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# Joachim Tielke: Kunstvolle Musikinstrumente des Barock

MacCracken, Thomas G.
Galpin Society Journal ; West Sussex Vol. 65,  (Mar 2012): 211-214.

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FRIEDEMANN AND BARBARA HELLWIG. Joachim Tielke: Kunstvolle Musikinstrumente des Barock. Berlin and Munich: Deutscher Kunstverlag, 2011. 456pp., illus. ISBN 978-3-422-07078-3 (hardback). Price: euro78

Nearly half a century ago the German luthier Günther Hellwig published in this Journal a preliminary list of 91 'instruments by Joachim Tielke . . . known to the author at the present time', prefaced by a brief biographical sketch and supplemented by an appeal for information about additional instruments.1 Sixteen years later he presented the fruits of his lifelong study of this maker in an extensively illustrated monograph containing detailed descriptions of 139 bowed and plucked string instruments dating from 1669 to 1718, accompanied by photographs of the great majority.2 This was hailed by reviewers as 'definitive',3 'a valuable source both of reference and of inspiration for a long time to come',4 and 'a contribution of the first rank to the literature on the gamba'.5

As impressive as Hellwig's pioneering work was, the present book by his son and daughter-in-law is even better in nearly every way. In their Foreword (p.8), the authors explain that because Günther Hellwig had dedicated his magnum opus to them, they felt an obligation to continue his research. Accordingly, after retiring in 2003 from a distinguished career as a restorer and conservator of musical instruments, Friedemann Hellwig began work on a second edition of his father's book. He soon realized, however, that the discovery of nearly three dozen additional examples of Tielke's work, as well as newly-developed investigative techniques and relevant research undertaken by others during the past three decades, meant that an entirely new publication was needed. He and his wife therefore embarked upon an extensive program of international travel in order to personally examine nearly every one of the 169 instruments documented in this much-expanded presentation of Tielke's life and work.

The result is far more than a revised second edition, containing as it does a completely rewritten text, more than 800 photographs (nearly all new and in colour), a brand-new numbering system, and appendices devoted to the work of four makers with family or commercial ties to Tielke. And yet the new book's overall approach is not so very different from its predecessor, for both contain a series of introductory chapters-devoted to biographical...

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