The Broadwood Restoration in Photos
The instrument that started a revolution: Beethoven’s Broadwood grand, 1817. Owned by Liszt and eventually given to the Hungarian National Museum, the instrument suffered from historically inaccurate meddling until a recent restoration reversed the damage. . . . read more.
Vihuela Building part 1
Clamping sides to end-block using a fitted caul screwed to the waste portion of the block. When the neck shank is sawn through, the endblock is also sawn. In this picture the neck-block mounting block, which is mounted to the mould, serves to attach the end-block with a souple of screws in its waste portion. . . . read more.
Vihuela Building part 2
There are a variety of finishes: The body is oiled and polished (not varnished) on a buffing wheel with wax; the head is polished, the fingerboard and neck are oiled, but not polished; the top is sealed with thinned shellac and waxed. The owner is instructed to maintain the finish with beeswax applied with burlap and polished with silk. If this is done regularly, the instrument will look clean and last for centuries. . . . read more.
-:—— GUITARS ——:-
Guitar after Panormo early 19th century, by Clive Titmuss, 1987
– used for Sonata for Guitar and Piano by Carulli and Rondo in B minor by Giuliani.
The Hermann Hauser Guitar, Munich, 1922
– used in Pavane pour une Infante Défunte by Maurice Ravel, Homenaje: Tombeau pour Claude Debussy by Mauel de Falla, Recuerdos de la Alhambra by Francisco Tárrega
Pages 6 course guitar by Clive Titmuss 2010
Rosewood and Yew Voboam guitar by Clive Titmuss 1995
-:—— LUTES ——:-
6-course Mandore after an anonymous French model middle 18th century, by Clive Titmuss, 1991 – used for Musette de Taverni by Couperin
6-course lute after Frei by Clive Titmuss 2005
8-course lute after Frei middle 16th century, by Robert Lundberg 1976
– used for Earl of Derby Galliard and John Smith’s Almaine by John Dowland
11-course lute after Martin Hofmann, 1690’s, both by Clive Titmuss
11-course lute after Pietro Raillich, Venice 1640’s
13-course lute after Duiffopruchar 1600’s, renovated by Edlinger middle 18th century, by Robert Lundberg 1978
– used for Prelude and Capriccio, Suonata in D minor by Weiss and Tombeau for Glenn Gould by Titmuss
14-course theorbo-lute after M. Hofmann 1690’s by Clive Titmuss, 1996
– used for Prelude, Fugue and Allegro by Bach, Partie in A major by Falkenhagen and Sonata in G major by Straube
Theorbo after an anonymous French model late 1600’s, by Richard Berg, 1983
-used for Les Sylvains de M. Couperin
13 course lute after Hofmann by Clive Titmuss 2009
Two Raillich lutes by Clive Titmuss 1990 and 1998
-:—— HARPSICHORDS ——:-
2-manual Harpsichord after Pascal Taskin 1769 by F. Hubbard Harpsichords 1980.
– Forqueray, Tombeau for Glenn Gould by Titmuss and French Suite in G major by Bach.
Harpsichord after an anonymous Italian model 1694, by Johannes Secker 1983 – used for Lamentation for King Ferdinand III, Suite in C minor by Froberger, Sonatas in A major and C major by Scarlatti, Prelude and Fugue in A minor by J.S. Bach, O Mistris Myne by Byrd, Sonata by Arne.
-:—— PIANOS ——:-
Fortepiano after Johann Andreas Stein 1785, by Johannes Secker 1996
– used for all pieces by Mozart, Sonata in E-flat by J.C. Bach, and Sonata in E-flat by Haydn.
Square piano by John Broadwood, London c. 1815, heard solo in the Hadyn Sonata in D, and with period guitar in the Giuliani Rondo and Carulli sonata
THE TITMUSS PAPERS: compiled and edited by Maurice Titmuss
Classical Guitar Canada: A collection of contributed guest posts by Clive Titmuss
• Bach’s Lute Suites: This Myth is Busted – Part I & II
• The Vihuela: History and Style – Part One
• The Vihuela: History and Style – Part Two
• The Vihuela—Part Three: Confessions of a Vihuelista
• An overview of the six-course guitar
• Baroque Guitar for Smarties