It is difficult to describe the joy of a private viewing of the beautiful and tiny mandore in the Victoria & Albert Museum. The instrument, repaired in 1640 by the mysterious Monsieur Boissart and made c. 1580–90, is exquisite. You can view photographs and read my observations about it in the second of these three articles. The first article traces the history and of the mandore, with its origins in the lute and gittern familes. This, the third and final article, is a record of the design and making of a new mandore based on, but not a replica of, the V&A’s instrument. The affable and ever-accommodating maker was Paul Baker; the delighted and very lucky player is Ian Pittaway, the author of this piece. This was to be a new journey for us both: me never having played a mandore, Paul never having made one. The article includes a video of the completed mandore playing 3 pieces from the John Skene mandore book of 1625-1635, accompanied by photographs of its construction.
mandore
The beautiful Boissart mandore, part 2 of 3: Observations on the Boissart mandore
The history of a stunning 16th century instrument, observations on its lutherie, and questions over its dating.
In part 1 we looked at the history of the renaissance and baroque mandore. Now we examine one exquisite instrument, the Boissart mandore in the Victoria and Albert Museum, London, decoding its remarkable carvings and reconstructing its biography from the visible evidence of the changes it has been through. As far as I know, this is the first critical examination of the life of the Boissart mandore.
(As with all pictures, click to see larger in a new window, click in new window to further enlarge.)
The beautiful Boissart mandore, part 1 of 3: The pre-history of the mandore
The history of a stunning 16th century instrument, observations on its lutherie, and questions over its dating.
of the Victoria and Albert Museum, London. (As with all pictures, click for a larger view.)
In the family of renaissance plucked instruments, the mandore is the result of a union between two mediaeval string families: the oud and the lute on one side, and the gittern on the other. The resulting offspring is a small instrument with a musically significant (but alas now largely unplayed) surviving repertoire. Some actual instruments survive, and there is no doubt that the most exquisite of these is the beautiful Boissart mandore in the Victoria and Albert Museum. This article and two to follow will: (1) trace the pre-history of the mandore; (2) examine the V&A’s beautiful Boissart mandore and attempt to reconstruct its personal history for, as far as I know, the first time; (3) describe the making of a new mandore based on the Boissart model.