L’Abbaye de Noirlac, France, June 29 – July 29, 2007
Exhibitions of the Orpheon Foundation
The Vazquez Collection of Historical String Instruments
Violins, Violas da gamba, Viola d’amore, Violoncellos, Double Basses from 1500 to 1789
![Surgical operation table](https://orpheon.org/wp-content/uploads/cache/2020/01/Noirlac07_operation/2196070972.jpg)
Surgical operation table
Surgical operation table, copy after an original of the 17th Century by Scott Wallace
![Quinton, Paradessus and Flutes](https://orpheon.org/wp-content/uploads/cache/2017/02/pardessus-1/3690210026.jpg)
Quinton, Paradessus and Flutes
Quinton by Louis Guersan, Paris 1752 Pardessus de viole, Flemish, ca. 1710 Pardessus de viole by Louis Guersan, Paris, ca. 1750 Head of a bass viola da gamba, Cremona, 17th C.
![English Viols](https://orpheon.org/wp-content/uploads/cache/2017/02/Vdg-eng2/3318975084.jpg)
English Viols
Three violas da gamba by William Turner, London, ca. 1650 Copy of a tenor viola da gamba by John Rose, London, ca. 1600
![Pardessus viola da gamba by Louis Guersan, Paris, ca. 1740](https://orpheon.org/wp-content/uploads/cache/2017/02/Guersan4/2681798145.jpg)
Pardessus viola da gamba by Louis Guersan, Paris, ca. 1740
Pardessus viola da gamba by Louis Guersan, Paris, ca. 1740
![Habsburg Empire](https://orpheon.org/wp-content/uploads/cache/2017/02/Stainer-etal/1846335523.jpg)
Habsburg Empire
Viola da gamba in the Habsburg Empire: Two basses by Michael Albanus, Graz, 1706 and Jakob Steiner, Absam, 1671 Two anonymous treble viols, dating from ca. 1730; the tops of these two trebles were made from the same tree!
![The Tielke](https://orpheon.org/wp-content/uploads/cache/2017/02/Tielke/4189180660.jpg)
The Tielke
Viola da gamba by Joachim Tielke, Hamburg, 1683 Previously owned by Christian Döbereiner (left) and Eva Heinitz (right)
![The birth of a violin](https://orpheon.org/wp-content/uploads/cache/2017/02/hallstatt1/1172761228.jpg)
The birth of a violin
Display from the Instrument-making School of Hallstatt, Austria showing how a violin is made
![The birth of a violin](https://orpheon.org/wp-content/uploads/cache/2017/02/hallstatt2/3092002359.jpg)
The birth of a violin
Display from the Instrument-making School of Hallstatt, Austria showing how a violin is made
![The birth of a violin](https://orpheon.org/wp-content/uploads/cache/2017/02/hallstatt3/558679066.jpg)
The birth of a violin
Display from the Instrument-making School of Hallstatt, Austria showing how a violin is made
![The Concert](https://orpheon.org/wp-content/uploads/cache/2017/02/concert2/2252913413.jpg)
The Concert
A concert for two violas da gamba: José Vázquez & Lúcia Krommer performed Tobias Hume, Johann Schenck, St. Colombe and others
![The Concert](https://orpheon.org/wp-content/uploads/cache/2017/02/concert/798050005.jpg)
The Concert
A concert for two violas da gamba: José Vázquez & Lúcia Krommer performed Tobias Hume, Johann Schenck, St. Colombe and others
![Cellist](https://orpheon.org/wp-content/uploads/cache/2017/02/cellist/3649847080.jpg)
Cellist
Tormod Dalen, a professional Baroque cellist from Norway, trying out several of the original bows of the collection
![Philippe Pierlot](https://orpheon.org/wp-content/uploads/cache/2017/02/Pierlot/3164591973.jpg)
Philippe Pierlot
An unexpected surprise: Prof. Philippe Pierlot, trying out the bass viola da gamba by Michael Albanus, Graz, 1706
![An impromptu trio:](https://orpheon.org/wp-content/uploads/cache/2017/02/MaraisTrio/894927700.jpg)
An impromptu trio:
Suite in G-major from the fourth book of Pièces de Viole by Marin Marais performed by Lúcia Krommer, Philippe Pierlot and José Vázquez on violas da gamba by Matthias Albanus (Graz, 1706), Joachim Tielke (Hamburg, 1683) and Jakob Stainer (Absam, 1671) Philippe's daughter turned pages
![Alain Granieri](https://orpheon.org/wp-content/uploads/cache/2017/02/granieri/3905403375.jpg)
Alain Granieri
The Luthier, Alain Granieri, spent several days examining, measuring viols and drawing plans for making copies. Here measuring the bass viol by Jakob Stainer, 1671