Instruments

Godfried-Adrian Rottenburgh (Brussels 1703-1768)

G.A. Rottenburgh, also know as "Rottenburgh the son" to distinguish him from his father Joannes Hyacynthus Rottenburgh, also an instrument maker in Brussels, built one of the most versatile and satisfying flute one can happen to play.  It is suitable to perform all of the late baroque and classical repertoire. Most of the copies are made after the original model owned by Barthold Kuijken, as well as after the other specimens kept in the beautiful Museum of Musical Instruments of the same city. Its wonderful sound qualities earned it the title of "Stradivarius of the flutes".


European boxwood with artificial ivory rings. Silver key. A=415.

The European boxwood, one of the hardest wood in the Continent, has always been one of the most widely used materials for the making of wind instruments such as flutes, recorders and oboes. The sound it produces is warm but distinct: soft in the medium register, quite ringing in the high one when playing forte, but delicate in the piano, full and round in the low notes.

Bubinga wood with artificial ivory rings.  Silver key. A=415.

The bubinga wood, also know as kevazinga or akume, is an African hard wood, originating in Cameroun and Gabon, where the huge trees grow more than 30 meters high. It is red-brown in colour, and a bit  oily to the touch when unrefined, before seasoning. Bubinga instruments have a warm, powerful sound, richer in the low register. The legato musical phrase flows like a stream of golden honey. In the medium and high registers it sounds mellow and round, without harshness. 

Synthetic resin with artificial ivory rings. Silver, nickel silver or brass key. Matt finishing in imitation of grenadilla. A=415.

The synthetic resin has extraordinary mechanical and physic qualities, high structural density and a specific gravity even higher that the one of natural ebony. The sound it produces is strong: clear and clarion in the medium-high register while sharp and deep in the low one. The pitch remains practically constant with any temperature, and the instruments does not suffer humidity or dry weather. It does not need maintenance, oiling or a new reaming after some year. Processing and machining are exactly the same as the ones used for wood.


Carlo Alberto Felice Palanca (Palancato 1688 - Torino 1783)