Renaissance and Baroque musical instruments
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.
Bassano
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
Verona
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.
Lissieu
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.
Fingering Chart
How temperature affects on height of sound in woodwinds instruments
Recordings
Mein M. ich hab" Arnolt Schlick (ca.1460-1521)
"Jouyssance vous donneray" by Claudin de Sermisy (ca. 1490-1562)
More about performer
Amour Victorieux- Gabriele Battaile (1574-1630)
Si jamais mon ame blessee - Pierre Guedron (1570-1620)
Radosław Orawski
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.
Kamil Szymczakowski
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.
Pavaen Lachrymae (Jacob van Eyck)
More about performer
"Amarilli Mia Bella", G. Cacini
More about performer
Pictures:
Medieval Flute Traverso tenor in d Cantigas de St Maria
No medieval transverse flutes have survived. Probably the only such flute is the 2662 in the collection of the Berlin Instrument Museum, but this is still a matter of debate. I have been making this Berlin flute in my studio for many years; you can hear it on my website in several recordings. It is a flute with very thick walls, a bore of approximately 18 mm and a mouthpiece of approximately 8 mm. This flute plays in comparison to Renaissance flutes, with a significantly larger sound, rich timbre, and good resonance. The only Renaissance flute with parameters similar to this one is the two-piece flute at 408 Hz – C. Rafi from the Instrument Museum in Bologna. I would like to present to you a new "medieval" flute from my studio, completed tonight, whose external form is identical to the iconography from the Cantigas de St. Maria. I wanted this flute to be similar in design to the Berlin flute, but lighter, louder, and with quick articulation. This flute has a larger bore than the Berlin flute, very thin walls, and a larger, more comfortable mouthpiece. Its delicacy is comparable to reed flutes, bansurii, etc., despite being made of European mountain maple. I consider this project a great success. This flute meets all my expectations.
Renaissance flute traverso tenor - Rauch von Schrattenbach
A Renaissance tenor traverso flute in the key of D, a copy from Rauch von Schrattenbach.
This family of Bavarian flute and recorder makers was active in the 15th and 16th centuries. Preserved instruments from their workshop can be seen in several museums: in Verona, Rome, Salzburg, Antwerp, and elsewhere.
The characteristic symbol/logo of their instruments is a trefoil. The flute I reconstructed comes from Verona. Compared to other Renaissance flutes, such as the Schnizter, Rafi, or Bassano, it is much more delicate and has thinner walls. Its sound is sweet and very well-balanced throughout the entire scale. It can be made at frequencies of 440, 415, 400, and 465 Hz.
Renaissance tenor flute in d, originally covered with leather and bone mouthpiece from Museum of Musical Instruments in Rome
Renaissanse flute Anonim d/415 Hz from Museum in Berlin Nr 5422
Project "Neo- Renaissance bass flute" in G 440 Hz with 3 keys
This bass flute is a copy of a Renaissance flute from Verona, to add modern keys (G#, B, C#) and an additional hole for the left thumb have been added, thanks to which we can play f#2. I made this project for the needs of musicians who want to find new sounds with easier intonation. In my opinion, an excellent instrument for playing contemporary/experimental music, folk, ethnic, jazz, etc. On special request, the key of E flat major can also be added.
Renaissance tenor flute traverso C.Rafi 408 Hz from Museum in Bologna
"Jouyssance vous donneray" by Claudin de Sermisy (ca. 1490-1562)
Renaissance flute in d- Schnitzer from Verona
Mein M. ich hab" Arnolt Schlick (ca.1460-1521)
Medieval Flute from Museum in Berlin, sycamore wood with rings in black horn
Medieval Flute from Museum in Berlin, walnut wood with rings in alternative ivory
"Under der linder" by Walther von der Vogelweide (1170-1230)
Novel Amor – Anonim (cr 1200)
Renaissance treble flute in g copy Accademia di Verona
Renaissance tenor flutes
Early Baroque flute traverso - Lissieu in d/boxwood
Praetorius flute in satinwood with black horn ring
Flutes traverso - Bassano Consort (alto, tenor, bass)
Renaissance flutes C.Rafi (alto in g, tenor in d, bass in G)
Renaissance bass flutes in G 440,384 and 392 Hz
Amour Victorieux- Gabriele Battaile (1574-1630)
Si jamais mon ame blessee - Pierre Guedron (1570-1620)
Renaissance flute tenor in d, M. Praetorius (1572-1621)
Early Baroque Flute traverso in c or d Anonim F.H, about 1650-1685 Augsburg, Germany
How temperature affects on height of sound in woodwinds instruments
