Joint Flute Playing

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Joint Flute Playing Author(s): Graham Wells Reviewed work(s): Source: Early Music, Vol. 4, No. 3 (Jul., 1976), pp. 369+375 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3125731 . Accessed: 15/09/2012 16:06 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

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Our cartoonist repents

Your humble cartoonist apologizes for the error so perspicaciously observed by your reader. While I aim to achieve authenticity at all times the detail to which your correspondent refers had unfortunately eluded me. I hope to have made amends by the final comment offered . . . (below/above/left/right).

ROBERT J. KINDRED, 2 CuckfieldAve., St Andrew,Ipswich,Suffolk. Rushmere

Amat's 'Guitarra Espafiola'

May I reply from this 'lumbering, inefficient' institution which Mr Tyler takes to task on page 229 of your last issue, and give the facts. In 1876, the British Museum acquired an undated copy of Amat's anonymous work, which was correctly catalogued according to the rules under the heading Spanish Guitar with a reference from Guitarra Espanola. At that

time, the sources of Spanish bibliography were very limited, and the cataloguer assumed, not unreasonably, from the preface which is dated 1639, that this was an edition printed in that year. This copy, as Pujol was rightly informed in 1950, was among the thousands of books destroyed in 1941. Subsequent research has suggested that the date in the catalogue [1639] was probably wrong, and that the destroyed copy was printed at Gerona some time after 1735, probably by Antonio Oliva. In 1955, the British Museum purchased a replacement copy of the book with the imprint Joseph Bro: Gerona.

From modern bibliographical sources this was dated [1763] and the book was placed as at the pressmark of the destroyed copy: 7897.a.3. Amat's authorship was verified at this time, and his name was added to the main entry under Spanish Guitar with a reference

players in the group but having tried it with a friend even this does not work (although it was a very interesting experience!). I am, however, still convinced that there is some cryptic meaning in the music and offer it to anyone with a spare hour to see what they can make of

from his heading under Amat (Juan Carlos). It is quite untrue to state, as Mr it. I hasten to add that I may quite easily Tyler does, that 'after 26 years the book is still not properly entered in the cata- be mistaken but am encouraged by the fact that another Meissen group is logue'. A. H. KING, Music Librarian, The British known which depicts a fox in female Library, Music Library, Great Russell Street, dress playing a harpsichord. Again the LondonWC1B3DG music is carefully depicted, in this case the Meissen factory was making gentle James Tyler replies: fun of a certain soprano by the name of As recently as 14 December 1975, I Fuchs and the music reproduced was looked up Amat's book in the main indeed the opening of the aria for which catalogue, found it listed with the shelf she was best known. mark 7897.a.3, filled in the order slip, GRAHAM WELLS, SothebyParke Bernet & waited two-and-a-half hours, and was Co.,34-35 New BondStreet,LondonW1A2AA told that the book was destroyed. Other Seeillustrationon page375 researchers of my acquaintance have also been told that the book was des- Boy:righthandon lowerjoint left handon girl'supperjoint troyed. If, in the last several months this Aria situation has been corrected, then I am delighted and will certainly try again.

Joint flute playing I recently had brought to my attention a rather delightful Meissen porcelain group which is due to be sold in Sotheby's sale of Important Continental Porcelain on 13July. It consists of a girl and a boy, each playing a one-keyed flute and dates from c. 1760. I say that each is playing but in fact it is a joint effort, the boy is playing the lower joint of his own flute and the upper joint of the girl's and vice versa. However, what is perhaps more interesting is that each figure has before it a music desk on which music is printed. The music is reproduced with great care, such care that it seems inconceivable that it is not in some way playable. The piece is entitled 'Aria', the key signature is given as D major and the time signature as 3/4 (it is actually 3/8). However, neither part makes immediate musical sense either separately or as a duet. My first reaction was that it would be necessary to reproduce the shared instrument technique of the

Girl: as above

Aria 4.

*A PON

(* Slightlydubiousnotesareindicated in brackets)

369

one needs to study thoroughly all the See GrahamWells'sletteronpage369. Franciolini's fertile products of imagination, as well as the genuine old instruments that he sold to collectors and museums. We had hoped that Ed would be the man to untangle that extraordinary story, but at least he has made it immeasurably easier for whoever undertakes the job. In short, though Edwin Ripin is gone -and the tragedy of his life was that he could not finish what he had begun-he was with us long enough to show us how to solve a number of fascinating on The Instrument Catalogs of Leopoldo and important historical problems. In a Franciolini (Hackensack, New Jersey, real sense, then, he will be with us for a 1974) presents the primary material long time to come, not least of all in the necessary to a study of one of the most corporate identity of the American fascinating figures in the instrument Musical Instrument Society, the world in modern times, the Florentine organization he helped to found and dealer whose imaginative creations, which he helped to direct in its first most of them incorporating some bits crucial years of existence. and pieces of old instruments, may be theJournal of the Reprintedwithpermissionfrom found in many of the world's most AmericanMusicalInstrumentSociety,Vol.2, famous instrument collections. Some- 2, 1976.

the early clavichord led on to a fresh investigation of the nature of that mysterious 14th- and 15th-century instrument, the chekker, and to a new critical approach to the 16th-century organologist, Sebastian Virdung, unfortunately an unsatisfactory man to have to acknowledge as the father of our discipline, since his understanding of instruments was not alwayscorrect or free from contradictions. Ed's years as an instrument curator encouraged him to consider the differences between restoration and forgery, and his book

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