|
![spacer4.gif](images/spacer4.gif) |
uring
the Renaissance, several sizes of instruments were produced to make
up families corresponding more or less to the different registers of the
human voice. Small lutes replicated the soprano register.
|
Renaissance Soprano Lute
In the manner of Wendelin Tieffenbrucker
By
Edward R. Turner
Vancouver British Columbia
1974
Spruce, British Columbia yellow cedar, basswood, ebony, maple, boxwood, gut,
pearwood, ivory, nylon
Overall length: 33.8 cm;
body: 21.5 x 12.6 cm;
depth: 6.3 cm;
peg box: 10 cm
|
These two lutes, with their knotted-gut frets, are based
on an instrument by Wendelin Tieffenbrucker which is preserved
in the Kunsthistorisches Museum in Vienna. Tieffenbrucker belonged to a German
family famous for its lute making in the sixteenth and seventeenth centuries.
Half of the family settled in northern Italy and the other half in Lyon,
France. Wendelin was very active in Padua toward the mid-sixteenth century.
Opus 56 Renaissance Soprano Lute
|
![Renaissance Soprano Lute - CMC 74-694/S74-2294/CD94-161](images/opus428.jpg)
Renaissance Soprano Lute Close-up view of the Gothic-style rose.
In the manner of Wendelin Tieffenbrucker
By
Edward R. Turner
Vancouver British Columbia
1974
Spruce, British Columbia yew and maple, ebony, Quebec maple, gut, pearwood, ivory, nylon
Overall length: 33.2 cm;
body: 20.5 x 12.6 cm;
depth: 6.5 cm;
peg box: 10 cm
|
Like all of Edward Turner's instruments, these lutes are meticulously crafted
and historically faithful to the originals. A Gothic-style rose ornaments
the soundboard. |