David Rubio lute 1967 - additional pictures

David Rubio 1967 Lute  - 8 courses  (copy of 17th century lute with eight courses and 14 strings)

The lowest six courses are doubled and the highest two are single strings.

Variation from original period instruments:

-the string length is the same as Bream's guitar

-frets are metal, not gut

-built a little heavier to take the string tension.

-the higher frets on the body have been changed throughout the years as the instrument has been repaired.


From low to high tuning

DD-FF-GG-CC-FF-AA-D-G


-Lute used for the recording of  the album Elizabethan Lute Songs (Julian Bream and Peter Pears) recorded in April 1969.
-Lute used for the recording of  the album The Wood So Wild  recorded in June 30 & July 1,2 1972.
-Lute used for the recording of  the album Concertos for Lute and Orchestra recorded in June 3, 1975.

-Lute used for the recording of  the album Lute Music of John Dowland recorded in April 23-25, 28, 29, 1976.

-This lute used in a television programme



David Rubio 1968  Lute  - 8 courses  (copy of 17th century lute with eight courses and 14 strings)
The lowest six courses are doubled and the highest two are single strings.
Variation from original period instruments:
-the string length is the same as Bream's guitar
-frets are metal, not gut
-built a little heavier to take the string tension.
-the higher frets on the body have been changed throughout the years as the instrument has been repaired.

From low to high tuning
DD-FF-GG-CC-FF-AA-D-G


-Lute used for the recording of the album Music of Spain, vol. 1 - Plays Milán & Narváez recorded in 1979 (the lute on    

  the album cover is not the 1968 Rubio lute used for the recording. The picture is of a younger Bream with the Thomas Goff lute.

Lute -17th-century 10-course (1985)

Luc Breton

Luc Breton built three lutes for Julian Bream


Luc Breton 1984 - Lute No. 1 - Peartree Lute - 10-courses  (modern copy of a 17th-century 10-course lute)

-Finished on the 17th of August 1984 by Luc Breton of Lausanne, Switzerland.

-This lute is primarily built of pear tree wood, ebony veneered neck and pear pegbox.

-The front is un-polished Spruce with an intricate carved rose soundhole.
-Tuners: proportioned peg-box and peg-box extension with 19 tuning pegs.
-Neck width 83cm at the nut. Eight gut frets and four further ones set into the spruce table.

-The fingerboard is in line with the soundboard (true of all historical instruments).

-The lowest nine courses are doubled and the highest one is a single string.
-String length 63,3 cm and weighing less than one kilogram (average weight of most historical instruments).

-Tuning for this lute, as per Mr Breton, is g', d'd', a'a', ff, cc, gg, Ff, Ee, Dd, Cc (from high to low)

-No known recordings were made with this lute.

-This lute was returned to the builder once the Lute No. 3 was presented to Julian Bream.



Luc Breton 1985  - Lute No. 2 - Cherrytree Lute - 10-courses  (modern copy of a 17th-century 10-course lute)

-Finished on the 25th of July 1985 by Luc Breton of Lausanne, Switzerland.
-This lute is primarily built of cherry tree wood, ebony veneered neck and pear peg-box.

-The front is un-polished Spruce with an intricate carved rose soundhole.

-Tuners: proportioned peg-box and peg-box extension with 19 tuning pegs.

-Neck width 83cm at the nut. Eight gut frets and four further ones set into the spruce table.

-The fingerboard is in line with the soundboard (true of all historical instruments).

-The lowest nine courses are doubled and the highest one is a single string.
-String length 63,3 cm and weighing less than one kilogram (average weight of most historical instruments).

-This lute had a larger shell.

-Tuning for this lute, as per Mr Breton, is g', d'd', a'a', ff, cc, gg, Ff, Ee, Dd, Cc (from high to low)

-This lute used for the recording of the album Fantasies, Ayres and Dances recorded in September 2-4, 1987.

-This lute used for the recording of the album Two Loves recorded in April 22 and September 20-22, 1988.

-This lute used in a television programme where he appeared with the Julian Bream Consort 1987 to support the album

  release Fantasies, Ayres and Dances (youtube link).

-This lute used in the television programme 'Two Loves" with Peggy Ashcroft to support the album release Two Loves   

  (youtube link - the Ashcroft segments were edited out in this video). 1987-88 video.

-This lute was used on many solo performances as well as performances with The Julian Bream Consort.
-Like many other instruments in the Julian Bream collection, this lute was sold through Kent Guitar Classics in 2008.



Luc Breton 1990 - Lute No. 3 - Cherrytree Lute - 10-courses  (modern copy of a 17th-century 10-course lute)

-Finished on the 24th of May 1990 by Luc Breton of Lausanne, Switzerland.
-This lute is primarily built of cherry tree wood, ebony veneered neck and pear pegbox.

-The front is un-polished Spruce with an intricate carved rose soundhole (different than the carved rose on the 1985 lute).
-Tuners: proportioned peg-box and peg-box extension with 19 tuning pegs.
-Neck width 83cm at the nut. Eight gut frets and four further ones set into the spruce table.

-The fingerboard is in line with the soundboard (true of all historical instruments).

-The lowest nine courses are doubled and the highest one is a single string.
-String length 63,3 cm and weighing less than one kilogram (average weight of most historical instruments).

-This lute has a smaller shell (Julian Bream preferred the smaller sized pear-shaped shell.

-Tuning for this lute, as per Mr Breton, is g', d'd', a'a', ff, cc, gg, Ff, Ee, Dd, Cc (from high to low).

-No known recordings were made with this lute.

-Like many other instruments in the Julian Bream collection, this lute was sold through Kent Guitar Classics.


The information for the three Breton lutes has been verified by Luc Breton.


Luc Breton has built over 300 lutes of all kinds (renaissance and baroque lutes as well as theorboes). He is also a builder of classical guitars, Baroque guitars, viols, violins, cellos as well as hundreds of bows for any kind of bowed instruments.


Additional picture of the lutes above

Renaissance Lute 8 course
David Rubio, 1968

Lutes:

Lutes owned by Julian Bream while a professional lutenist.

Luc Breton lute - additional pictures

Thomas Goff 1951 Lute  - 7 courses  (copy of 16th century lute with seven courses and 12 strings)
The lowest five courses are doubled and the highest two are single strings.
Variation from original period instruments:
-frets are metal, not gut

From low to high tuning
DD-GG-CC-FF-AA-D-G


-Lute used for the recording of The Golden Age Singers' album Dowland: Ayres for Four Voices, Vol. 2  in 1956.

-Lute used for the recording of the Alfred Deller's album Monteverdi Il Ballo Delle Ingrate recorded in 1957

-Lute used for the recording of the album Elizabethan Lute Songs: vol. 1 of An Anthology of English Song in 1955

-Lute used for the recording of the album Julian Bream Plays Dowland recorded in 1956

-Lute used for the recording of the album A Recital of Lute Songs recorded in 1958

-Lute used for the recording of the album The Golden Age of English Lute Music recorded in 1960

-Lute used for the recording of the album An Evening of Elizabethan Music recorded in 1962

-Lute used for the recording of the album Rodrigo, Vivaldi, Britten recorded in 1963 (selection 4-13)

-Lute used for the recording of the album Julian Bream in Concert recorded in April 1963

-Lute used for the recording of the album Lute Music from the Royal Courts of Europe recorded in April-May 1966

-Lute used for the recording of the album Dances of Dowland recorded in 1967

-Lute used for the recording of the album Sonatas for Lute and Harpsichord recorded in 1969

Renaissance Lute 8 course
David Rubio, 1967

Renaissance Lute 7 course

Thomas Goff, 1951

Thomas Goff lute 1951 - additional pictures

Julian Bream on lutes (taken from Frets magazine 1981):


The stringing and tuning setup of lutes underwent considerable change during the lute's reign of nearly 300 years as the fovorite parlor instrument in Europe. Bream decided onhis setup primarily because it enabled him to play a breadth of different styles of lute music. He explains: "In England, the eight- and the nine-course lute became quite fashionable towards the end of the sixteenth century and the begining of the seventeenth century. The classical lute - the lute of the high Renaissance that Milano used - was a six course instrument. A seventh coarse , originally the low D, was added; but so much music, particularly continental lute music, requires the F on the seventh coarse. So I find that the seventh-course F and the eigth- course D, the instrument serves the needs of a broad range of lute music quite well."


"I would have liked to have a ninth-course. That was the lute Dowland used in the early seventeenth century. I think that would be ideal. Some people advocate ten courses, because for some of the English pieces, and indeed, the French pieces, you need a low C. But then I think the instrument gets a little cumbersome. Not cumbersome to play, necessarily; but the top strings pick up a lot of resonaces and overtones from the the bottom strings, and the treble tends to suffer against all those base strings".


Strings for lutes:
He basically uses a mixture but they are mainly La Bella strings. 


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