Page 52 - The Strad (February 2020)
P. 52

MICHEL COLLICHON


























         THE MAGNIFICENT

       TEN















         Just a handful of instruments by
         Michel Collichon have survived to the
         present day – but they demonstrate
         the skill and techniques of a master
         innovator. With a tenth example
         TGEGPVN[ KFGPVKƒGF  Shem Mackey
         explains the appeal of the 17th-century
         viol maker to modern-day luthiers







       T               he French viol maker Michel Collichon   – the famous ‘Plan de Paris’ in reference to a marquetry map of
                       (1641–c.1694) is an enigma. His very few
                                                              Paris on the back – has determined that it, too, was made by
                                                              Collichon, bringing the total number of known viols by the
                       surviving instruments are among the nest
                                                              maker to ten. €is is a good opportunity to re-appraise what we
                       viols in the world today, and we are lucky that
                       a number of them are still in their original
                                                              know about this enigmatic and creative luthier, based on close
                       condition. His workmanship shows
         intelligence, creativity and condence. His work is simple and   examination of the instruments themselves.
                                                                But rst, some history. Michel Collichon came from a family
         inspired in equal measure and, for anyone interested in learning   of instrument makers prominent in Parisian musical society in
         from extant instruments, it is hard to nd or recommend a   the reign of Louis XIV. €ey were known to such luminaries of
         better master. €e inconsistencies and points of di‚erence in   the viol as Jean de Sainte-Colombe and Jean Rousseau; indeed
         his instruments, from his wood choice to peculiarities in set-up,   Rousseau made reference to them in his 1687 Traité de la Viole:
         give the impression of a maker always striving to better his craft   ‘When I was learning from Sainte-Colombe [I] was housed
         and who was unafraid to try new ideas and make changes to his   with the “bonhomme luthier” Collichon who at this time used
         method – marking him out as a unique talent among the   to live at Rue de la Harpe...’ Of Michel Collichon himself, little
         French luthiers of his time. My recent research into another viol   is known: just two surviving documents relate directly to him,
         50    THE STRAD  FEBRUARY 2020                                                                 www.thestrad.com
   47   48   49   50   51   52   53   54   55   56   57