(Paris, 1708-1786) Boxwood, ebony, olivewood, tulipwood,
lignum vitae, or artificial ivory flute after numerous examples
from collections in Europe, America and Japan. a=392, 400,
410, 415, 425. This model did not originally have a foot-register
or screw-cork, but we offer an optional register on our model.
Thomas Lot worked from the 1730s on as successor
to the same workshop operated by Naust,
and was associated with many of the most famous players of
his time. It seems as though most of the noble houses of Europe
in the first half of the 18th century owned a Lot flute, or
a set of them, and many survive in museums and private collections.
Ours is based principally on the one in the Dayton C. Miller
Collection at the Library of Congress, Washington DC, but
uses information gathered from many similar examples. Until
we began making the Denner flute,
the Lot was our most popular baroque flute, but although it
has a large and warm sound at least equal to the Denner in
quality, it is not as easy to play in tune in remote keys.
Our Thomas Lot flute became popular when we
introduced it in the early 1990s, at a time when a majority
of the well-known performers were playing the same type of
flute: a Rottenburgh. In
the decade since then the diversity of models in use has increased
dramatically, and we have studied many more original instruments
from Lot's workshop. In 2001 we revised our design and now
offer what we call the Lot Mark II, which we believe better
represents the original instruments. It has an easier high
register, a more even tone, and less quirky intonation than
the Mark I. Owners of the earlier model may contact
us to learn their options for an upgrade.
To peruse the list of Lot's customers provided
in Tula Giannini's book Great
Flute Makers of France (London: Tony Bingham, 1993)
is to become aware that his instruments must have been thought
capable of playing in most of the musical styles of the mid-18th
century. Desjardins. Lucas, Pièche, Philidor, Blavet
and Wendling all owed the workshop money for flutes at various
Janet See, with Davitt
Moroney (harpsichord) and Mary Springfels (viola da gamba).
From: J.S. Bach: Complete Sonatas for Flute and Harpsichord.
Harmonia Mundi France 907024.25 (2 CDs)
Time: 3:46.76 Size: 2,291,204 bytes 16 bit stereo 44.1 KHz