Instruments

We are fortunate to be able to call on the talents and expertise of Timothy G. Johnson, a luthier and violin-maker who works closely with us. Tim builds modern, early, and ethnic instruments, including violins, violas, 'cellos, as well as bowed and plucked strings (including harps) for Altramar. In addition, when we need a wind player or choreographer, he's the person we call.

Altramar uses instruments appropriate to the times and places of their repertoire. Most of the information about medieval instruments comes from iconography, because very few of the originals survive. By studying paintings and sculptures, one can discover which instruments were played when and where. Also, clues can be found which suggest construction techniques of medieval craftsmen. Luthier Timothy G. Johnson has created a matched set of instruments using this type of research.

The gittern is the ancestor of the guitar, but it often resembled the medieval fiddle: two identical instruments were commonly shown togther, one plucked and the other bowed. However, gitterns more frequently had frets, flat fingerboards, and flat bridges.

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The 'ud, an Arabic lute, was popular in Southern Europe, especially Iberia. Johnson has designed an instrument for Altramar combining Arabic construction techniques with characteristics of the earliest European lutes.

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The harp played by Altramar is based on a twelfth-century mosaic. It is a small instrument, held on the lap. This simple, triangular shape was common throughout Europe from Carolingian times into the Gothic period.

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The vielle is the ancestor of both the violin and viola da gamba families. It had three to five strings, optional frets, and a flat or curved bridge.

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The rebec is a small fiddle with only two or three strings. Its one-piece, gourd-shaped body gives it a characteristic sound. Altramar's rebecs were inspired by eleventh-century sculptures in the French cathedral of Gargilesse.