Lyonnais harpsichord makers
of the seventeenth and eighteenth centuries
2024-04-06 by Lance Whitehead
Although principally known for its canuts or silk workers, who tended to be concentrated in the Croix-Rousse district (characterised by special covered passageways called traboules), the town of Lyon in southeast France was also home to several notable harpsichord makers. These include Gilbert Desruisseaux (1651–1703), Pierre Donzelague (1668–1747), Jospeh Le Tourneur (fl.1708–40), Joseph Collese (1717–76), and Jean François Franky (fl.1777–79).
Interestingly, most seem to have been outsiders. Desruisseaux was originally from Moulins, and moved to Lyon after completing his training in Paris with Michel Richard. Donzelague was from Aix-en-Provence, Joseph Le Tourneur was baptised in Beaune (some 150km north of Lyon) and Joseph Collesse was from the Brittany town of Rennes. Moreover, all were musicians. Donzelague’s move to Lyon has been pinpointed to his joining the Académie royal de Musique de Lyon on 27 October 1688 as a singer and ‘joueur de basse de violon continuo’, Collesse is called a facteur de clavessin et musicien in his record of marriage, and both Le Tourner and Desruisseaux combined the activities of organist with that of musical instrument maker. Perhaps the Académie des Beaux arts de Lyon was a magnet to musicians and musical instrument makers alike, and we know that the institution owned various instruments, including two harpsichords by Donzelague: one was kept in the library (online archive available, here) and one was kept in the concert hall (online archive available, here).
Whether a maker worked in isolation or ran a busy workshop with multiple hands is always difficult to establish. However, Joseph Le Tourneur may have trained with his father Étienne Le Tourneur (c1676–1727), who was both an organist and organ builder, and there is a possibility that Donzelague worked in Lyon with his father François Donzelague (fl.1668–1709). A record of burial dated 18 February 1709, for one François Donzelague in the church of Saint-Pierre and Saint-Saturnin in Lyon, suggests that François did not remain in Aix-en-Provence as most writers suggest, but joined his son in Lyon. Although no occupation is recorded, the age of François is given as 75, which also fits with the known facts about this maker, and Pierre is named as his son.
From extensive searches in the Lyon archives, we now know that Joseph Le Tourneur and Joseph Collese married two sisters, Jeanne and Madeleine Argoud, and were thus brothers-in-law. Joseph Le Tourneur was one of the witnesses at Collesse’s marriage on 9 October 1730 (archive available online, here), and it is tempting to suggest that Le Tourneur and Collesse worked together. Moreover, a harpsichord left unfinished at the time of Collesse’s death in 1776 (BMO-293) was completed in 1777 by Jean François Franky. Franky’s family history has yet to be established, but he is recorded as a witness for two marriages in the church of Saint-Nizier on 11 July 1779. In both cases, he signed his name ‘Je Frankÿ’ and is described as a faiseur de Clavessin, thereby confirming his activities as a harpsichord maker. Research is ongoing to establish whether Collesse suceeded to Le Tourneur’s workshop, if Franky was the successor to Joseph Collesse, and whether either of these two had links with Christian Kroll (fl.1770–74) or Pierre Kettenhoven (fl.1772–78), two makers of probable German heritage active in Lyon in the 1770s.