Medieval, Renaissance and Early Baroque flutes traverso
In the 16th century in Europe a traverso flute was produced from one piece of wood, sometimes from two. Two kinds of traverso flutes were used. The first type, due to its tiny, delicate sound, was used mostly to support a human voice or to play in a small consort with instruments of little volume. The second kind with a bigger mensura and reed had a loud, piercing sound, which was used by the army (so called Swiss flutes). Alto, tenor and bass flutes have been maintained till our times.
The GT flutes is made of sycamore, cherry maple or pear wood.
The studio of Mr. Tomaszewicz produces four types of renaissance and early baroque flutes with different sound characteristics.
This is the most common Renaissance flute on old iconography. It has a delicate structure, it is made of one piece of wood. Sweet, delicate sound, very fast articulation. It is perfect for playing in small bands accompanied by singers and lute. It works perfectly in the solo repertoire – Van Eyck
It’s a flute with a wider channel and thicker walls than Bassano. Strong sound throughout the scale, perfect intonation. This flute is dedicated to musicians for playing songs and dances. Its two-part construction is very convenient for transporting and for correcting intonation. The bass flute in this series is extremely comfortable and easy to play. The most common problem in bass flutes from the renaissance period is the extreme distance between the holes in the fingers, in this model the problem is minimal.
One of the most beautiful flutes preserved to our times. It combines the character of Bassano and Verona flutes. A loud, sweet sound, perfect intonation, easy to play even for modern flutists.
Model from the Museum of Instruments in Berlin
This simple flute has a powerful sound, sometimes comparable to contemporary folk flutes or to the so-called Swiss Renaissance flutes. The dominant, very loud first octave. This flute is perfect for bands playing dance music with many musicians. It combines well with cornetto, shawms and percussion instruments. It is also often used for playing medieval music.
How temperature affects on height of sound in woodwinds instruments
Mein M. ich hab" Arnolt Schlick (ca.1460-1521)
"Jouyssance vous donneray" by Claudin de Sermisy (ca. 1490-1562)
Amour Victorieux- Gabriele Battaile (1574-1630)
Si jamais mon ame blessee - Pierre Guedron (1570-1620)
Graduated with distinction from the Academy of Music in Lodz in Magdalena Pilch's transverse flute class, and is currently studying the recorder in the class of Marek Nahajowski. He has attended many masterclasses led by prominent pedagogues such as Kate Clark, Georgia Browne, Corina Marti, Karolina Zych, Peter Frankenberg, Raphael Alpermann, Nicolas Parle, Katarzyna Drogosz, Stefan Plewniak, Henryk Kasperczak and Sirkka-Lisa Kaakinen Pilch. He plays many types of transverse and recorder flutes, from Renaissance to 19th century simple system flutes. As a chamber musician (Barque Ensemble, Alba del Mondo, Musica Perennis, La Viva Fiamma) and orchestral musician (Altberg Ensemble, Capella Warmiensis Restituta, Das Lausitzer Barockensemble, Diletto), he has performed at various Polish early music festivals. He is also a member of a male vocal ensemble The Singing Heads.
Harpsichordist currently enrolled in early music performance programme at Grażyna and Kiejstut Bacewicz Music University in Łódź under the guidance of prof. dr hab. Ewa Piasecka and dr hab. Ewa Rzetecka-Niewiadomska. He participated in numerous masterclasses such as Piccola Accademia di Montisi with Christophe Rousset, Varmia Musica Academia with Ewa Mrowca-Kościukiewicz, and Musik und Kunst Privatuniversität Vienna Harpsichord Masterclass with Nicholas Parle.
His artistic activity is focused on Johann Sebastian Bach’s musical output, ranging from solo music performance to managing ensemble projects. His field of expertise also includes French baroque music, classical and modern repertoire.