Pier Lorenzo Vangelisti Double Bass, Florence circa 1740 - #2707
Pier Who?
Pier Lorenzo Vangelisti worked
in Florence between 1700-1746. He was also known by the name Pietro
Evangelisti. His work foreshadowed that of the renowned Florentine
maker Giovanni Battista Gabrielli who worked between 1736-1787.
It is a good looking instrument
Yes it is certainly a very user-friendly
model that will undoubtedly be of particular interest for both female
players or for those of a slightly smaller stature. This is partly
because the instrument has been made as a swell back yet with a
clear angle-break that allows for the most comfortable of playing
positions. In the most artistic manner imaginable Vangelisti has
successfully achieved the near impossible engineering feat of changing
a curve into a flat.
The back is pretty spectacular
Yes, The age, quality and character
of this instrument are etched into the back for all to read.
Re The wood; Is quite plain however
there is immense character. On the bass side one can see wide grains
descending in a wild florid manner.
Re The varnish; Is absolutely
spectacular. There is a wonderful light ground colour peeping through
layers of opaque yellows and overlain golden-browns. The varnish
on the upper break and lower treble flank are of a later date.
Re Character; Years of active
life have given this instrument a unique and individual character.
There is a particularly deep gouge type hollow some 9.0cm below
the semicircular break line and near the central join that suggest
that the back is starting to get thicker from this point to allow
for the swell-flat change. Some similar gouge type marks on the
treble side central back and numerous other abrasions suggest that
the instrument has received an eventful life.
What
about the rest of the instrument?
Re The table; Once again full
of character. The arching is refined and well balanced and there
is in a nice strong, even-medium grain line visible. The F' are
well cut, bold and beautifully flowing. The corners are distinctive.
The varnish is of an attractive golden-brown in colour.
Re Ribs; A plain maple with a
delicate horizontal flaming is the most subtle of matches for the
front and back.
Re Scroll; Although the width
of the peg-box cheek just below the scroll is on the narrow side
the scroll is very nicely proportioned with lots of Italianate charm.
The addition of extended loops carved at the button is a nice touch.
The peg box is fitted with quality brass machines and plates.
Have any repairs been done?
All the old cracks and repairs
have been washed out and redone. A new bass bar has been fitted
and some of the edging thinned out. There is a new neck with fingerboard
and although there isn't a post crack in the table the instrument
now benefits from a "supportive patch". A set-up to the
highest standard possible completes the presentation. Although not
currently fitted a finger-extension (key-less) comes with the instrument.
What about the sound quality and how desirable
is it?
As one would hope for from an
18th century Italian this instrument does produce the goods. There
is a warm rounded sound of immense quality and colour and the good
looks and player friendliness all combine well to make this a highly
desirable orchestral instrument.
Tell you what. Why don't
you have a little listen to this sound clip of Staneslau Anischenko
playing the Vangelisti. Staneslau is joint solo bass with the
Orchestra of the State Opera House, Stuttgart.
Stats:
LOB (length of back) - 111.0cm
(43.65in)
Width across upper bouts - 49.2cm (19.35in)
Width across middle bouts - 37.0cm (14.56in)
Width across lower bouts - 67.5cm (26.52in)
Depth of lower ribs inc both plates- 21.3cm (8.35in)
Body Stop - 61.0cm (24.0in)
String length - 105.5cm (41.5in)
What
about the rest of the instrument?
Have any repairs been done?
