Perhaps the most challenging, and even contentious, form of
restoration is to return an instrument to playing condition. A number of the many
instruments I have examined and measured over the years would be
suitable for such restoration, and this has occasionally
been done, temporarily. But museums are understandably wary of
having these precious survivors subjected to the stresses of being
brought up to playing tension, and the possibility of them being
damaged by players.
Still, how I would have loved to hear just a few sounds from the
past when I was learning about lutemaking. It was years before I
heard an old instrument played at all, and only recently have a very
few of these old lutes been heard really well played and with
authentic gut stringing. Their sound is a revelation, and one can
immediately understand how players of the Baroque were so very
willing to pay fortunes for, in the words of Thomas Mace,’pittifull
Old, Batter'd, Crack’d Things’
Occasionally, suitable candidates for resurrection do come to
view, often through the salerooms. One such, the ‘Rauwolf’ lute, has
become quite famous through the playing of Jakob Lindberg, in
particular on a superb recording of Weiss on BIS cd 1524. This was a
lute in a fairly complete state on purchase. It had a very
attractive and finely varnished maple back, and soundboard with many
original bars, made by Sixtus Rauwolf of Augsburg, perhaps as an 8c
lute c. 1590. Attached was a beautifully shaped baroque lute neck,
slim and elegant, by Leonard Mausiel, Nuremberg, 1715.
Both soundboard and back were somewhat cracked, but made of
strong, dense wood, and it was thought that it would be sturdy
enough to make a fine 11c baroque lute. The restoration to this
state was carried out by myself, the lutemaker Michael Lowe, and the
violin maker David Munro. David was involved because of his violin
maker’s expertise with varnish repairs, and with making invisible
crack patches, and he, interestingly, predicted that it would be
likely to sound excellent (in other words, those old baroque
lutenists
knew a thing or two…)The work was done over the course of two
years, and the result was immediately a revelation, an instrument
with a quite outstanding tone and projection.
Cinthius
Rotundus | Anon guitar |
Sellas | Rauwolf
| Langenwalder |
Railich | Minor
restorations