As you say, not too much is known about the Schunda tarogatos, except that they are rare and high quality instruments. Did yours come with a mouthpiece? Please post some pictures.

 

Stephen Fox has to be one of the persons knowing more about the tarogato since he makes one (actually at least two models) too.

that's what he writes on his page ( I am quoting some of the content)

http://www.sfoxclarinets.com/Tarogatoart.html

"........The new tárogató could be roughly described as a soprano saxophone - in the Schunda design the bore proportions and taper angle are in fact exactly the same as in contemporary soprano saxophones - with the body made of wood, and with keywork modelled on that of simple German clarinets (the fingering pattern is similar in principle to what is known as the "Albert system" in North America and the "simple system" in the U.K.) The mechanism featured a single octave key, a ring key on the lower joint but none on the upper, and a range down to low Bb, the key for which was operated by the right thumb. The mouthpiece was smaller than a soprano saxophone's, and was intended to use (German) clarinet reeds.

A number of other Hungarian woodwind makers followed Schunda's lead in producing tárogatók, with some variations in mechanism and materials. The most highly reputed maker was János Stowasser (1865-19??), whose instruments are still prized today. Stowasser tárogatók have somewhat more complex keywork than Schunda's - they all have two octave keys (usually operated by separate thumb touchpieces, though occasionally fully automatic as on the saxophone) and a ring key on the upper joint - and they have a slightly steeper bore taper angle, with a smaller diameter at the top end.

........"

 

Stephen Fox has to be one of the persons knowing more about the tarogato since he makes one (actually at least two models) too.

that's what he writes on his page ( I am quoting some of the content)

http://www.sfoxclarinets.com/Tarogatoart.html

"........The new tárogató could be roughly described as a soprano saxophone - in the Schunda design the bore proportions and taper angle are in fact exactly the same as in contemporary soprano saxophones - with the body made of wood, and with keywork modelled on that of simple German clarinets (the fingering pattern is similar in principle to what is known as the "Albert system" in North America and the "simple system" in the U.K.) The mechanism featured a single octave key, a ring key on the lower joint but none on the upper, and a range down to low Bb, the key for which was operated by the right thumb. The mouthpiece was smaller than a soprano saxophone's, and was intended to use (German) clarinet reeds.

A number of other Hungarian woodwind makers followed Schunda's lead in producing tárogatók, with some variations in mechanism and materials. The most highly reputed maker was János Stowasser (1865-19??), whose instruments are still prized today. Stowasser tárogatók have somewhat more complex keywork than Schunda's - they all have two octave keys (usually operated by separate thumb touchpieces, though occasionally fully automatic as on the saxophone) and a ring key on the upper joint - and they have a slightly steeper bore taper angle, with a smaller diameter at the top end.

........"

The Schunda I found is not delivered yet, but I have pictures. It looks a lot like this one:

http://www.horniman.ac.uk/collections/browse-our-collections/object/122448/page/1

Of course it does not have the metal plate on the bell, but the maker's stamp is identical. So too are the tenon rings and certain elements of the keywork. For one thing, all the Schunda instruments I have seen are rather unique in having the long arms of the both the low B and C# keys arch over the Eb keycup. Most tarogotok follow the Stowasser pattern of having the C# arm arcing around the cup.

This is a two ring instrument, but with double octave key of very unique design on a single axle, an adaptation of the single vertical key on the back.

What is strange are the pinky touches. Early Schundas had rounded touches without rollers. The Horiman instrument has slightly rounded keys with ebonite rollers, similar to modern Romanian instruments. But this instrument has flat key touches reminiscent of later Stowassers, with metal rollers. Not only that, this instrument has the alternate left hand Eb touch, and furthermore all three LH keys are mounted on a single axle. Altogether very unique IME. If it is real, it must be one of the latest of his instruments.

Yes, it comes with a mouthpiece, which appears to be in good shape. Overall the instrument seems to be in excellent shape--needs corks and possibly pads, but no cracks (except a small chip at the bell, and wood and metal looking almost new.

More when I receive the horn...

 

yes, it will be nice to see it, incidentally, the link that you pasted in the post above carries no picture

 

Here a better link: http://www.horniman.ac.uk/object/2004.1069

Kymarto: better go and shop for some German clarinet reeds. Looks like a great horn, congratulations.

 

Sorry, here is the correct link:

http://www.horniman.ac.uk/collections/browse-our-collections/object/122448

The one I bought is not "ebonized"--natural rosewood or cocuswood.

Here is the link to the original eBay listing with pix:

http://www.ebay.com/itm/ANTIQUE-TAR...e=STRK:MEWAX:IT&nma=true&si=Nq9M4d1j3HLsVCq1GtBfPvhdn4c%3D&orig_cvip=true&rt=nc

 

looks very nice, good luck with it!