Arnold Dolmetsch
| Arnold Dolmetsch | |
|---|---|
 |
|
| Born |
Eugène Arnold Dolmetsch 24 February 1858 Le Mans, France |
| Died | 28 February 1940 (aged 82) Surrey, England |
| Alma mater |
Royal College of Music Brussels Conservatoire |
| Occupation | musician, instrument maker |
| Spouse(s) | Marie Morel (1878－1898) Elodie Désirée (1899－1903) Mabel Johnston (1903－1940, his death) |
| Children | 4 |
| Parent(s) | Rudolph Arnold-Dolmetsch Marie Zélie-Guillouard |
| Awards | Chevaliers of the Légion d'honneur |
Eugène Arnold Dolmetsch (24 February 1858 – 28 February 1940), was a French-born musician and instrument maker who spent much of his working life in England and established an instrument-making workshop in Haslemere, Surrey. He was a leading figure in the 20th-century revival of interest in early music.
The Dolmetsch family was originally of Bohemian origin, but (Eugène) Arnold Dolmetsch, the son of Rudolph Arnold Dolmetsch and his wife Marie Zélie (née Guillouard) was born at Le Mans, France, where the family had established a piano-making business. It was in the family's workshops that Dolmetsch acquired the skills of instrument-making that would later be put to use in his early music workshops.
He studied music at the Brussels Conservatoire and learnt the violin with Henri Vieuxtemps. In 1883 he travelled to London to attend the Royal College of Music, where he studied under Henry Holmes and Frederick Bridge, being awarded a Bachelor of Music degree in 1889.
Dolmetsch was employed for a short time as a music teacher at Dulwich College, but his interest in early instruments was awakened by seeing the collections of historic instruments in the British Museum, and, after constructing his first reproduction of a lute in 1893, he began building keyboard instruments. William Morris encouraged him to build his first harpsichord. He left England to build clavichords and harpsichords for Chickering of Boston (1905–1911), then for Gaveau of Paris (1911–1914).
He went on to establish an instrument-making workshop in Haslemere, Surrey, and proceeded to build copies of almost every kind of instrument dating from the 15th to 18th centuries, including viols, lutes, recorders and a range of keyboard instruments. His 1915 book The Interpretation of the Music of the XVIIth and XVIIIth Centuries was a milestone in the development of 'authentic performances' of early music.
...
Wikipedia