Wilbert Hazelzet
May 2013, Amsterdam
For several years Remko van der Vegt has been making our expectation, – not to say : dreams ! –
come true, building full Palanca traverso copies, instead of improving existing instruments with beautiful and inspiring headjoints, apart from other refinements as for smoothness and intonation.
So, the moment has come to update and adjust my previous words of praise, now stating, that in Remko’s recent productions we immediately recognize his most personal trademark: high and steady quality on basis of extreme precision and meticulous care, which make his instruments so easily accessible and appealing, offering the perfect tool for comfortable musicianship as well as performing art in all its variety and imagination.
Remko van der Vegt’s flutes invite to every kind of nuances in articulation, since, being so sensitive, they translate any subtility into sound, with transparence and efficiency.
Their flexible sonority allows a most enjoyable variety of colours and swift alternations between them.
Their intonation reveals itself to be integrated in the copies, only after thorough and minute reflexion, leading to a well balanced result.
Trying various of Remko van der Vegt’s instruments is an enormous pleasure, leaving the player with a sensation of “l’embarras du choix”……
Therefore every traverso lover is warmly recommended to visit Remko van der Vegt’s
workshop and enjoy the in many respects inspiring experience.

 

Wilbert Hazelzet
February 2010, Amsterdam
“Continuous research, carried out with determination and fascination, unlimited patience and extreme precision, but, above all, his enormous love of the flute turned Remko van der Vegt into an expert repairing historical flutes and their copies.
Remko van der Vegt reassures every flautist, who, terrified and disappointed by the discovery of a crack in his instrument, contacts him for help. Applying his refined techniques he fills the gap and magically makes the damage become invisible.
By his treatment rebellious and stubborn keys will efficiently close again and function with the correct resistance. Broken rings that should protect the joints, get replaced by solid, meticulously turned copies, which visually renew the instrument.
In his workshop Remko van der Vegt even provides acoustical renewal to your flute, if you wish.
His most professional and original working attitude, including his sense of quality, set delicately wayward van der Vegt off in a search for the mild glow and gentle intensity of the historical flute sound, that copies, crossing his workshop, sometimes did not seem to present in a way matching van der Vegt’s views and imagination. This search at first resulted in courageous, subtile and successful corrections of mouth holes and bores. After this Remko van der Vegt took the next step, meaning that for a large variety of historical flute types he now fabricates completely new head joints capable of enriching the basic character of the sound and of improving its flexibility: in many cases a real relief for the player !

Thus we are looking forward to the logical continuation of Remko van der Vegt’s development, revealing the creation of entire historical flute copies done by his hands.”

 

Ana Ramírez
studeert aan het Utrechts conservatorium
december 2013

My name is Ana Ramírez.
I am a student of the Utrecht Conservatory.
Some months ago, I decided to buy a copy of
Palanca flute made by Remko Van der Vegt.
The one Remko made for me, turned out to be a wonderful instrument.
I am very glad to work with it now.
I’d like to mention some of the characteristics
that I discovered playing it….
The instrument has generally very resonant sound;
it is working really well in all of the keys and is tuned so precisely.
The instrument speaks very easily: therefore its register changes are smooth and quick.
Its weight is very light, since the flute is made of boxwood;
besides, it is well adapted to small and delicate hands…


Met Francisco Torreira heb ik het boventoonspectrum vergeleken tussen mijn zilveren- en houten kopstuk.
Onderstaande grafiek laat zien dat de eerste, tweede en derde boventoon bij het houtenkopstuk duidelijk luider zijn ten opzichte van de grondtoon.

Boventonen