Pamplin, Terence M (2000) The Baroque baryton: the origin and development in the 17th century of a solo, self-accompanying, bowed and plucked instrument played from tabulature. (PhD thesis), Kingston University, .

Abstract

This investigation is into the origin of an instrument known almost exclusively by the ensemble compositions written in the 18th century by Joseph Haydn for his patron Prince Nicholas Esterhazy. Earlier work by Efrim Fruchtman (1960) had established the wider group of composers around Haydn at the Esterhazy Court. The work by Carol Gartrell (1983) established the known instruments and repertory for the baryton from the first quarter of the 17th century to the 20th century. From this study it was apparent that the 'classical' baryton of the Haydn / Esterhazy circle was an evolved instrument developed from an earlier period, repertory and mode of performance. The earlier form of the baryton is termed the baroque baryton to identify the original instrument presumed at the outset of this investigation to originate from the first quarter of the 17th century. The scope of this work is to identify and establish the origin, design, construction, and also repertory and performance practice of the original baryton. To this end as many barytons from the 17th century as possible were to be located, personally investigated, measured, recorded and photographed. A digital archive on 'photo CD' and an information database were created. The musical environment of the late 16th century was investigated to identify the musical and organological trends that led to the development of the baroque baryton which it is proposed resulted from a fusion of the bandora and the lyra viol in the first quarter of the 17th century. All compositions comprising the repertory of the baroque baryton were prepared in facsimile and instruments based on original research were commissioned. Recreation and evaluation of the original playing technique of the baroque baryton was made possible by performing the known repertory on the revived instruments. The majority of the works from the period were composed for a two manual, self-accompanying bowed and plucked, solo baryton but with some evidence of an early three-manual instrument. All the IX Partien of J.G.Krause and a representative range of all other compositions have been evaluated and performed to re-establish the playing technique, method of tone production and sound quality of the baroque baryton. The instrument, apart from this research study has remained unplayed from tablature in the correct tessituras in recent times.

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