Owen Morse-Brown: 1 baryton barroco e 2 barytons clássicos

Owen Morse-Brown apresenta em seu site um baryton "barroco", baseado no de Hans Kögl (Vienna 1679) que é muito parecido com o de Magnus Feldlen (Vienna 1656). Tem braço de desenho próprio e a figura de Orfeu tocando a lira sobre o cravelhame baseada no baryton de Jacques Sainprae (Berlim ca. 1720).

E dois barytons "clássicos", baseados nos dois Stadlmann (J.J. e D.A.), um com a cabeça de um guerreiro coreano (a encomenda é de um músico sul-coreano) e o outro com uma cabeça de leão, este tocado por José Manuel Hernández do Trio Baryton de Madrid. São belos instrumentos (com ressalva para a escultura do leão e o rosto de Orpheu, não totalmente de meu gosto, mas o guerreiro é estupendo). Ambos têm 6 + 10 cordas; laterais e fundo de bordo olho-de-passarinho [maple birds-eye], beiradas com peças alternadas de ébano e holly [azevinho]; ornatos baseados em instrumentos de Joachim Tielke, um deles de 1686, do Museu Victoria e Albert, de Londres.

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Detalhes e fotos do site dele:

The baroque baryton is principally a self accompanying solo instrument with its plucked strings tuned one octave below those of the more familiar classical instrument. This means the plucked strings provide a bass line accompaniment to the bowed gut strings which are tuned in the manner of a lute - A, d, f/f#, a, d', f'. The instruments that survive from the 17th century on the whole have 9 or 10 wire strings that are tuned with wrest pins set into the bridge. However, contemporary sources do mention instruments with up to 18 wire strings including some with a third manual of strings to the left of the fingerboard. The instrument pictured here has 16 enabling much of the repertoire to be played without having to retune too often. The body of this instrument is copied from an instrument by Hans Kögel (Vienna 1679) which is also very similar to one by Magnus Felden (Vienna 1656) now in the Royal College of Music Instrument Museum in London. The neck is to my own design and the figure sitting on the pegbox is from an instrument in the Victoria & Albert museum by Jacques Sainprae (c. 1720) I would be happy to work on instruments with more plucked/sympathetic strings including those with a third manual too.

http://www.owenmorse-brown.com/baroquebaryton.htm

These are classical barytons based on instruments by the Stadlmanns (D. A. Stadlmann c.1715 & J.J. Stadlmann 1750 - once in the possession of Haydn's patron Prince Nikolaus Esterhazy). They have six bowed strings at the front tuned in the same way as a bass viol, and 10 wire (brass & iron) sympathetic/plucked strings that run underneath the bridge and behind the fingerboard. These are tuned A, d, e, f#, g, a, b, c#', d', e'. The repertoire consists of over 100 trios (baryton, viola, violoncello), solos, duos, quintets, octets, concertos and a cantata by Haydn as well as divertimentos and duets by Tomasini, Purksteiner and Neuman. Composers such as Deleschin, Giuseppe di Fauner and Fiala also contributed to the repertoire with unaccompanied works, songs, quintets and duets.
The first instrument pictured has a Korean warriors head (made for a customer in South Korea) with fingerboard and tailpiece decorations based on designs from instruments by Joachim Tielke. The second instrument pictured has a lions head and a fretted string cover both of which are again taken from an instrument by Joachim Tielke (1686) now in the Victoria & Albert Museum in London. The back and sides of both are made from birds eye maple and the edging is made of alternate pieces of holly and ebony.
These instruments can also be made with 7 bowed strings and up to 18 wire strings.
String length 67.5cm]

http://www.owenmorse-brown.com/classicalbaryton.htm

Trio Baryton de Madrid (dois instrumentos de Owen Morse-Brown)

Dois barytons do luthier Owen Morse-Brown:

1) O baryton "clássico" do Trio Baryton de Madrid tem 6 + 8 (?) cordas

[cabeça de leão não muito atraente; belo vazado na escala; fundo e lateral de bordo acolchoado [quilted maple] (ou olho-de-passarinho?); beiradas em duas cores, preto e branco, parecendo sintéticas, de plástico [será osso?], com belo efeito; fundo com dobra superior como nas violas da gamba; cavaletes individuais para cordas simpáticas]





2) O baryton "barroco" do Trio Baryton de Madrid foi feito por Owen Morse-Brown baseado no de Hans Kögl, com 16 cordas simpáticas (22 cordas no total)

[cavalete transversal (parece bordo com filete metálico, talvez de latão); escala dedilhada e cordal com marchetados em branco; escala não dedilhada em bordo tigrado sem ornatos; tocador de lira de corpo inteiro (baseado no Orfeu de Jacques Sainprae, mas o rosto não ficou atraente - ver outras postagens) sentado no cravelhame que apresenta ponta virada e plana; placa frontal decorada no meio do cravelhame; os furos no tampo são chamas duplas e opostas bem simples]

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Mais no site:

“This instrument [Bordon or Barydon] ... is, however, one of the most charming of instruments”

Leopold Mozart, Violinschule, 1756.

The baryton or viola di bordone could be more accurately named a "viola da gamba d´amore". This is because in addition to the 6 or 7 gut strings played with the bow it has between 9 and 22 metal sympathetic strings that run behind the open neck. These not only help to make the sound stronger, brighter and more vivid by vibrating in sympathy, but can also be plucked by the thumb of the left hand.

In this way the baryton can be seen as a combination of two instruments; a viola da gamba and a harp. To bow and to pluck at the same time is, however, a difficult technique that few have mastered and is perhaps the reason that the baryton has not been more widely played and composed for over the centuries.

Although its origins are in the seventeenth century, the golden age of the baryton was at the court of Joseph Haydn’s patron Prince Nikolaus Esterházy (1714 - 1790). The Prince loved the baryton tremendously, and as well as being a player himself, several of his musicians were renowned for their ability (Joseph Weigl, Andreas Lidl, Carl Franz and Haydn himself). As director of music at Eisenstadt Haydn was required to compose a considerable amount of music for the baryton in varying chamber music combinations. There are around 175 works, of which 126 are for baryton, viola and violoncello. Music for baryton was also composed by others at the Esterházy Court including Luigi Tomasini, Joseph Pucksteiner, Anton Kraft and Anton Neumann.

Besides three-part texture, Haydn often achieves the clarity of two-part writing, usually in the menuets, by having the baryton and viola play in unison. On the other hand, the richness of sound is often the result of broken chords and double stops in the viola part. It is curious that Haydn never included the violin in this string combination, perhaps searching for a fresh sound. The timbre he does achieve however is not only the result of the ‘harp’ strings but also his imagination for varying textures displaying his keen ear for instrumental colour and variety.