Six course lutes Nine and Ten courses Baroque lutes Archlutes/Theorboes
Seven and Eight Course Lutes - from £2750
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Although seven course lutes exsisted as early as 1511 (Virdung), they were at that time probably used mostly by professional players. By the 1570s however the seventh course was probably becoming more common amongst a wider range of players.
Use of of the long 'pearl' form associated with makers like Frei and Maler continued, and many existing lutes of this type were probably converted to seven and eight courses to keep pace with changing musical trends.
In the last quarter of the century lutes with a shorter more rounded body shape and steeply curving shoulders aquired great popularity. This style of building is closely identified with the Tieffenbruckers - an important dynasty of makers from Southern Germany - and the workshop of Vendelio Venere in Padua.
1. Venere 1592 (Bologna). g' tuning
String length 58.7cm .
Courses: 7 or 8
One of the few late 16th century lutes to survive in virtually unaltered form. The back has 25 heartwood yew ribs. The neck and pegbox can be veneered in contrasting stripes of three different woods, or plain ebony. Eight fret spaces on the neck. Ebony soundboard binding. Black stained pegs. Also available with a 13 rib back.Click here to see pictures
6. Magno Tiffenbrucker (Vienna) C.45
Eight courses
Various configuarations of this classic model are available: 13 ribbed back/19 ribbed back, and multi ribbed back. The neck can be built to hold either eight or nine tied frets. The neck and pegbox are veneered in ebony. Ebony fingerboard with the usual points detail. The soundboard is finished with an ebony binding. Pegs are ebonised plum, or holly. click here to see photos of nine course version.
3. After Hieber/Venere. g' tuning
String length: 60cm.
Courses: 7 or 8
This design is based on a synthesis of the Hieber lute in Brussels and other examples from the Venere workshop. The back has thirteen ribs of maple, heartwood yew (as illustrated). The neck and pegbox can be veneered in ebony, or made from solid e.g., pear or beech. Eight tied frets on the neck. Ebony soundboard binding. Black stained pegs. Click here to see pictures
7. 1582 Venere (Vienna C36) - Tenor lute
Courses: 7 or 8
Although now little used, instruments of this size were probably much more common in the late sixteenth century - understandably given the magnificently resonant sound that they produce. 13 ribbed back. Eight fret spaces on the neck. Ebony soundboard binding. Black stained pegs. click here to see photos.
4. Small Bologna pattern lute. g' tuning
String length: 60-62cm .
Courses: 7 or 8
A design based on one of my small 'Bologna' forms. The 11 ribbed back is strongly influenced by the style of the Warwick Frei. The neck can be built to hold either eight or nine tied frets. The neck and pegbox are veneered in ebony. Ebony fingerboard with the usual points detail. The soundboard is finished with an ebony binding. Pegs are ebonised plum, or holly.
8. Warwick Hans Frei - Tenor lute
Courses: 7 or 8
The original instrument was probably made as a six course, however, this classic design works just as well with added basses. Eleven rib back
5. Hans Frei (Vienna C.34). g' tuning
String length: 63-64 .
Courses: 7 or 8
Based on a Hans Frei lute in the Kunsthistorisches Museum in Vienna. The back has 11 ribs. The ebony veneered, neck can be built to hold either eight or nine tied frets. Ebony fingerboard with the usual points detail. The soundboard is finished with an ebony binding. Pegs are ebonised plum, or holly.
9. Bass lute after Vendelio Venere
String length: 78cm
Courses: 7 or 8
The original has 19 ribs of shaded yew ribs, neck and pegbox veneered in ebony, and with an ebony and ivory heart in the sound board. Click here to see pictures
Caravaggio. The Lute Player c. 1600. Metropolitan Museum of Art, New York
