The Guittar in the British Isles, 1750-1810

References (452)

1. For more details on the history and development of the lute and the mandolin see Harwood, I., Poulton, D., and Van Edwards D., 'Lute: 3. History', and Sparks, P., 'Mandolin', both in Grove Music Online ed. L. Macy, <http://www.grove music.com> (accessed 26/22010).
2. Interestingly, one of the earliest surviving guittars by Preston, signed 'J. N. Preston, Maker, Banbury Court, Long Acre', is a bowl-back instrument, possibly made around the late 1760s. For more details see Sotheby's auction catalogue, 16 March 1971, lot 23, p. 10.
3. See Sayce, L., 'Lute: 5. Technique-5. Tunings' in Grove Music Online ed. L. Macy, <http://www.grovemusic.com> (accessed 26/22010). Chordal tunings, which exploited the effects of sympathetic string resonance, were also used on other contemporary instruments such as the viola d'amore and the baryton.
4. German-flute, Guitar etc. may with great facility learn the English Harp without the help of a Master. 137
5. Furthermore, in their Pocket book for the Guittar (c.1770) Longman, Lukey & Co provide instructions 'whereby every Lady and Gentleman may become their own tuners'. 138 Moreover in their 1789 catalogue Longman & Broderip advertised a 'PATENT TUNING MACHINE,-So particularly constructed, that Ladies and Gentlemen may tune their Harpsichords, Piano Fortes, Organs, Guitars, &c. with great Facility'. 139
6. Additionally, in the novel The Vicar of Wakefield Goldsmith, describing a romantic incident between the vicar's eldest daughter and Mr Thornhill, writes: Mr Thornhill seemed highly delighted with their performance and choice, and then took up the guitar himself. He played but very indifferently; however, my eldest daughter repaid his former applause with interest, and assured him that his tones were even louder than even those of her master. 140 while the same daughter would later confess: '[...] he is well enough for a man; but for my part, I don't much like him, he is so extremely impudent and familiar; but on the guitar he is shocking'. 141
7. Moreover, 'John Parker's playing of the guitar' for the amusement of a lady's company has been mentioned in Vickery (1998: 210). Besides, although not very musical himself, the literary giant Dr Johnson stated in 1773 that 'he knew a drum from a trumpet and a bagpipe from a guittar, 137
8. Bath Journal, 3 October 1763 (as quoted in Halfpenny 1978: 30). The instrument which Simcock calls 'English' harp is a small stringed instrument of trapezoidal shape commonly known as 'bell' harp. Interestingly, an undated bell harp by Zumpe survives in the Kunitachi College of Music, Tachikawa-shi, Tokyo [1401], while another bell harp with 12 strings (possibly the same instrument) has been listed in Phillips auction catalogue, 25 June 1987, lot 27, p. 7. 138 See Coggin (1987: 206).
9. I am grateful to A. Rice for providing me with a copy of this document.
10. See Goldsmith (1766/1982: 54).
11. See Goldsmith (1766/1982: 55).
12. For instance, in Bath as early as 1758 Walter Claggett was teaching the guittar among other instruments: Walter Claggett, Musician and Dancing-master, […] Waits on Ladies and Gentlemen at their Lodgings, To Instruct them in DANCING, And the Use of the following Instruments, viz. The Violin, Violoncello, Guitar, German flute. Likewise Tunes Harpsichords and Spinetts. 210
13. Also in Bath Straube, the famous lutenist, gave his only public concert in England, when on 3 January 1759 in Wiltshire's Rooms he performed 'several Lessons upon the Arch-lute and Guittar in a singular and masterly Manner'. 211 In Exeter guittars were advertised in the stock of Abel Sweetland, 'Bookseller Stationer & Print Seller', as evidenced in his trade card, presented below (Figure 3.45). 212
14. Figure 3.45: The trade card of Abel Sweetland, 'Bookseller Stationer & Print Seller' (John Johnson collection, Bodleian Library). 'Guittars &c. &c.' is the sixth item listed in the middle column.
15. Bath Advertiser, 28 October 1758, Issue no. 159, p. 3, col. 2 (as quoted in Leppert 1988: 56 and 227, footnote 14).
16. As quoted in Holman (2007: 14).
17. I am thankful to C. Page for bringing this trade card to my attention.
18. In Norwich one James Hook advertised 'teaching the guitar, harpsichord, spinet, violin and flute' 213 , while in Wheatley Richard Herschel noted in his diary in 1766 that 'Lady Cook loved music and I gave her lessons on the guitar, which was then a fashionable instrument'. 214 In Liverpool William Sibbald was a music seller and teacher of the guittar who published c.1773-4 'A Choice Collection of XII of the most favourite Songs for the Guittar […] printed for Wm.
19. Sibbald, teacher of the Guittar […] and sold at his music shop, Temple Bar, in New Market'. 215
20. Moreover, Haxby's brother, Robert, composed Twenty-four Easy Airs for the Guittar made on Purpose for Young beginners which was published in 1769 by J. Longman & Co. in London. 217 In addition, Thomas Thackray, also of York, composed music for the guittar, including his Six Lessons for the Guittar (Figure 3.46) published around 1770 by Haxby. Interestingly, the list of subscribers for his guittar lessons includes musicians, music teachers and music dealers in London and several other provincial cities, like Leeds, Durham, Nottingham, etc. 218
21. Fawcett, T., (1979) Music in Eighteenth-Century Norwich and Norfolk (Norwich), p. 10 (as quoted in Coggin 1987: 207).
22. Lubbrock, C. A., (1933) The Herschel Chronicle (Cambridge), p. 4 (as quoted in Coggin 1987: 207).
23. See Kidson (1900: 169).
24. For more details on the two surviving guittars by Haxby see Appendix I. 217 The only recorded example is in the Library of Congress, Washington, M1385G7H (as quoted in Haxby and Malden 1984: 44-5, footnote 14).
25. For more details on the list of subscribers in Thackray's Lessons see 'THE DEVELOPMENT OF A GUITTAR TRADE' Chapter 5. Spanish guittar', showing that the two instruments co-existed for some time. For example, Lawrence (1999: 217, Appendix 1) has listed A Collection of Songs, Rondeaus, Waltzes, Marches and Dances, for the guitar, pianoforte guitar, or the new invented Spanish guitar […] by T. Bolton (c.1800) 281 , while Page (2011: 8) has listed a method titled Instructions for the Harp, Lute, Lyre, Spanish and English Guittar (anonymous, c.1805-10), indicating that these instruments most likely shared the same tuning and playing techniques. 282
26. Likewise, several immigrant musicians and music teachers from France, coming to England shortly after the Revolution, advertised lessons on the Spanish guitar or English guittar in London newspapers. For instance, an announcement of 1789, mentions Mr. Grumaille, a 'Professor of the Cistre, Spanish guitar and English guittar', residing in Soho; 283 ; in 1793
27. Monsieur Brillaud de Lonjac, residing in Marylebone, taught the 'guittare Angloise' 284 , while in 1796 J. A. Stevenson advertised as 'Professor of the French and English Guitar […] (formerly a Pupil to the celebrated RITTER […])'. 285
28. Furthermore, as mentioned above, the pianoforte had already taken its place among the polite society already by the 1770s, overshadowing other keyboard instruments like the harpsichord or the spinet. The addition of piano keys on the guittar, which intended to rival the pianoforte 286 , 281 Book 1, (London: Goulding, Phipps & D' Almaine, c.1800) in the Additional Music Collections (Reference number: 10, 871), National Library of Ireland.
29. I am grateful to James Westbrook, who, as part of his Ph.D. research at the University of Cambridge regarding guitar- making in 19 th -century London, was keen to exchange a great amount of information and indicate a number of important sources relating to the decline of the guittar by the end of the 18 th and the beginning of the 19 th centuries. According to Westbrook (PC, 5/4/2011), many extant small-sized gut-strung Spanish guitars made in London in the late 1790s have seven or eight courses and were probably tuned to open C, like the wire-strung guittar, the harp-guitar or the Apollo lyre. In addition, in his paper 'Who made the first Spanish guitars in London?', presented at the 'First Cambridge Colloquium on the Guitar in the Early Nineteenth-century', Sidney Sussex College, University of Cambridge, 4-6 April 2011, Westbrook noted that one surviving gut-strung guitar made around the end of the 18 th century has capotasto holes, drilled on the neck but now blocked, similar to those on guittars. This is another indication that the instrument was possibly tuned and played like the wire-strung guittar, the harp-guitar or the Apollo lyre, and was altered later, when the tuning in C was abandoned in the early 19 th century. Futher evidence comes from the Instructions for the Harp-Guitar and Apollo Lyre by T. Bolton, in which he states that 'small Spanish Guitars can be tuned in a similar manner', meaning in open C, as quoted in Armstrong (1908: 31, footnote 2).
30. Morning Post, 21 January 1796, as quoted in Page (2011: 5).
31. Apart from the keyed guittar, another short-lived novel keyboard instrument which aimed to compete with the pianoforte was the 'Orphica', invented by Carl Leopold Röllig in Vienna around 1794 (patented in 1795). The orphica 351 Massachusetts Spy-Boston, 14 March 1771, p. 8 (as quoted in Rossi 2004: 162).
32. See Taricani (1979: 193).
33. Pennsylvania Journal, 1 October 1783, p. 2 (as quoted in Rossi 2004: 162).
34. South Carolina Gazette, 12-19 February 1763 (as quoted in Rossi 2004: 162).
35. South Carolina Gazette, 9 August 1783 (as quoted in Rossi 2004: 162).
36. New York Mercury, 25 April 1763, p. 2 (as quoted in Rossi 2004: 163).
37. South Carolina Gazette, 8 April 1766, p. 3 (as quoted in Rossi 2004: 164).
38. See Rossi (2004: 164).
39. Boston Gazette, 25 February 1771, p. 4 (as quoted in Rossi 2004: 164).
40. See Rossi (2004: 166).
41. Boston Evening Post, 2 February 1782, p. 1 (as quoted in Rossi 2004: 166).
42. Virginia Gazette-Williamsburg, 1 April 1775, p. 3 (as quoted in Rossi 2004: 167).
43. Virginia Gazette-Williamsburg, 4 July 1777, p. 7 (as quoted in Rossi 2004: 167).
44. Virginia Gazette-Williamsburg, 14 November 1777, p. 3 (as quoted in Rossi 2004: 167).
45. JOHN PRESTON, Of Banbury-Court, Long-Acre, London, GUITTAR and VIOLIN-MAKER, BEGS Leave to acquaint the Nobility, Gentry, and others, That he has lately found out and invented a new Improvement, or Instrument , for Tuning of Guittars […] The Manner of Tuning the above Guittars is by a small Watch Key, which is done Instantly, and will keep the tune in that Order for a Month together, unless altered. […]. 427
46. Preston's address at Banbury Court is also mentioned in a directory of 1774. 428 However, by 1776 Preston had moved his business to a more central location, working at 'No.105, Strand, near Beaufort Buildings', from where, according to Kidson (1900: 106), he published 'books of Lessons for the guitar'. In an advertisement of 1778 Preston described himself as 'Guittar and Violin-maker, and the original Inventor for tuning the guitar with a watch key'. 429 In 1785 Preston had already established a 'Manufactory' at No. 97 Strand, as well as a 'commodious Second-Hand Musical Instrument warehouse' at Exeter-Change nearby. 430 Around this time his trade card announced: PRESTON / MUSICAL INSTRUMENT MAKER, / And Original Inventor of the Machine / For Tuning the Guitar, with a Watch Key, / AT HIS MUSIC SHOP / Sells all sorts of Musical Instruments, Finest Quality, Roman / and Violoncello Strings & every Article in the Musical Branch / wholesale Retail & for Exportation on the most Reasonable Terms. / NB. INSTRUMENTS REPAIRED & TUN'D. 431
47. As late as 1786 Preston continued advertising as 'Guittar-maker and original Inventor of the machine for tuning with a watch-key', while additionally referring to his 'new patent piano forte guittars'. 432
48. The details presented above suggest that within 20 years, from the mid-1760s to the mid-1780s, Preston had expanded his business considerably, not least because of his involvement in the
49. London Evening Post, 7 January 1766, and Gazetteer and New Daily Advertiser, 3 February 1766 (as quoted in Lasocki 2010: 130-31).
50. See Kidson (1900: 106).
51. General Evening Post, 13 December 1785 (as quoted in Lasocki (2010: 131).
52. Morning Post and Daily Advertiser, 25 July 1786 (as quoted in Lasocki 2010: 131).
53. Longman & Broderip, used stamps as an easy and inexpensive way of advertising their work 611 and, at the same time, as a method of protecting their designs against imitators. For example, in an advertisement from 1766 Preston, announcing his invention of the watch-key machine, asked the public to 'beware of Counterfeits, as the Proprietor signs his Name on the Belly of the above Guittars'. 612
54. Likewise, in an advertisement from 1785 Claus promoting his new-invented 'Royal Patent Forte Piano Guitars' advised the public 'to observe, that the Patent Instrument is distinguished from all others, by being stamped on the Front with His Majesty's Arms, surrounded with the Words Clauss and Co. Inventors, London, Patent Instrument; and also stamped below the Bridge with the Address of the Patentees, No. 7, Gerard-street, Soho'. 613 Moreover, in an advertisement from 1787 regarding their 'Patent Piano Forte Guitars' Longman & Broderip mentions that they 'have obtained his Majesty's Royal Letters Patent for their great improvement of those instruments, being made to play with keys'. 614 Indeed, there are many surviving guittars by the aforementioned manufacturers with stamps on the soundboard corresponding to the descriptions given in the above advertisements (Figure 6.66).
55. Many extant guittars by Preston bear his name on three different areas, usually on the front and back of the head and on the front of the watch-key machine, with the clear intention to be easily visible and detectable. In addition, the initials 'JR' or 'PR' under the crown, stamped on the back of the head on numerous Preston guittars, may have been a clever marketing trick; as will be shown later, the letters look quite similar to 'GR' which stands for 'George Rex' meaning 'George the King', thus indicating Preston's association or endorsement by the royal court, which would increase his reputation and sales among potential customers. Apparently for similar marketing reasons, Liessem and Hintz often marked their guittars with two stamps, one on the top of the back and the other on the back of the head.
56. London Evening Post, 7 January 1766, and Gazetteer and New Daily Advertiser, 3 February 1766 (as quoted in Lasocki 2010: 130-31).
57. The London Gazette, 5 April 1785, 12636, p. 173. The same advertisement also appeared on 12 and 26 April 1785. Many extant keyed guittars by Claus are stamped below the bridge with his address.
58. Morning Chronicle, 5 March 1787 (as quoted in Girdham 1997: 98).
59. Figure 7.34: The initials 'R W' (left) stamped or engraved on the top of the watch-key machine (right) on an unsigned keyed guittar. Historisches Museum, Frankfurt, [X4336]. The design and dimensions of this machine are identical to EUC [3709] which is also engraved 'R W' on the top. As Epstein (1927: 14) has pointed out, the maker of these machines is probably Robert Wornum (1742-1815), a London violin maker, music publisher and seller, possibly of German origin. 705
60. Wornum, who is listed by Doane (1794: 71) as 'Wornum, Violin & Violoncello Maker.-No.42, Wigmore St.', was working at Glasshouse Street, from 1772, and later at 42 Wigmore Street, near Cavendish Square, from c.1777 until 1815. The fact that his initials are found on unsigned guittars, as well as on the guittar NMI [1913.393] by Preston mentioned above, suggests that Wornum possibly supplied watch-key machines to various guittar manufacturers, including Preston himself. Another maker that could have produced these machines is Robert Woffington, a piano maker working in Dublin, who had a partnership with the guittar maker William Gibson. Nevertheless, 705 During the early 19 th century Wornum's son, also named Robert (1780-1852), produced gut-strung Apollo lyre guitars which had a similar tuning as the guittar. However, he is best known as a piano maker and as the inventor of an action that is regarded as the forerunner of the modern upright action. For more details see Jones, P., 'Wornum' in Grove Music Online ed. L. Macy, <http://www.grovemusic.com> > (accessed 11/3/2011).
61. 4 THE INTERNAL PIANO-KEY MECHANISM
62. 4.1 THE PATENT INTERNAL PIANO-KEY MECHANISM BY CLAUS The first attempts of fitting a piano-key mechanism on a guitar have been credited by several writers to Anton Bachmann 731 or to his son, Carl Ludwig Bachmann 732 , both makers of instruments of the violin family working in Berlin who In 1780 […] designed a kind of guitar with keyboard which had a mechanism placed with on the right side of the body, which allowed the striking of the strings with small keys. This instrument had very little success. 733
63. However, the earliest surviving patent related to the keyed guittar belongs to Christian Claus 734 , who in 1783 invented an internal piano-key mechanism for the guittar (2 October 1783, Patent No. 1394). The patent description and drawings by Claus are presented below (Figure 7.62). A.D. 1783.-No. 1394. Clauss' Improvements in Guitars CLAUSS' SPECIFICATION. TO ALL TO WHOM THESE PRESENTS SHALL COME, I, CHRISTIAN CLAUSS, of Frith Street, in the Parish of Saint Ann, Soho, in the County of Middlesex, Musical Instrument Maker, do send greeting.
64. See, for example, Gai (1969: 148) and Jalovec (1965: 118). According to Jalovec (1965: 118) Anton Bachmann (1716- 1800) was the supplier of musical instruments to the Royal Court in Prussia.
65. For more details see Helm, E., and Elste, M., 'Bachmann, Carl Ludwig' in Grove Music Online ed. L. Macy <http://www.grovemusic.com> (accessed 26/1/2010). Bachmann has also been credited with the improvement of a worm- gear tuning mechanism for double basses which he introduced around 1778.
66. See Fétis (1835: 26). The original French text reads: 'BACHMANN (CHARLES-LOUIS): [...]Il imagine aussi vers 1780 une espèce de guitare à clavier qui portrait vers la droite de la table un méchanism au moyen duquel on faisait frapper les cordes par de petis marteaux. Cet instrument eut peu de success […]'. The translation of the French text was kindly provided by B. Lamboul.
67. Christian Claus (also mentioned as 'Clauss' or 'Clause' in contemporary documents) was a German instrument maker working in London. According to Groce (1991: 31) Claus was probably a native of Stuttgart who, like other makers of German origin, had settled in west London sometime before 1783. Claus was working at Frith Street in the Parish of Saint Ann, Soho, when he obtained his patent in 1783. For more details on Claus see also Appendix I. HAY-MARKET / LONDON' on the back of the neck. 772 In addition, the rose has the monogram 'A R L.', while the inscription 'T. B / July / 1798 [and] D. P. x' is handwritten in ink on the hammer mechanism. Two other keyed guittars by Longman & Broderip have survived, one in private ownership, the other in the Royal Northern College of Music, Manchester, [S 13] (Figure 7.111). The interesting feature of these two instruments is that they both have the names and address of Longman & Broderip engraved on the brass key cover, and in the case of the second instrument, also on the brass rose. 773
68. 772 It was a common practice for Longman & Broderip to stamp both their 'common' and keyed guittars on the back of the neck. For example, a keyed guittars by Longman & Broderip stamped 'LONGMAN & BRODERIP / NO. 26
69. CHEAPSIDE & / NO. 13 HAYMARKET / LONDON' belongs to the Smithsonian Institution, Washington DC, [324845].
70. However, a keyed guittar by the same manufacturers, in the Gemeentemuseum, Hague, bears the inscription 'Sold by Longman and Broderip'.
71. This feature has been presented in 'MAKERS' IDENTIFICATION FEATURES', Chapter 6.
72. numbered '34', '113'(also labelled 'B66'), '130', '146' (also labelled 'B101'), '188', and '257', respectively, the key mechanism is equipped with dampers, whereas on GNN [MIR 857], numbered '178' (also labelled 'B14'), the key mechanism has no dampers. Furthermore, the damper activation system is found on guittars MUL [627], MUL [628], MMS [F439], and MMS
73. numbered '113', '146', '188', and '257', but not on MBR [1552], numbered '130'. It is possible that the examination of more instruments of this type could provide some new evidence on the purpose of this numbering system.
74. shortly after the invention of the internal piano-key mechanism for the guittar by Claus, an external piano-key mechanism was developed. However, this device was first intended to be used not on the guittar but on a new instrument called 'The British Lyre', invented in 1784 by William Jackson (20 August 1784, Patent No. 1449). Jackson's patent, which provides the earliest reference relating to the invention of an external piano-key mechanism for a plucked stringed instrument, reads: A.D. 1784.-No. 1449. Jackson's Stringed Musical Instrument JACKSON'S SPECIFICATION TO ALL TO WHOM THESE PRESENTS SHALL COME, I, WILLIAM JACKSON, late of Vine Street, Lambeth Marsh, in the Parish of Saint Mary, Lambeth, in the County of Surry, Musician, but now of Oxford Street, in the Parish of Saint Ann, Soho, in the City and Liberty of Westminster, Musician and Musical Instrument Maker, send greeting.
75. I, the said William Jackson, had, after much study, found out and invented a certain new musical instrument, which I […] call "THE BRITISH LYRE" […]
76. Academia Musicae, Tokyo, [A 1249], the Ringve Museum, Trondheim, [NF.1908-0199], and the Royal College of Music, London, [241], presented below (Figure 7.146). 791
77. Figure 7.146: Four identical unsigned egg-shaped guittars equipped with unsigned external key boxes. Left to right: Musée des Instruments de Musique, Brussels, [539] (by kind permission of MBR);
78. Musashino Academia Musicae, [A 1249] (photo by H. Sugimoto);
79. Ringve Museum, Trondheim, [NF.1908-0199] (http://cittern.ning.com/photo/nf19080199-hel- fotoringve?xg_source=activity); and Royal College of Music, London, [241] (Wells and Nobbs 2007: 100).
80. Moreover, apart from the guittars mentioned above, a similar unsigned egg-shaped guittar is equipped with an unsigned key box with seven keys (Figure 7.147). 792
81. A guittar with similar features belonging to the Museu Instrumental, Lisbon, has been presented in Lambertini (1914: 26).
82. For more details of this guittar see Christie's auction catalogue of 16 June 1999, lot 13, p. 42.
83. Clagget, Charles, Musical Magazine No. 1 (as quoted in Lawrence 1999: 18-90). Lawrence (1999: 20) suggests that the keyed instrument mentioned above possibly refers either to a keyboard instrument or the keyed guittar, which was invented around that time.
84. Morning Advertiser, 15 March 1796.
85. Entry for 'Guitar' in the Third American Edition of W. Nicholson's British Encyclopedia: Or Dictionary of Arts and Sciences, 1819 (Philadelphia: Mitchell Ames White) (as quoted in Rossi, D., <http://www.cetrapublishing.com/citterncafe/?cat=13>, accessed 17/3/2009). same time Longman & Broderip had published Chilini di Asuni's New and Complete Instructions for the Piano-forte Guitar. In addition, in 1795 Felix Chabran published his 'Compleat Instructions for the Spanish Guitar' noting that he is a 'teacher of the Spanish & Pianoforte Guitar & Violin […]' 803 , while around the same year R. Birdchall published Six Favourite Songs and Six Rondos by Sigr. Pleyel, And a Select Collection of Lessons, Airs, Minuets, Allemandes &c. To which are added Some French & Italian Songs Adapted for the Piano Forte Guittar By F. Chabran. Teacher of the Spanish & Pianoforte Guittars […] (Figure 7.152). In addition, in 1799 Goulding & Co announced that 'In a few days will be published, a Collection of Music for the Guitar, Piano-forte Guitar, or new-invented Spanish guitar, consisting of Songs, Rondos, Marches and dances […]'. 804 These details suggest that keyed guittars were taught and played similarly to common guittars, as well as Spanish guitars, and most of the music was probably composed interchangeably for these instruments. 805
86. See Tyler and Sparks (2002: 239). Felix Chabran was a musician and music teacher from Piedmont who had settled in London around 1782. Chabran is listed as 'Chabran, Felix, Violin, Ro So Mu, Oper, Abb,-No.16, Wardour-Street.' in Doane (1794/1993: 12). Notably, Chabran's instructions for the Spanish guitar follow the style and outline of the Instructions for the Guitar published in 1758 by R. Bremner. Futhermore, it is interesting that in several pieces Chabran advocates thumb fretting of the bass strings (indicated with the symbol 'X'), with the left-hand thumb placed over the guitar fingerboard.
87. Morning Herald, 21 December 1799, as quoted in Page (2011: 6).
88. However, the phrase 'several Pieces of New Music adapted to this Instrument' in Claus's 1785 advertisement, mentioned earlier, probably implies variations or alterations of the established techniques to allow the performance of guittar music on keyed instruments. Around the end of the 18 th century keyed guittars became popular in Spain as well, a fact well documented in several contemporary advertisements. For instance, this is how French instrument maker Juan Puyol advertised his arrival and establishment in Madrid on 18 November 1790: Juan Puyol, of French nationality, a master builder of organs and other instruments, who has arrived from London, informs readers that he has settled in Madrid, on the ground floor of 5 Calle de la Ballesta, manzana 369. He makes organs […], barrel organs, English-style fortepianos […], double basses, and English guitars played with keys. He makes Spanish-style guitars, which are played with keys like the English ones and can at the same time be played in the Spanish way. 816
89. This advertisement clearly shows that the concept of fitting keys on instruments was so fashionable at that time that keys were even used on 'Spanish-style guitars'. The next year, on 4 June 1791, the same maker announced: Juan Puyol, maker of organs, English-style pianofortes, organized and plain, also English guitars with keys and various other instruments, who from the Parisian school went to that of London to perfect himself in the building of such instruments with good taste, has established himself in Madrid [. . .]. 817
90. See Kenyon de Pascual (1983: 216). Around that time English instruments had gained a reputation of high-quality manufacture and elegant style; as Kenyon de Pascual states, 'The fame of London as a piano-building centre induced many foreigners to visit it to gain experience and to study the latest developments'. Thus, it was a common practice among musical-instrument makers, such as Puyol, to mention their staying and training in London in order to increase their status and attract potential clients. Puyol also described himself as 'the maker who has arrived from London' on 8 February 1791.
91. See Kenyon de Pascual (1983: 216). Puyol continued to advertise similarly over the following two years. 818 The following excerpts come from the Diario de Madrid, an 18 th -century daily newspaper in Madrid. The text is presented as translated and quoted by Kenyon de Pascual (1983: 299-308) in her article dealing with sales and makers of non-bowed string instruments in Madrid during second half of the 18 th -century. According to Kenyon de Pascual (PC, 30/9/09), to whom I am grateful to for bringing this important source to my attention, there are no more such advertisements in the Diario de Madrid between 1795 and 1799.
92. Indicative of this situation are the following comments when the author asked details about guittars in two major musical instrument collections: 'You are most welcome to study the five guittars in the collection [...]. There is almost nothing in our files on these instruments. There are by far the most neglected area of the collection […].
93. ', by Jon Whiteley, Department of Western Art, The Ashmolean Museum (PC, 8/2008), and 'I've pulled the files out for all of our English guitars, and there is really very little in them, since you are one of the first people to show an interest in these instruments!', by Arian Sheets, Curator of Stringed Instruments, National Music Museum, The University of South Dakota, (PC, 9/2008).
94. Details of these activities have been mentioned in Chapter 1.
95. For instance, Andy Rutherford has recently produced a technical drawing of his Preston/Thompsons guittar, while Martina Rosenberg and Makoto Tsuruta have both constructed copies of Preston's watch-key machine from original guittars in their ownership. Details of these works have been presented in Chapters 6 and 7.
96. Although one can still find guittars auctioned for a few hundred pounds, the more elaborate or rare instruments may cost up to a few thousand pounds.
97. Over the last three years the author has been contacted by various museums to provide results of his research for use in reference studies or for the publication of catalogues. BUCHINGER, JOSEPH Biographical information and business details: b. 1750, fl. 1775 -1811, d. (?). Also mentioned as 'Buckenger' or 'Buckinger'. Musical instrument maker, music publisher and seller possibly of German origin working at No. 443 Strand, London. The earliest known instrument by Buchinger is a guittar signed 'Joseph Buchinger / London 1775', mentioned in Vannes (1951: 46), in the
98. Landesmuseum Württemberg, Stuttgart. According to Humphries and Smith (1970: 91)
99. Buchinger was 'in partnership with Mrs. Elizabeth Carr, widow of Benjamin Carr, musical instrument maker of old Round Court, Strand' until September 1782. Buchinger had been apprentice to Rauche, since a printed label in a violin, mentioned in the Hill Archives (WA 1992.643.1, p. 58) bears the inscription 'Joseph Buchinger / late apprentice to Michl Rauche'. In 1785 Buchinger succeeded Rauche, as evidenced in an advertisement in the Morning Herald of 20
100. January 1785, in which he announced: 'Buchinger No. 443 Strand […] being the only successor to the late Mr. Rauche, whose guittars ever justly bore the preference, he continues to make them of the same pattern, having purchased his tools and utensils'. Buchinger is listed in Doane (1794/1993: 10) as 'Buckinger, Joseph, Bass, Viola, Music-Seller, New Mu / Fu, Abb. -No.443, Strand.', while around 1805-6 he had a brief partnership with Sharp as 'Buchinger & Sharp'. Holman (2007: 16, 20) mentions that Buchinger, who was 'esteemed the best performer of the lute in Britain', was the father-in-law of Barry, a London manufacturer of gut-strung plucked instruments, such as harp-lute-guitars or Apollo lyres, around the end of the 18 th and the beginning of the 19 th centuries. Notably, Barry worked in partnership with Edward Light (1747-1832), listed as 'Light, Edward, Alto, Violin, Harpsichord' in Doane (1794/1993: 41), a musician, music teacher and inventor of the harp-guitar, harp-lute-guitar, harp lute, and dital harp, who had taught and published music for the guittar in the 1780s. Surviving guittars: 2 • 1775: Landesmuseum Württemberg, Stuttgart, [?] • (?): Royal Northern College of Music, Manchester, [S 1]
101. Alloway, Ayrshire, [3.4565], the second dated 1758, in the Royal Northern College of Music, Manchester, [S16].
102. The partnership with Hoffman probably dissolved after 1758, since there an extant guittar, included in Sotheby's auction catalogue, 20 March 1980, lot 232 , p. 77, is inscribed 'Rauche London 1759'. Rauche's fame as a guittar maker must have grown considerably around 1760, when in her guittar tutor Ann Ford (c.1760: 9) mentioned that 'The neatest Work, and the best toned GUITARS I have hitherto seen, have been made by Rauche.' Around 1760 Rauche was working 'at the Guittar and Flute' in Chandos (or 'Chandois') Street, Covent Garden; a surviving guittar by Rauche dated 1760, listed in Phillips auction catalogue, 13 May 1976, lot 32, p. 6, is signed 'In Chandos Street London 1760'; likewise, a guittar included in Bonhams auction catalogue, 23 June 2009, lot 24, p. 10, is signed 'Michael Rauche at Chandos Street, London, 1761'. Another guittar by Rauche dated 1761, listed in Sotheby's auction catalogue, 22-23
103. November 1989, lot 145, p. 45, is also stamped by Preston, suggesting that it may have been later altered to receive a watch-key machine. Rauche is listed in Mortimer's London Universal Directory from 1763, quoted in Dart (1949: 31), as 'RAUCHE, Michael, Chandois-street, Covent-garden'. From this address Rauche published music principally for the guittar, including Rudolf Straube's works Lessons for Two Guittars with a Thorough Bass (1765) and Three Sonatas for the Guittar (1768), which was 'Printed for and Sold by, ML RAUCHE, in Chandois Street'. Additionally, Kidson (1900: 109) mentions that around 1770
104. Rauche & Co published Thirty-eight Lessons, with an addition of Six French and Italian Songs, for the Guittar, composed by F. Shuman, op. ist, London, printed for and sold by Michael Rauche & Co., at the sign of the Guittar and Flute, in Chandois Street, near St. Martin's Lane. Rauche worked in Chandos Street at least until 1771 since a guittar signed 'Ml. Rauche / In Chandos Street / London 1771' is mentioned in the Hill Archives (WA 1992.643.2, p. 73). Moreover, from a surviving trade card in the Hill Archives (WA 1992.643.2, p. 73), which reads 'Guittars, Mandores, Lutes, Mandolins / Violins, Basses &c. / Made and Repair'd by Rauche & Dickenson / at the Music Warehouse / at the Guitar and Flute / in Chandois Street / London', it has been identified that while in this address Rauche worked in partnership with Dickinson, although no guittars or other instruments from this partnership are presently known. in the second edition of his tutor Estudo de Guitarra António da Silva Leite (1796: 26, footnote 6) described Simpson as the best maker of guittars in England. Surviving guittars: 2 • (?): Museum of Fine Arts, Montreal, [957. Dv4]
105. • (?): Metropolitan Museum of Art, New York, [89.2.167]
106. SMITH, (?) Biographical information and business details: English manufacturer of external piano-key boxes for guittars working in London, c.1785. Nothing is known about Smith, although he may have been related either to Joseph Smith, the harpsichord and piano maker, included in Boalch (1974: 165), or to Thomas Smith, musical instrument-maker to the Duke of York, mentioned in Langwill (1949: 42). Around 1785 he probably developed a brief partnership with William Jackson, since surviving guitar by Thompsons, listed in Sotheby's auction catalogue, 19 July 1968, lot 44, p. 14, is equipped with an external-piano key mechanism bearing the inscription 'Jackson & Smith / Patent Box London'. Surviving guittars: None. However, numerous external piano-key boxes mounted on surviving guittars are stamped 'SMITH'S PATENT BOX / LONDON'. STEWART, NEIL Biographical information and business details: fl. 1759-66. Also mentioned as 'Steuart'. Scottish musical instrument maker, music publisher and seller working 'at the Violin and Guitar', Edinburgh, c.1765, as mentioned in Humphries and Smith (1970: 301). According to MacKillop (2004: 142) in 1766 Stewart published 'A New Collection of Scots and English Tunes Adapted to the Guittar […] Printed & Sold by Neil Steuart at his Music Shop Opposite the head of Black fryers Wynd, Edinburgh, where may be had the following Instruments: Violins, Flutes, Spinits, Guittars at all Prices. Instruments taken in to mend.' Moreover, in an advertisement ---(?), Sonata in two movements (Jean Kirkpatrick Guittar manuscript, Buccleugh Collection, MC.2.9 Northamptonshire Council).
107. Bates, William (c.1769), Eighteen Duettinos for Two Guittars, Two French Horns, or Two Clarinets (London: J. Longman & Co).
108. Bianchi, Francesco (?), The Marquis of Kildare's March, set by Mr Bianchi for two guitars, or two violins (Dublin: B. Rhames).
109. Bland, John (c.1765), Bland's First Collection of Twenty-four Airs, Marches, &c. Twelve for One, and Twelve for Two Guittars, or a Guitar and Violin, Composed by the Best Masters (London: ?).
110. Bolton, Thomas (c.1800), A Collection of Songs, Rondeaus, Waltzes, Marches and Dances, for the guitar, pianoforte guitar, or the new invented Spanish guitar (London: Goulding, Phipps & D'Almaine).
111. ---(c.1795), Six Rondeaus (London: Longman & Broderip).
112. Bremner, Robert (1760), Twelve Scots Songs for a Voice or Guitar (Edinburgh: R. Bremner).
113. ---(1758; reprinted 1765), Instructions for the Guitar; with a collection of Airs, Songs and Duet, fitted for this Instrument (Edinburgh: R. Bremner).
114. ---(c.1758), The Songs in the Gentle Shepherd (Edinburgh: R. Bremner).
115. Buchinger, Joseph (?), The Blue Bells of Scotland: A Favorite Scotch Song with an Accompaniment for the Pianoforte, Harp, Guittar or Lute […] adapted and accompanied by J. Buckinger (London: J. Buchinger).
116. Carr, Benjamin, Joseph and Thomas (1793), The Philadelphia pocket companion for the guittar or clarinett: Being a collection of the most favorite songs &c selected from the European performances and publications of the last twelve month and as its continuation will be annual it may be considered as a yearly journal of the most esteemd lyric compositions (Philadelphia: Carr & Cos).
117. Carter, Charles Thomas (c.1780), A Favourite Duet for the Guitar (Dublin: The Hibernian Magazine).
118. Chabran, Felix (c.1795), Six Favourite Songs and Six Rondos by Sigr. Pleyel, And a Select Collection of Lessons, Airs, Minuets, Allemandes &c. To which are added Some French & Italian Songs Adapted for the Piano Forte Guittar By F. Chabran (London: R. Birchall).
119. Clagget, Charles (c.1760), Forty Lessons and Twelve Songs for the Citra or Guitarr (Edinburgh: ?).
120. ---(?), Musical Magazine No.1-A Publication Containing Song Music, Music for Harpsichord, Guitar, Flute (London: ?).
121. Collins, John (?) (c.1775), Compleat Tutor for the Guitar (London: J. Johnson).
122. ---(1768), Compleat Instruction for the Guitar (London: J. Longman & Co).
123. ---(?), Conquest of the Air, composed particularly for the guitar (Dublin: Exshaw's Magazine).
124. Dibdin, Charles (1769), The ballads sung by Mr. Dibdin this evening at Ranelagh: and a conclusion piece. Properly transposed for the German flute, and guittar; composed by Mr. Dibdin (?).
125. Ford, Ann (c.1761), Lessons and Instructions for Playing on the Guitar (London: J. Walsh).
126. Gaudry, Richard (1781), Alla stagion novella. The favourite Song in the Son-in-Law, sung by Mrs. Daly. Adapted for the Guittar, by R. Gaudry (?).
127. Geminiani, Francesco (1760), The Art of Playing on the Guitar or Cittra (Edinburgh: R. Bremner).
128. Giardini, Felice, (1760), Trii per Cetra, Violone e Basso (?).
129. ---(c.1775), Six Trios for the Guittar, Violin and Pianoforte (?).
130. Giordani, Giuseppe (c.1780), Six solos for the Guittar […] and one Trio for the Guittar, Violin and Bass (?). ---(c.1781), The favorite airs in The critic: sung with universal applause by Miss Field[,] Miss Abrahams & Sigr. Delpini at the Theatre Royal Drury Lane adapted for the voice, harpsichord, violin, German flute & guittar (?).
131. Haxby, Robert (1769), Twenty-four Easy Airs for the Guittar made on Purpose for Young beginners (London: J. Longman & Co).
132. Hintz, Frederick (c. 1762), A choice Collection of Airs, Minuets, Marches, Songs and Country Dances &c. by Several Eminent Authors Adapted for the Guittar as also a Book of Psalm & Hymn Tunes (London: F. Hintz).
133. ---(c. 1760), A Choice Collection of Psalm and Hymn Tunes set for the Cetra or Guittar (London: R.
134. Bremner).
135. Jackson, William (c.1790), Canzonets, adapted for voice, harpsichord, violin, flute and guitar (Dublin: J. Hill).
136. ---(1785), Twelve Celebrated Songs, set for voice, harpsichord, violin, flute and guitar (Dublin: J. Lee).
137. Lapis, Santo (1760), A libro aperto. Light Airs with Minuets for the Harpsichord and for all sorts of Guittars [...] Composed by Mr. Santo Lapis […] Opera XVII […] MDCCLX (London: R. Liessem).
138. ---(1759), A new Guittar Book in 4 parts viz Italian, French, English Airs, and Duets for the voice accompanied with the Guittar and a Thorough Bass for the Hapsichord. Composed by Santo Lapis […] Opera XVI. MDCCLIX (London: R. Liessem).
139. ---(1758), Guittar in Fashion; containing twelve double Sonatas for all Sorts of Guittars, with Minuets, and six Duettos and two Guittars, and an Italian Song, compos'd by Santo Lapis. Sold by R. Liessem (London: R. Liessem).
140. ---(1757), Il Passa tempa della guitarra in twelve Italian Airs for the Voice, accompanied by the Guitar or Harpsichord. Composed by Sig. Santo Lapis. M. D. of Italian music (London: R. Liessem).
141. Leite, Antonio Da Silva (1795), Estudo de guitarra, em que se expoem o meco mais facil para aprender a tocar este instrumento (Oporto: A. Alvarez Ribeiro).
142. Light, Edward (1785), The Art of Playing the Guittar (London: ?).
143. ---(1783), The Ladies Amusement (London: ?).
144. Longman & Broderip (c.1780), Complete Instruction for the Guitar (London: Longman & Broderip).
145. Longman & Broderip (c.1776), Pocket Companion for the Guitar (London: Longman & Broderip).
146. Longman & Co (c.1769), 12 Songs for the Guitar, with a Complete Scale (London: Longman & Co).
147. Longman & Co (c.1769), Twelve Songs and a Cantata for the Guittar (London: Longman & Co).
148. Longman, Lukey & Broderip (c.1775), A Pocket book for the Guitar (London: Longman, Lukey & Broderip). Magdalen Hospital Chapel (?), A fifth sett of Psalms and hymns, used at the Magdalen chapel: Adapted for the organ, harpsichord, voice, violin, German flute & guittar (London: J. Preston).
149. Marella, Giovanni Battista (1762), Compositions for the Cetra or Guittar […] Book II. Opera IV (London: G. B. Marella).
150. ---(1757), Sixty Six Lessons for the Cetra or Guittar-Op. III (London: G. B. Marella).
151. Marzi, Pasqualini de (c.1757), Six Sonatas for the Cetra or Kitara (?).
152. Merchi, Giacomo (c.1771), Collection of the most favorite Italian French and English Songs & Duets for the Guittar, with an accompaniment for another Guittar [...] Op. XXII (London: ?).
153. ---(c.1770), Twelve Divertimenti (London: ?).
154. ---(1766), Scelta D'Arriette Francesi, Ialiane ed Inglesi con Accompagnamento di Chitarra […] Opera XV (London: Mrs. Vallotton).
155. ---(1766), Dodici Suonate per la Chitarra (London: Mrs. Vallotton).
156. Mussolini, Cesare (1781), Twenty four New Tunes for the English and Italian Pocket-Guitar, composed by Sig. Cesare Mussolini. Book Third (London: Bielefeld).
157. ---(1781), Six New Songs for the Harpsichord the English Guittar and the Italian Pocket Guittar, the words and music by Cesare Mussolini. Book Second (London: Bielefeld).
158. Noferi, Giovanni Battista (c.1775), Six Trios for the Guittar, Violin and Pianoforte or Violincello (?).
159. ---(c.1775), Six Sonatas or Lessons for the Guitar (London: Longman, Lukey & Co).
160. Oswald, James (c.1760), A Compleat Tutor for the Guittar, with Two Scales shewing the Method of Playing in the keys of C and G: to which is added Eighteen Favourite Songs Adapted for that Instrument (Books 1st) (London: J. Oswald).
161. ---(c.1759), The Musical Magazine (London: J. Oswald).
162. ---(c.1759), Twelve Divertimentis for the Guittar (London: J. Oswald).
163. ---(c.1758), The Pocket Companion for the Guittar (London: J. Oswald).
164. ---(c.1757), Eighteen Divertimento's For two Guittars or two Mandelins (London: J. Oswald).
165. Parry, John (c.1765), A Collection of Welsh, English and Scottish Airs, with new Variations, Also Four new Lessons for the Harp or Harpsichord, composed by John Parry (of Raubon) To which are added, Twelve airs for the Guittar (?).
166. ---(c.1765), Twelve Airs, for one and two Guitars, composed by John Parry Harper to their Majesty's (London: H. Thorowgood).
167. Pepusch, John Christopher (?), The airs in the Beggar's opera for the guittar, German flute or violin: as perform'd at the theatres (London: J. Johnson).
168. Pereyra, Da Costa A. (c.1760), XII Serenatas (London: J. Oswald).
169. Preston, John (c.1789), Complete Instructions for the Guitar (London: J. Preston).
170. Ritter, D. (c.1770), Lessons for the Guittar (London: D. Rutherford).
171. Ross, Robert (c.1770), Select Collection of Lessons, Airs, Marches, Minuets, Reels, Jiggs, &c With the most favourite Songs for the Guittar To which are Added some excellent Songs, with a thorough Bass adapted To that Instrument (Edinburgh: R. Ross).
172. Rush, George (c.1765), A First Set of Sonatas for the Guitar. With an Accompanyment for another Guittar or Violin (London: G. Rush).
173. ---(?), Favourite lessons or airs for 2 guittars (?).
174. ---(?), 12 Lessons for the Guitar (London: J. Oswald).
175. Rutherford, John (c.1770), Twelve of the most Celebrated English Songs which are now in Vogue Neatly adapted for the Guittar and Voice (London: J. Rutherford).
176. Rutherford, David (c.1756), The Ladies' Pocket Guide or The Compleat Tutor for the Guittar (London: D. Rutherford).
177. ---(?), A Curious Collection of the most celebrated Country Dances, Airs etc., which are now in vogue (London: D. Rutherford).
178. Schuman, Friedrich Theodor (c.1770), Thirty-eight Lessons, with an addition of Six French and Italian Songs, for the Guittar, composed by composed by F. Shuman, op. ist, London, printed for and sold by Michael Rauche & Co., at the sign of the Guittar and Flute, in Chandois Street, near St. Martin's Lane (London: Rauche & Co).
179. ---(c.1765), A Second set of Lessons For one and two Guittars-Opus II (London: J. Johnson).
180. ---(?), A Collection of the Most Celebrate Songs, set by several authors and adapted for the guitar by Frederic Schuman (London: M. Rauche).
181. Sibbald, William (c.1773-4), A Choice Collection of XII of the most favourite Songs for the Guittar […] printed for Wm. Sibbald, teacher of the Guittar […] and sold at his music shop, Temple Bar, in New Market (Liverpool: W. Sibbald).
182. Stevenson, John Andrew (c.1800), First selection of French and English songs with accompaniments for the guittar (?).
183. Stewart, Neil (1766), A New Collection of Scots and English Tunes Adapted to the Guittar (Edinburgh: N. Stewart).
184. Straube, Rudolf (1768), Three Sonatas for the Guittar with an Accompaniment for the Harpsichord or Violincello Composed by R. Straube. With an Addition of two Sonatas for the Guittar Accompanyd with Weideman, Carl Friedrich (c.1770), Favorite Minuet for the Harpsichord, Two German Flutes or Two Guittars (?).
185. Wilson, William (c.1766), A New Selection of the Most Admired Songs for the Guittar (Aberdeen: W.
186. Wilson). Zuchert, John Frederick (1759), Six Sonatas or Solos for the Guitar and Bass (London: J. F. Zuchert).
187. Henriksen, Olav Chris, 'Fantasie by Rudolph Straube (1768)' (<mfa.org/tours>, accessed 5/2/2011) [Recording on an unsigned guittar, MFA [27.2241], from the MFA Collection of Musical Instruments].
188. Hildebrand, David and Ginger (1999), George Washington: Music for the First President (<http://www.colonialmusic.org/ColonialMusic.htm>, accessed 23/2/2011) [Includes recordings of 18 th -century music performed on the guittar; the duo has released several similar recordings featuring the guittar among the performed instruments].
189. Krause, Jim (1999), Going up the Missouri-Songs and Dance Tunes from Old Fort Osage (Old Sod Shanty label: 634479811821) [Includes recordings of traditional songs with guittar].
190. Mackillop, Rob (2001), James Oswald: Twelve Divertimentis for the Guittar, 1759 (ASV Gaudeamus: CDGAU 221).
191. A number of unofficial video recordings of guittar music which have not been included in this list are available on the internet at <http://www.youtube.com/>.
192. ---(1998), Flowers of the Forest (Greentrax: CDTRAX 155) [Includes recordings of guittar music by R. Bremner, J. Oswald and other composers].
193. Miglierini, Carlo Mascilli and Clemente, Anna (1996), Geminiani -The Art of Playing the Guitar or Cittra; Marella -Compositions for the Cetra or Guitar with Accompaniament (Koch/Schwann: 3-1359-2
194. H1). Mouland, Robert (2004), Quiet The Household (<http://www.wireharp.com/wireharp_017.htm>, accessed 8/2/2011) [Includes two recordings of traditional songs performed on the guittar].
195. Rossi, Doc (2008), La Cetra Galante: solos and duets for 18 th -century cittern (Cetra: CD002, <http://magnatune.com/artists/docrossi>, accessed 5/2/2011).
196. Rossi, Doc and Damiani, Andrea (2004), Pasqualini Demarzi -Six Sonatas for Cetra or Kitara (Cetra: CD001, <http://magnatune.com/artists/docrossi>, accessed 5/2/2011).
197. Smithsonian Chamber Music Society, 'To Anacreon in Heaven' (Smithsonian Institution, <http://americanhistory.si.edu/starspangledbanner/credits.aspx>, accessed 7/2/2011) [The credits mention Howard Bass playing on a guittar 'by anonymous maker, England, 1760-1780'].
198. Takeuchi, Taro (2011), Affectuoso! Virtuoso Guitar Music from the 18 th Century (Deux-Elles) [Includes recordings of guittar music by R. Straube, J. C. Bach and other composers].
199. Tyler, James (1978), The Early Guitar (Saga Records: Saga 5455) [Includes a recording of Sonata for the Guitar with an Accompaniment for a Violin by J.C. Bach (1775)].
200. Williams, John, Puyana, Rafael and Savall, Jordi (1971), Music for Guitar and Harpsichord (CBS: 72948) [Includes recordings of Three Sonatas for the Guittar with an accompaniment for the harpsichord or violincello by Rudolph Straube (1768)]. BIBLIOGRAPHY
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