Papers by Philippe Allain-Dupré
au delà du tempérament , 2011
Traduction et [commentaires] par Philippe Allain-Dupré Au-delà du tempérament Justesse des non-cl... more Traduction et [commentaires] par Philippe Allain-Dupré Au-delà du tempérament Justesse des non-clavièristes aux 17e et 18e siècles
Early Music, 2015
Volume 43Issue 3
August 2015
Three newly discovered Ieorg Wier crumhorns
Philippe Allain-Dupré
... more Volume 43Issue 3
August 2015
Three newly discovered Ieorg Wier crumhorns
Philippe Allain-Dupré
Early Music, Volume 43, Issue 3, August 2015, Pages 471–491, https://doi.org/10.1093/em/cav036
Published: 11 August 2015
Abstract
The discovery of two incomplete crumhorns by Ieorg Wier (1485–1549) in Spain in 2009 (a discant in g, a tenor-alt in c with no windcaps, and just the windcap of a bass), as well as the discovery in 2006 by William Waterhouse of another tenor crumhorn in the museum at Ronse, Belgium, supplement Barra Boydell’s 1979 and 1982 studies of Wier’s surviving crumhorns.
I have compared the two new crumhorns with their cousins of similar dimensions in several museums. The measurements of the 30 extant instruments show that Wier was making instruments to a consistent pattern, following the proportions of the second golden series and correlating with German foot measurements. There follows a discussion of the modern nomenclature of soprano, alto in g, tenor and bass versus the original naming discant, tenor-alt and bass, as suggested by Michael Praetorius. A revised list of the 30 extant Ieorg Wier crumhorns with their ranges and pitches can now be established. This study sheds new light on the corpus of the earliest known crumhorn-maker, whose first surviving instruments date from 500 years ago.
En exergue à ce livre sur les flûtes suisses du 16ème siècle, deux citations de luthiers belges d... more En exergue à ce livre sur les flûtes suisses du 16ème siècle, deux citations de luthiers belges du 19ème siècle : "Il existe ainsi, en facture instrumentale, un tas de préjugés qui se répètent, s'accréditent sans que l'on prenne la peine de les soumettre à l'examen ou d'en vérifier l'exactitude... Nous avons pris le parti de vérifier désormais même les faits évidents en apparence ou admis comme tels" Victor-Charles Mahillon, "Eléments d'acoustique musicale", Bruxelles 1874 (réédition 1984 p.97) " Je ne prétends pas exprimer les formules d'un art nouveau, mais celles que je présenterai seront marquées au poinçon rigoureux d'un contrôle maintes fois renouvelé par moi-même. Certains hommes de métier ne comprendront pas ma franchise." Auguste Tolbecque, Avant-propos de "L'Art du Luthier", Niort 1903. Curieusement, dans la redécouverte des instruments historiques effectuée ces 30 dernières années, la flûte traversière cylindrique de la Renaissance a été singulièrement oubliée dans les interprétations "à l'ancienne", ou utilisée à contresens. Seuls quelques musicologues, tels Raymond Meylan, Howard Mayer Brown ou Anne Smith, ont cherché à lui rendre justice. Comme le souligne l'organologue anglais Anthony Baines, c'est sans doute une passion excessive pour la flûte à bec dans le répertoire des XVIème et XVIIème siècles qui est responsable de cette occultation : "The flourishing twentieth-century cult of the recorder for old music has quite unfairly pushed the flute out of the picture " Anthony Baines, Woodwind instruments and their history, Faber, London, 1967 Cet oubli m'a poussé, après des études de flûte baroque au Conservatoire Royal de Bruxelles couronnées par un" traverso hoger diploma " en juin 1987, à me passionner pour ces instruments ignorés conservés principalement dans les collections italiennes, au Musée instrumental de Bruxelles et au KunsthistorischesMuseum de Vienne. Après avoir conçu des copies prototypes des originaux, il suffisait de retrouver leur répertoire. J'ai ensuite pu créer un ensemble "Les Flûtes d'Allemand" pour faire entendre ces instruments, et écrire un livre "les flûtes de Rafi" aux éditions Fuzeau pour éditer ces recherches. Les collections d'instruments Dans les inventaires de collections de cette époque, la flûte traversière fait pourtant jeu égal avec la flûte à bec et le cornet à bouquin. A la cour d'Henry VIII, par exemple, il y avait 74 "recorders" et 72 "German flutes", surnom de la flûte en Angleterre.
Drafts by Philippe Allain-Dupré
justesses et tempéraments, 2021
tuning and temperaments
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Papers by Philippe Allain-Dupré
August 2015
Three newly discovered Ieorg Wier crumhorns
Philippe Allain-Dupré
Early Music, Volume 43, Issue 3, August 2015, Pages 471–491, https://doi.org/10.1093/em/cav036
Published: 11 August 2015
Abstract
The discovery of two incomplete crumhorns by Ieorg Wier (1485–1549) in Spain in 2009 (a discant in g, a tenor-alt in c with no windcaps, and just the windcap of a bass), as well as the discovery in 2006 by William Waterhouse of another tenor crumhorn in the museum at Ronse, Belgium, supplement Barra Boydell’s 1979 and 1982 studies of Wier’s surviving crumhorns.
I have compared the two new crumhorns with their cousins of similar dimensions in several museums. The measurements of the 30 extant instruments show that Wier was making instruments to a consistent pattern, following the proportions of the second golden series and correlating with German foot measurements. There follows a discussion of the modern nomenclature of soprano, alto in g, tenor and bass versus the original naming discant, tenor-alt and bass, as suggested by Michael Praetorius. A revised list of the 30 extant Ieorg Wier crumhorns with their ranges and pitches can now be established. This study sheds new light on the corpus of the earliest known crumhorn-maker, whose first surviving instruments date from 500 years ago.
Drafts by Philippe Allain-Dupré
August 2015
Three newly discovered Ieorg Wier crumhorns
Philippe Allain-Dupré
Early Music, Volume 43, Issue 3, August 2015, Pages 471–491, https://doi.org/10.1093/em/cav036
Published: 11 August 2015
Abstract
The discovery of two incomplete crumhorns by Ieorg Wier (1485–1549) in Spain in 2009 (a discant in g, a tenor-alt in c with no windcaps, and just the windcap of a bass), as well as the discovery in 2006 by William Waterhouse of another tenor crumhorn in the museum at Ronse, Belgium, supplement Barra Boydell’s 1979 and 1982 studies of Wier’s surviving crumhorns.
I have compared the two new crumhorns with their cousins of similar dimensions in several museums. The measurements of the 30 extant instruments show that Wier was making instruments to a consistent pattern, following the proportions of the second golden series and correlating with German foot measurements. There follows a discussion of the modern nomenclature of soprano, alto in g, tenor and bass versus the original naming discant, tenor-alt and bass, as suggested by Michael Praetorius. A revised list of the 30 extant Ieorg Wier crumhorns with their ranges and pitches can now be established. This study sheds new light on the corpus of the earliest known crumhorn-maker, whose first surviving instruments date from 500 years ago.