Ferdinand Wilhelm Jaura (luthier) 1934 baseado em Simon Schodler (luthier) 1782 [do José Vásquez]

Baryton trio in Tenerife, 2005: José Vázquez, Christa Opriessnig, Lúcia Krommer

O baryton de Ferdinand Wilhelm Jaura (luthier) 1934 [hoje pertencente a José Vásquez], baseado em Simon Schodler (luthier) 1782, parece ter 6 + 12 (?) cordas.

[cabeça de homem barbado (parece um dos profetas do Aleijadinho); reforço frontal e entalhado no "meio" do cravelhame; escala entalhada; roseta, que fica quase escondida sob a escala; beirada em duas cores; cavalete inferior na transversal; cordas presas na culatra (pinos, provavelmente); 3 gomos na culatra; os furos harmônicos no tampo são chamas duplas e opostas]; outros detalhes:

Comprimento do corpo: 650 mm
Largura superior: 309 mm
Largura central: 219 mm
Largura inferior: 378 mm
Altura das faixas: 123 mm
Corda vibrante: 663 mm


- Christian Döbereiner (1874-1961) posa com ele para artista pintar quadro, mas o artista muda a escultura (ele pinta a escultura de dois anjos em lugar do homem barbado -- por quê?); esse do quadro passa a ser o seguinte:


- Na foto de Döbereiner posando para uma tela, ele segura o mesmo baryton acima, mas na tela ele aparece com outro baryton, que Vásquez afirma ser também de Jaura, mas com duas cabeças de anjos na escultura do cravelhame em lugar do homem barbado; a parte reta da "escala" tem o mesmo desenho esculpida em baixo-relevo do baryton acima; Vásquez está tentando localizar esse da tela.


- Döbereiner em outra foto examina um baryton do Museu de Munique - tem umas 24 cordas
[com cavalete transversal; roseta; "escala reta" parecendo sem ornatos, na foto]:


- a foto seguinte é de um homem de bigode esculpido em cravelhame de uma viola d'amore de Ferdinand W.
Jaura 1934 baseado em Schodler 1782:

* * * * * *

Texto do site de Vásquez em orpheon.org:

The correct name for this instrument is actually “Viola di Pardone”. The story has it, that a criminal awaiting his execution in an English dungeon invented this adorable instrument. The Lord, when he experienced him playing upon it, was so thrilled that he instantly pardonned him, from whence the name. A baryton is basically a viola da gamba of six or seven strings, but provided with a large number (varies greatly between models) of thin, metal strings running behind the fingerboard that cannot be played with the bow, but resonate magically when the upper strings are bowed, much like the viola d’amore. But what’s more, these metal strings can be ably plucked by the thumb of the left hand while one bows the upper strings, thus providing one’s own accompaniment, a feat that many try but only few succeed! Prince Esterhazy was a passionate player of the viola di pardone, summoned the best soloists to his court and overwhelmed his composers with commissions for more works for it; thanks to this we now possess a rich repertoire for the instrument; Haydn alone composed at least 126 trios, a few duets, octets, etc. which are veritable gems. Christian Döbereiner ordered this baryton from the able Munich violin maker, Ferdinand Wilhelm Jaura in 1934 and in 1936 the very first performance in modern times with a baryton took place in Munich – on our instrument, of course – Trio in D-Major by Haydn, played by Döbereiner himself. A critic from this concert appeared early in 1937 and can be seen on the Orpheon website.

A prominent soloists who previously owned and played this baryton: Christian Döbereiner (1874-1961):

[photo]

Christian Döbereiner was portrayed in oil with a baryton. Very puzzling detail: in the photograph he is holding the baryton in our collection: the head is of a bearded man. However, in the oil painting, the baryton shown, also by Jaura, has two angels' heads; this instrument exists also today. We are trying to trace its present location. Why did the painter exchange the barytons?

[photos]

A photograph of Christian Döbereiner, examining a baryton in the museum in Munich. In addition to championing the viol in Germany and the USA, Mr. Döbereiner also authored one of the first tutors for playing on the viol da gamba, which was published very early into the 20th C. He edited a substantial number of works for the viola da gamba and for the baryton.

Concert in October, 1936:

"Christian Döbereiner brachte als Dirigent des Münchner Bach-Vereins Werke von J. S. Bach, Antonio Vivaldi, Franz Xaver Richter, Johann Stamitz, Johann Christian Bach und Wolfgang Amadeus Mozart zur Wiedergabe. Ferner spielte er zum 1. Mal seit urdenklichen Zeiten das Baryton, nämlich im Divertimento für Baryton, Viola und Bass von Joseph Haydn. "

"As director of the Munich Bach Society Christian Döbreiner performed works by J. S. Bach, Antonio Vivaldi, Franz Xaver Richter, Johann Stamitz, Johann Christian Bach and Wolfgang Amadeus Mozart. Further he played for the first time since time immemorial the Baryton, namely, in the Divertimento for baryton, viola and bass by Joseph Haydn."

This performance took place undoubtedly on the baryton in our collection, which was at the time exactly one to two years old! Döbereiner was the one that actually commissioned this baryton from the Munich violin-maker, Ferdinand Wilhelm Jaura. Jaura made exaclty four barytons.

Sehr geehrter Herr Professor Vazquez,
Hallo Claudine

in der Anlage sende ich die 2. Seite des Baryton-Konzertes vom 31.8.1937. Meines Wissens war dies das 1. Konzert meines Großvaters mit Baryton.
Ich freue mich, daß dieses Instrument in Ihren Händen ist. Meine Tante Christine Döbereiner hat es damals unter der Bedingung verkauft, dass der Käufer auf diesem Instrument auch spielen kann. Denn ein Instrument soll, so wurde mir gesagt, ohne gespielt zu werden, seinen Klang verlieren.
Vielen Dank nochmals und herzliche Grüße nach Wien und Frankreich
Ihr

Klaus Döbereiner (grandson of Christian Döbereiner)

http://www.orpheon.org/oldsite/seiten/Instruments/other/baryton.htm