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Nov. 3 2007.

Dear Ms.Emily Wang:

Thank you very much for your e-mail. I hope you will be able to report about Arpeggione
research project. I would like to know your purpose and more detail of your master course.
Arpeggione stopped being popular at about ten years though it was made by Staufer and pupil\'s Mitteis.
Though the reason of this decline is my guess, it is that it was an instrument for the minority limited to the musician of the noble that a supply target influences Schubert.
The one from the production starts at the guitar field, and Staufer and pupil\'s Mitteis are Viollin cello and Viola da gamba (Gamba) after that.
It evolved in the new frictional instrument by the technical fusion with the vertical bullet instrument such as Gamba.
The following technical problem was discovered when it was judged 【 the model drawing of Mitteis was evaluated in this point 】.
Because fixed frets was set up in the finger board which bent, the confusion of the interval in the upper register arises, and it is a problem with a hindrance actual performance.
Actually, the confusion of that interval can be proved when it tries to listen to LP played with period instrument, and the CD;Arpegione Sonata and period instrument-Arpeggione : Klaus Storc by Anton Mitteis model, Hammerflugel :Alfons Kontarsky, ARCHIV PRODUKTIO, Musikinstrumenten-Museum Berlin, Kat.-Nr.4678 and a release 1974.
Generally speaking, there is usually fixed frets in the finger board of the guitar in the plane.
If it is installed precisely, the confusion of the interval doesn\'t have the calculation of fixed frets in this plane first.
But, a finger board bends, and moreover it is the case that there is a difference in the thinness (gauge) of each person\'s string, and the confusion of the interval arises physically.
Therefore, there are not many studios which become stable and which can be supplied, and it can guess Arpeggione which dissolved such a physical subject that there were a little standard production as the general public instrument, circulation systems.
Mr. Nicolas Deletaille, Arpeggionist player friend of mine, uses the functional original instrument which adjusted the confusion of this interval with movement-type frets.
As for the luck finger to move another string (the movement of the string), Arpeggione which has 6 strings and frets is easily easy to flip in the point of the performance.
It is hard to flip with the other side, Violin cello of 4 strings because there is an opening in the luck finger from the low tone to the upper register.
By the way, Okumura-model doesn\'t aim at the faithful restoration to Staufer & Mitteis model as the traditional period Arpeggione.
They are Modern which one rather improved to play easily, and original instrument.
The tension of the string is strong, and the height of the piece is drawn to Modern Violin cello near.
Though a piece substitutes the piece of Consort Bass Gamba, a string is narrower than Gamba, and it is set up more widely than a cello.
The movements of the bow were reduced, and it was improved to reduce the time loss of the performance.
A curve is being made a little small about the curve of the piece like a present cello in the finger board from the viewpoint of comparison of the upper register to make it play easily.
Sound post is Consort, the part of bass Gamba is substituted. Generally Sound post is installed in most of the frictional instruments. Staufer and Mitteis model as well in traditional period instrument. There is a sound post in Gamba also.
The response of the sound isn\'t suitable to the advanced performance because it is delayed and it rings if this pillar is not in.
Actually, it is because other release strings aren\'t resonant gets long and there is a little volume and it can\'t use for the instrument.
A stick stringed (frictional, rubbing) instrument like a guitar will be limited to the tune in the performance because it is the technique which sound is taken out to by the (frictional, subbing) thing that the string is played in comparison with the frictional instrument.
Hirayama-model is improved in the miniature to be easy to pull with referring to Mitteis model. It seems to cut down the thickness of table board spruce comparatively thinly to set it up in the string head corresponding to the length of Gut strings which it can obtain at present when listening comprehension does the creative process of れ from the viewpoint of ingredient body and to sound better.
Okumura model of Arpeggione may be close to the Consort bass Viola da gamba by Henry Jaye.
As for the details, ask again because it is not worldwide standard size but it is the actual measurement value of each person\'s model though comparative materials were attached by the reference.

materials Viollin Cello
Suzuki-Viollin Japanese-model
mm. Okumura-model
mm Anton Mitteis
Size 3/4 size 4/4 size 4/4 size
Type Modern, Traditional Modern, original Traditional Period
Length 124 110 98
String length 637 682 667
Neck length 259 95 ?
Body length 690 630 637
Body widthlower ca. 400 350 380
Center of bouts 3.2 2.1 2.32
Width at bridge end 60 98 110
Hight at bridge 43.3 90 89

Arpeggione Luthier, scholar
Osamu Okumura Ph.D.

Marco Minnozzi (イタリアVn工房)からの問い合わせ

イタリアのVn工房、マルコ ミノッジーからアルペジョーネの楽器の復元研究で打診メールがきている。





From: "Marco Minnozzi" <marco.minnozzi@tele2.it>
To: okusan06@yahoo.co.jp
Subject: fro marco minnozzi violin maker italy
Date: Wed, 14 Nov 2007 11:51:41 +0100

Dear Sir, I have been very glad to visit your web site. I am violin maker since 1982 and generally I make violin, viola and cellos. I would like to make an arpeggione with George stauffer design. I see you are very informed: can you suggest me where I can find the copy of the original design? Do you know where I can see an original arpeggione? Your help will be very apreciat. Thank you in advance and I hope we will keep in touch
Marco Minnozzi violin maker

Nicolas への返事

Dear Mr. Nicolas Deletaille;
Thank you very much for your mail, and I am so happy for released your new CD of Arpeggione. I have a plan that your CD will be introduced with my Blog or HP.
By all means, I would like to listen the CD which you played with that instrument.
Recently, I had inquired when an Italian violin instrument maker want to restore Arpeggione of Stauffer model.
It may be here while an opportunity to make a voyage to the West as a technical advisor is close to the materials, the drawing, and so on for the probably perfect restoration.
From now on, it will pray more activity for you.
Sincerely yours,
Osamu Okumura
Arpeggione scholar


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