The Vazquez Collection
of Historical Musical Instruments of the
16th to the 18th Centuries
The collection now contains over 170 instruments (viola da gamba, viola d'amore, violin, viola, violoncello, violone, baryton) and historical bows dating mostly from 1560 to 1780, all restored to their original playing conditions and placed at the disposal of members of the Orpheon Orchestra, Orpheon Consort, students of the University for Music and the Performing Arts Vienna and professional musicians all over Europe for concerts, recordings and study purposes. It is the living acoustical heritage - the sounds that these instruments produce for those living today - that interests us, and not their mere decorative flair as objets trouvés from aristocratic residences from our distant past. We wish to hear what these instruments have to say...
WHERE IS THE COLLECTION RIGHT NOW?
AGENDA: EXHIBITIONS & CONCERTS
EU-PROJECT 2005-2008: EXHIBITION & CONCERTS
VIOLINS
Italy
Brescia, 16th C.?
Nicolò Amati (Cremona, 1669)
Carlo Testore (Milano, 18th C.)
Matthias Albanus (Bozen, ca. 1680)
Antonio Pollusca (Roma, 1741)
Gian Antonio Marchi (Bologna, ca. 1700)
Jacob Horil (Roma, ca 1750)
Johann Jais (Bozen, 1774)
Goffriller School (Venice, c. 1700)
Italian (Cremona or Venice?, ca. 1700)
Milanese School (North Italy, c. 1700)
Austria
Jacobus Stainer ? (Absam, 1675)
Johann Christoph Leidolff (Vienna, 1739)
Johann Christoph Leidolff (Vienna, 1745)
Johann Christoph Leidolff (Vienna, 1747)
Johann Christoph Leidolff (Vienna, 1748)
Joseph Ferdinand Leidolff (Vienna, 1767)
Johann Georg Thir (Vienna, 17--)
Mathias Thir (Vienna, 17--)
Johann Joseph Stadlmann (Vienna, 1768)
Johannes Schorn (Salzburg, 1707)
Anon. Master (Tirol, 18th C.)
Anon. Master II (Tirol, 18th C.)
Others
Aegidius Kloz (I), Mittenwald, 1717
Aegidius (II) Kloz (1774)
Sebastian Kloz, Mittenwald, 1733
Leopold Widhalm, Nürnberg, ca 1780
Joseph Hill (London, 1774)
Johann Anton Gedler (Renaissance outline)
Alemannish School of the 17th C.
Anon. Master (Prague, 18th C.)
Anon. German (18th C.)
Johann Georg Hellmer (Prague, 18th C.)
Jacobus Koldiz (Rumburgue, 1751)
Anonymous German (18th C.)
Anon. (Mittenwald, 18th. C)
Anonymous Klingenthal (18th C.)
Five-string Violin
Joachim Tielke (Hamburg, ca. 1700)
Louis Guersan (Paris, ca. 1740)
VIOLAS
Anon. Master (Milano, 17th C.)
Johann Christoph Leidolff (Vienna, 1719)
Johann Georg Thir (Vienna, 1757)
Mathias Thir (Vienna, 1786)
Johann Joseph Stadlmann (Vienna 1764)
Sebastian Dallinger (Vienna, ca. 1780)
Anonymous Master (Tyrol, 17th c.)
Hulinsky (in festoon-outline (Prague, 1768)
Josephus Antonius Laske (Prague, 1787)
Anonymous: German (18th C.)
William Smith (Sheffield, c. 1780)
VIOLA D'AMORE
Jean Baptiste Deshayes Salomon (Paris, ca 1740)
Mathias Fichtl (Wien 1711)
Johann Christoph Leidolff (Vienna, 1750)
Joann Joseph Hentschl (Brünn, 1750)
Thomas Andreas Hulintzky (Praha,1774)
Michael Andreas Partl (Wien,1751 ?)
VIOLONCELLI
North Italian (ca. 1760)
Simone Cimapane (Rome, 1692)
Italian (Montagnana School?, 18th C.)
Anon. Master (Milano, ca. 1780.)
Violoncello piccolo (Italian, ca. 1700)
Nikolaus Leidolff (Vienna, 1690)
Anton Posch (Vienna, ca 1700)
Johann Georg Thir (Vienna, 1775)
Michael Ignaz Stadlmann (Vienna, c. 1780)
Johann Christoph Leidolff (Vienna, c. 1750)
Anon. Master (Vienna, ca. 1760)
Violoncello piccolo (German, ca. 1800)
Anon. German, ca. 1700
Violoncello after Andrea Amati by Roland Houël (Mirecourt, 2007)
VIOLONE
Italian (Venetian, 17th C.) 6 strings in D
Johann Georg Thir (Vienna, 1750) 5 strings
Johannes Udalricus Eberle (18th C.) 4 strings
German (18th C.) 6 strings in G
VIOLA DA GAMBA
Treble Viola da gamba
William Turner (1. London, 1647)
William Turner (2. London, 1656)
William Turner (3. London, ca. 1650)
Henry Jaye (English, ca. 1620)
Anon. 17th Century (Munich)
Leonhardt Maussiell (Nürnberg 1720)
Treble viol in festoon-form I (c. 1730)
Treble viol in festoon-form II (c. 1730)
Johann Andreas Kämbl (München, 1739)
Matthias Joannes Koldiz (Munich, 17?6)
Anon. Master (Venice or Brescia, 16th C.)
Anon., (Spain or Italy, in Ganassi-Form)
Anon., (Italian (?), 16th C.)
Salomon workshop(?), (Paris, 18th C.)
Gio. Balla Bugger (Mantua, 1630)
Andreas Jaiss (Tölz 1745)
Paul Alletsee (Munich, ca. 1700)
Anonymous German or Austrian 1
Anonymous German or Austrian 2
Anonymous German or Austrian 3
Ingatius Hoffmann (Wölfelsdorf, 1736)Pardesssus de viole
Pardessus à six cords (Flemish, ca. 1700)
Pardessus à cinque cords by Louis Guersan (Paris, c. 1750)
Tenor Viola da Gamba
Gasparo da Salò (Brescia, c.1560)
Bass Viola da Gamba
Ventura di Francesco Linarolo (Venezia, 1585)
Gasparo da Salò (Brescia, 16th C.)
Giovanni Paolo Maggini (Brescia, c.1600)
Gianbattista Grancino (Milano, 1697)
William Turner (London, ca. 1650)
Thomas Collingwood (London, 1680)
Edward Lewis (London, 1687)
Jakob Stainer (Absam, 1671)
Nikolaus Leidolff (Vienna, 1695)
Johann Georg Seelos (Linz, 1691)
Michael Albanus (Graz, 1706)
Joachim Tielke (Hamburg, 1683)
Claude Boivin (Paris, ca. 1740)
Anon. (German, 18th C.)
Anon. (German, 17th C.)
Copies
Bass viola da gamba I after John Rose (1580) by John Pringle, London
Bass viola da gamba II after John Rose (1580) by John Pringle, London
Bass viola da gamba after Henry Jaye (1580) by John Pringle, London
Two Lyra-viols after John Rose by Peter Hütmannsberger, Linz
Bass viol by Simone Zopf by Simone Zopf, Hallstatt and Vienna
Bass viol by Petr Vavrous, Prague, after Colichon
Bass viol by Petr Vavrous, Prague, after Salomon
BARYTON
Ferdinand Wilhelm Jaura, 1934, after Simon Schodler, 1782
Kurt Hoyer, 1977, after J. J. Stadlmann
HISTORICAL BOWS
The complete catalog of the Historical Bows of the Vazquez Collection
9 snakewood bows, 15 bows of other woods, which document the history of bowmaking from 1680 to 1800.
Numerous copies of historical bows by Scott Wallace (Vienna)
Modern Historical Bows by Antonino Airenti
KEYBOARD INSTRUMENTS
Harpsichord after Giovanni Maria Giusti (1690) by William Horn, Brescia
Harsichord after Jan Ruckers (1625) two manuals by William Horn, Brescia
Spinett after Queen Elisabeth's Virginal (16th C.) by William Horn, Brescia
Virginal
French double manual harpsichord in the historical manner by J. C. Neupert
Positiv organ by Walter Chinaglia, 2006
WIND INSTRUMENTS
Flute: Traverso (c. 1800)
Flutes: Two Traverse FlutesMISCELLANEOUS INSTRUMENTS
Indian instrument with sympathetic strings
MISCELLANEA
Head and Pegbox of a French Pardessus de viole, 18th C.
Head and Pegbox of an Italian Viola da gamba, 17th. C.
Head and Pegbox of a French Violoncello, 18th. C.
A historical conductor's baton
An original etui for a viola da gamba
An original etui for a small Italian violin
Paintings and engravings from the 16th-18th C. on musical subjets
Do you wish to hear these instruments?
Next events with the instruments in your neighborhood
Early Music Courses?
So, you came for a visit? Sign our guestbook!
updated 21.12.2007
Articles of InterestBiography of José Vázquez
Prominent Visitors to our Museum
Letters of recommendation
Who is allowed to perform on these instruments?
Dendrochronology: scientifically determining the age of an instrument
Luthiers that have copied or made instruments in the collection
Article on the Ruckers Symposium (English or German)
Plans for building instruments
Who made this violin?
A case in point: about the attributions on this site!)
WE BUY INSTRUMENTS: Can you help us find some?
All about the viola da gamba
The Violin Family
Violin
Viola
Violoncello
Violone or Double BassSpecial instruments:
Violino piccolo
Five-string Violin
Viola d'amore
Viola di spalla
Violoncello piccolo
Tromba marina
The Viola da gamba Family
Treble
Tenor
Bass
Violone in G
(Great bass viola da gamba)
Violone in D
(Contrabasso di Viola da gamba)Special instruments:
Pardessus
Lirone
Baryton
The Historical Bows
The Keyboard Instruments
The Wind Instruments
Miscellanea