumption is based on the existence of his petition to the queen in 1589 for a lease in reversion of Radnor Forest (see below) and of a pedigree submitted in the Court of Chancery in which one party claimed to be descended from ‘the musician, Dr. John Bull of Old Radnor’, which may well refer to him....

Article

Denzil Wraight

(fl 1587–1610). Italian harpsichord and virginal maker working in Venice. His father was a barber: keyboard instruments were available in barbers' shops for the use of customers, which may explain Celestini's introduction to his trade. The signed surviving instruments comprise six virginals and two harpsichords. A further four virginals and a clavichord can also be attributed to him, and together they amount to a substantial part of the known 16th-century Venetian instruments. Celestini made most of his virginals with half projecting or fully recessed keyboards, a style which is normally associated with instruments from the Brescia-Milan area. Two of the virginals (1594, Museum für Kunst und Gewerbe, Hamburg, and unsigned, Fenton House, London) are unusual in having two 8′ registers, a design which may have been invented by Celestini. Some are highly elaborate in the decoration (1594, Donaldson Collection, Royal College of Music, London), others are relatively plain (e.g. ...

Article

Article

Pierre Hardouin

[Dargillières, Desargillières]

French family of organ builders and organists. They were based in Paris and played an important part in the development of French Renaissance organ building.

(b before 1515; d Paris, 1572). He was employed by the Parisian firm of Pierre Dugué, whose daughter he married in 1534. He had eight children of whom five became organ builders. He worked under the supervision of the master organ builder Crinon on the organ at the Ste Chapelle, and succeeded him as ‘facteur des orgues des chapelles du Roi’ in 1553. He built instruments at St Gervais, St Jean-en-Grève and Ste Geneviève-des-Ardents, all in Paris. His organs outside Paris show little influence of the Flemish style of organ building.

(b c1535; d Paris, 1585). Son of (1) Antoine d'Argillières. He was trained by his father, and then worked for Josse Lebel and finally for Josseline in Rouen. He worked in a number of French towns. In ...

Article

Charles Beare

revised by Ugo Ravasio

[de Michaelis ]

(b ‘Roma de Monteclaro’, 1489–90; d Brescia, 26 April 1560–12 Aug 1561). Italian viol and violin maker . His instruments are the earliest extant examples of the Brescian school. G.M. Lanfranco (Scintille di musica, Brescia, 1533) praised the work of ‘Zanetto Montechiaro’. He is variously recorded in Brescian city records from 1527 as ‘Joannettus de li violettis’, ‘magister a liriibus’, ‘magister a violonis et violis’ and ‘di liuti’. He was excused from duty in the register of night guards of 1549–50 because he had reached the age of 60. An almost perfectly preserved six-string viol with its original label ‘Zanetto in Bressa’ is in the Musée Royal of the Brussels Conservatory, and shows this maker to have been an excellent designer and craftsman. A smaller viol, from Bisiach, also has its label and is in the Shrine to Music Museum, Vermillion, South Dakota. Several other instruments are attributed to him. Zanetto is a very important figure in the early history of the violin. He is the earliest violin maker about whom sufficient documentation exists to draw a picture of his life and work....

Article

Lini Hübsch-Pfleger

In 

Article

Alfred Reichling

[Georg]

(d before 1582). German organ builder. By 1531 he had been made a citizen of Rothenburg ob der Tauber, where he repaired the organ of the Jacobskirche in 1537. He received the freedom of the city of Ravensburg in 1542 and remained there until at least 1578. He constructed organs at the minsters of Freiburg (contracts dated 1544 and 1548) and Überlingen (contract 1548) as well as in Ravensburg (before 1554), Weissenau (before 1554), the monastery church at Ottobeuren (with five partners, 1554–7) and the Hofkirche, Innsbruck (1555–61). In 1561 work was projected in the monasteries at Salem (Cistercian), Kreuzlingen (Augustinian) and Petershausen (Benedictine). In 1562 Ebert was working on the unfinished Pfannmüller organ in Prague Cathedral. In 1566 he was active in Einsiedeln with his son Ulrich. Ulrich Ebert repaired the organs in the parish church and Hofkirche in Innsbruck during ...