Building a hurdy-gurdy

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Documentation of the handcrafted production of a French lute hurdy-gurdy

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Description

Helmut Gotschy discovered the hurdy-gurdy in 1976 with a traveling musician in Freiburg and from then on decided to dedicate his life and profession to this instrument. Since then, he has not only devoted himself to the lyre, but has also studied its production and historical, technical and musical development in depth. In 1997, Helmut Gotschy was commissioned by the Vienna Technical Museum to build a replica of a French hurdy-gurdy by Lasnier and to document in detail the handcrafted production of this instrument. This construction description makes the complicated production of such a complex instrument accessible to a wide circle of interested parties. The interesting technical details in “Building a Hurdy-Gurdy” will help musicians to better understand their instrument and how it works.

The development of the hurdy-gurdy through the centuries

From the Middle Ages to the beginning of the 20th century, the hurdy-gurdy underwent numerous stages of development in Europe. From simple designs to more complex and high-quality mechanisms, the instrument has constantly evolved. Around 1960, the hurdy-gurdy experienced a renaissance that was characterized by a variety of musical styles and festivals. Modernization since the 1980s has contributed to the hurdy-gurdy regaining a firm place in the music scene.

Building a hurdy-gurdy: Technical structure and materials

The plan and function of the hurdy-gurdy are complex. The body, the shell, the bracing, the top and the edge inlay are just some of the components that have to be manufactured with precision. Every step from sanding and soaking to varnishing and polishing is crucial to the quality of the final instrument. The assembly of moving parts such as the wheel, axle and crank also requires specialist knowledge and craftsmanship.

Ready to play: The finishing touches

Fitting the pegs, adjusting the keys and stringing are crucial steps in getting the instrument ready to play. Each of these steps helps the hurdy-gurdy to develop its characteristic sound and allows the musicians to get the best out of their instrument.

Valuable insights into the construction of a hurdy-gurdy

The comprehensive insight into the construction of a hurdy-gurdy, the detailed descriptions of the craft processes and the historical significance of this instrument make this book an indispensable tool for anyone who wants to take a serious look at the hurdy-gurdy. It is not only a guide to making the hurdy-gurdy, but also an appreciation of its art and history. Get your copy of “Building a Hurdy-Gurdy” and deepen your understanding of this fascinating instrument, supported by the expertise of a renowned master in this field.

Additional information

ISBN-13

978-3-927240-50-6

GTIN

9783927240506

By (author)

Pages

96

Foreword

When I look back on all the years of my musical life, I have to realize that I have been playing hurdy-gurdy for 40 years… and so it is inevitable that I compare the time of my beginnings with that of the publication of this book. At that time (!), apart from a few narrow circles dedicated to the folk dances of certain regions and a few isolated individuals, nobody knew this instrument (“Oh, it’s pretty! And where does the air come out?”). And today – even if there are still many basic questions to be answered – there are special hurdy-gurdy festivals where the different musical styles of its long history and the very different styles of playing come together, where many excellent musicians play on excellent instruments, inspiring more and more beginners so that they have the desire to develop further.

What a development! How beautiful! And among all these musicians, I have many very dear friends who have grown close to my heart, be they from Germany or Austria, from Hungary, Italy, France, Belgium or Spain or from Switzerland (and even from Geneva!). Long may their lyres and their singing continue to resound! Without this revived and new interest, this book by a hurdy-gurdy maker, which contributes to its dissemination, might never have been published.

[…]

René Zosso
Geneva, April 1, 2000

Contents

  • Foreword by René Zosso
    1. The historical development of the hurdy-gurdy
      1. The hurdy-gurdy from around 1000 AD to the beginning of the 20th century. in Europe
      2. The revival of the hurdy-gurdy around 1960
      3. The modernization of the hurdy-gurdy since around 1980
    2. The plan and function of the hurdy-gurdy
    3. The construction phases and the materials
      1. The body
        1. The shell
        2. The beams and reinforcements
        3. The ceiling
        4. The edge insert
      2. The structure
        1. The tangent box
        2. The vortex box
        3. The footbridges
        4. Tailpiece, cover and wheel bracket
      3. The surface treatment
        1. Sanding and watering
        2. The pickling
        3. Painting and polishing
      4. Gluing on the small parts, bars and wheel bracket holders
      5. The moving parts
        1. Wheel, axle, bearing
        2. The crank
        3. The buttons and flags
        4. The snoring bridge
        5. The hinge
        6. Small parts
    4. Get ready to play
      1. Fitting the swivels
      2. Fitting the buttons
      3. Stringing
      4. Set up
  • Note on the documentation
  • Bibliography
  • Reference list
  • Thanks to

Author:in

Helmut Gotschy

Helmut Gotschy has been building hurdy-gurdies since 1978. He saw this instrument being played by a street musician in Freiburg in 1977 and subsequently changed his plans at the time to learn guitar making. Since then he has been fascinated by the hurdy-gurdy. He began making hurdy-gurdies as a self-taught luthier in Berlin, but nevertheless passed his guitar making exam in 1981. He has lived in southern Germany since 1986 and has been making hurdy-gurdies exclusively since 1993. His program includes reconstructions of hurdy-gurdies from illustrations from the 12th century onwards, copies of existing historical instruments from the 18. and 19th century and own modern designs. His instruments are now very popular all over the world.

The Lasnier instrument described in the documentation was built according to a plan of the Germanisches Nationalmuseum in Nuremberg. A similar instrument by the same master from 1879 is in the author’s possession.