A Visit to the Workshop of Alexander Batov, Lewes, England

There are few players who specialise in vihuela performance, and even fewer luthiers who specialise in the construction of vihuelas, so it is natural that I have been drawn to the work of luthier, Alexander Batov. Alexander's website is devoted to the deep fluted- and vaulted-backed vihuela as appears on the Chambure and Dias instruments: (left to right) Chambure back, Chambure front, Dias back, Dias front:

I think it is fair to say that both instruments are regarded by some luthiers as being controversial choices. The Dias is widely regarded as an early guitar, while the Chambure might not even be from the 16th century. However, many agree that these instruments are suitable choices upon which to base the construction of a vihuela.

Just before Christmas 2004, Alexander sent me a vihuela in G for my perusal. It arrived on a day I was in the recording studio, so I took advantage of the moment and recorded from memory the beautiful setting by Luys de Narvaez of Josquin's Mille Regres. Have a listen to the recording while reading the rest of this page. My first impression of the instrument is that it was beautifully made, and clearly Alexander is one of the top-rank luthiers. The craftsmanship is remarkable, and the tone of the instrument is both complex and focused. Here is a picture of that instrument:

I decided to visit Alexander's workshop in the town of Lewes, near Brighton in England. The rest of this page is a short report on my very interesting visit.

When I arrived, Alexander had recently finished the Chambure model, so it was going to be interesting comparing it with the Dias model. Alexander had made a number of copies of the Dias at various pitches. Besides the one in G which I had brought with me, I was able to play one in E and two in A. First of all I should mention that all the instruments are excellent examples of the luthiers craft, and each has its own character and nuances.

Dias vihuela in E: A superb sounding instrument suitable for some of the vihuela repertoire. There are a large number of pieces which would not suit this instrument, and even with my large hands I found some stretches awkward. But once a suitable repertoire is found, this is a joy to play. Deep and resonant, yes, but also focused. I imagine it would be ideal for accompaniment and ensemble parts, but also sounds perfect for choice solo pieces.

Dias vihuela in A: There were concerns that an exact reproduction of the string spacing on the original Dias would be too close for many modern players, so the spacing on this particular instrument has been made relatively wide. The instrument sings beautifully, but occasionally I found myself wishing the courses were closer together at the nut end. There are many places in the vihuela repertoire where one finger is called on to play two courses but not as a bar chord. Such a technique is much easier on a close-spaced instrument. This is a great instrument, but one which would really suit someone who cannot get used to close spacing.

Dias vihuela in A: This instrument is a an exact copy of the Dias original except for a 1.5mm widening of the string spacing at the nut (the neck width remains the same). As soon as Alexander put this instrument in my hands I new instantly that it was a stunning instrument. It just had that feel to it that speaks of authority, beauty, perfection. But what made it so special? Quite apart from the luthier's considerable skill, one key might be the solid ebony neck (as in the original), which added an underpinning of strength to each note. The close string spacing makes light work of many of the left hand problems found in the repertoire. Unfortunately, but understandably, Alexander did not want to sell this instrument, at least not yet. I therefore commissioned from him a plain version but with the exact string spacing of the original. Those who complain that such close spacing is unworkable have clearly never tried it, or not tried it for long enough. It feels just right for the instrument and its repertoire. I cannot imagine a finer vihuela. Here is a picture of me in love...

Chambure vihuela in G: There are many who believe this instrument to be the best model for modern luthiers to copy, yet there are many who disagree. I think it makes a great vihuela, but it has a very different sound to the Dias model, and personal appreciation of those sounds will obviously be the deciding factor in whether you choose a Chambure or Dias model. This particular Chambure is as well constructed as the other instruments detailed above. Its sound is very much closer to a guitar than the Dias, and might suit those who see the vihuela being closer to a guitar than to a viol. As it was only two weeks old, it had the disadvantage of not being as well developed as the other instruments, but it shows every likelihood that it will very quickly develop into a superb instrument. I look forward to trying it again.

Thanks to Alexander (Sasha) Batov for allowing me access to these instruments. He is a very dedicated professional and very friendly family man - and not a bad cook! I shall be playing all of the above instruments in one lunchtime concert for The Lute Society in England on Saturday 16th April, 2005. I hope you can make it to the concert to hear these instruments 'in the flesh', as it were. If you cannot make it, fear not, I shall be recording a CD of these instruments later this year. Watch this space...

During my visit, Alexander took me to meet Jamie Westbrook, collector of historic guitars, manuscripts and related things. I was given free access to Jamie's entire collection, and soon found myself playing the earliest 6-string guitar, Lacotes, Fabricatores and others, including a wonderful 6-course guitar by Pagès:

The instrument was set at a very low pitch of C sharp, as the soundboard is quite weak. Nevertheless, I was fully aware of the potential of the instrument, clearly constructed by a superb luthier. Someday I might commission a copy and delve into that neglected area of repertoire...

At one point during my visit I became quite emotional as I played Lágrima by Tárrega on an original Torres guitar. Lágrima is the first piece I ever learned (it took me months!), and still remains one of my all-time favourites. I was surprised by the lack of sustain on the Torres compared to modern classical guitars, but it seemed to suit the music well. I also read from the two Leckie manuscripts of Tárrega's music which Jamie had just recently purchased. Leckie, a Scotsman, was a patron and student of Tárrega. The manuscripts are fascinating and (Dear Jamie) should appear in colour facsimile someday. I was particularly interested in Tárrega's arrangement of Granada. The opening E major chord carries the description 'Bubble Arpeggio' written by Leckie. I know what he means: The melody note, E on the third string, must pop out of the arpeggio - not an easy thing to do well.

Thanks to Jamie. Visit his website.