)–C–D–G–c–e–aand notes that the galizona
or colachon can also be single-strung.A type of bass lute used for continuo accompaniment and solos from the late 17th century to the mid-18th century, especially in Germany and Austria. The range of various spellings (gallichona, Gallischon, Gallischona, gallichone, gallichane, galizona, galizono, galiziono, gallicono, calichon, colachon, caliciono, colocion, calachon, calcedon, calzedono, callezono) indicates a wide diffusion of the instrument. The term Mandora, which came into fashion at about the same time, was used to describe the same instrument or a smaller version of it: it seems that until about 1740 the term ‘calichon’ and its variants was used for the larger continuo instrument tuned in A, and the name Mandora reserved for a smaller instrument tuned a 4th higher, in D. However, in many cases both names were used indiscriminately for the smaller instrument; similarly, the same piece sometimes appears in tablatures assigned variously to the calichon or the Mandore (a term usually applied to a type of small lute found in 16th- and 17th-century France). ‘Calichon’ and its variants finally disappeared in the second half of the 18th century, whereas ‘Mandora’ continued in use into the 19th century. The similarity of names notwithstanding, the calichon must be clearly distinguished from the Colascione, a long-necked, two- or three-string Italian instrument.
The
calichon is usually in the form of a six-course lute, with five double courses
and a single chantarelle. It seems likely that the earlier form was tuned C–D–G–c–e–a,
a tuning identical with that of the English bandora, and implying a lute of
large dimensions. James Talbot (MS, c1685–1701, GB-Och) described
the colachon owned by Gottfried Finger as such an instrument. T.B.
Janovka (Clavis ad thesaurum magnae artis musicae, Prague, 1701/R)
emphasises the usefulness of this type in continuo-playing. A manuscript in
Brno (early 18th-century, CZ-Bm, D 189) documents two five-course callezono
tunings: D–G–c–e–a and C–F–A–d–g. Janovka also mentions an
eight-course type tuned A–B (or B)–C–D–G–c–e–aand notes that the galizona
or colachon can also be single-strung.
The use of this earlier type of calichon as a continuo instrument is confirmed in various sources; it is specifically scored in operas by J.S. Kusser and Reinhard Keiser, and mentioned in texts by Kuhnau, Mattheson, Baron and others (see Lück, 1960). Unfortunately, no such instrument seems to have survived intact.
The
smaller form of the calichon (also called mandora) was usually tuned F–G–c–f–a–d'.
The lowest course could be retuned to E, D or Caccording to the key of the
piece that was to be performed. Furthermore, the Brno manuscript mentioned
above describes a Callezono ad modum Violae di Gamb (the same tuning as
a bass viol), D–G–c–e–a–d'. This tuning is confirmed by Beyer (1703) and
Eisel (1738). The several calichon manuscripts in Dresden (D-Dl) show
some more unusual variant tunings (D–G–c–f
–a–d', D–F–A–e–a–d', and E–G–B–f–b–e), while a manuscript in Donaueschingen (1735, D-DO
Ms.ms. 1272) contains pieces for the tuning E–A–B–e–a–c'.
Besides its employment as a continuo instrument, solo and chamber music for this type of calichon also survives in manuscript. The notation is in French lute tablature (see Tablature, §3(iv)) with the usual ornamentation signs, and the playing technique is also derived from the lute. While most of the pieces are anonymous, 18 suites for ‘Gallichone’ by G.A. Brescianello, and several chamber works for ‘Gallichona’ and other instruments by Johann Paul Schiffelholz are in the Sächsische Landesbibliothek, Dresden, and some pieces by P.C. von Camerloher are in Metten Abbey. 114 manuscript tablatures for calichon or mandora have so far been discovered.
So many instruments of the smaller type have been preserved that it may be concluded that in some regions the calichon was more prevalent than the Baroque lute. Outwardly the surviving instruments resemble the Renaissance lute. The body practically always consists of nine ribs, the pegbox is usually angled back from the neck and carries a bracket for the chantarelle. The most prominent of the 30-or-so builders whose instruments have been preserved is G.F. Wenger (b Vienna 1681; d Augsburg, 1767). (For illustration see Mandora.)
J.S. Beyer: Primae lineae musicae vocalis (Freiberg, 1703)
J.P. Eisel: Musicus autodidaktus (Erfurt, 1738)
R. Lück: ‘Zur Geschichte der Basslauten-Instrumente Colascione und Calichon’, DJbM, v (1960), 67–75
W. Boetticher: Handschriftlich überlieferte Lauten- und Gitarrentabulaturen des 15. bis 18. Jahrhunderts, RISM, B/VII (1978)
D. Gill: ‘Mandores and Colachons’, GSJ, xxxiv (1981), 130–41
J. Libbert: ‘Die Regensburger Calichon-Tabulaturen’, Gedenkschrift Hermann Beck, ed. H. Dechant and W. Sieber (Laaber, 1982), 87–106
D. Gill: ‘Alternative Lutes: the Identity of 18th-Century Mandores and Gallichones’, The Lute, xxvi (1986), 51–62
D. Kirsch: ‘Die Mandora in Österreich: zur Bestimmung eines Lautentyps des 18. Jahrhunderts’, Vom Pasqualatihaus, iv (1994–5), 63–102
P. Prosser: Calichon e Mandora nel Settecento con un catalogo tematico del repertorio solistico (Padua, 1995–6)
DIETER KIRSCH