Violins

 For the past decade as a baroque violin maker I have sought to find a pure balance of sound which is usually lacking from violins with period setups used for historically informed performance. Often, newly made baroque violins sound scratchy, dull,  and one could even say, soulless. Although I specialize in making baroque violins and instruments in transitional setup, one will find several violins in modern setup here.  I will usually offer at least one baroque violin for sale, however most often I work on commission , and thus many of the instruments below are shown as examples of past work.  My usual aim for modern setup instruments is a concert violin tone, however with that allusive sweetness not often found in modern-setup instruments. For my baroque violins, multifarious solutions exist for the delivering a specific sound required by the musician. I am often seeking an antique dark sonority so often missing in new-made violins.  This means one need not subtract from ease of speaking, tonal projection, and a myriad of tonal colorings. baroque violin maker Nate Tabor Most of the instruments are inspired copies of famous originals, or take several elements of a single school of violin making. The true task of any luthier is to provide the exact timbre and character of sound sought by the musician. Venetian violin making, and especially the early Venetian luthiers, often play a dominant role in choosing model, as these most clearly represent the particular aesthetic mentioned above.  Other schools of violin making may also be found among my output during nearly two decades as a baroque violin maker.  A small selection of violins are shown below, one may also browse the on the workbench page for instruments currently being constructed in the Viennese and Spanish workshop. Audio and video samples of my baroque violins can be heard here. 

Violin in modern setup after Gioffredo Cappa.

Gioffredo Cappa generally made Amati-inspired instruments and was an early master of the Turin school before it went into decline. His early violins however were often constructed using the method of the ribs routed into a channel in the back plate, or without a interior mould; methods which were common to Füssen and Tyrol. The one-piece back on this violin is of red maple with beautiful flame. The top is also of one piece of Italian spruce aged over 20 years. Currently available in Spain.

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Baroque Violin after Matthias Alban.

The violin combines a late-baroque setup and a thin neck to facilitate easy left hand shifting and was thus intended from the very beginning for virtuosic violin performance. This is a “thickly wooded” violin with a dark and soulful sound. The mensur distance, and neck length at 13cm  allow the musician to play most early classical repertoire comfortably. Available for sale and trial in Vienna.

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Violin with Modern setup inspired by Pietro Guarneri.

One-piece back of Pearwood. Lovely soloist tone on this violin. (SOLD)

Baroque Violin inspired by Venetian maker Francesco Gobetti

As with previously completed baroque violins, I have long been fascinated by Venetian luthier Gobetti, not only for his lovely and rather eccentric archings and scrolls, but for the unique quality of tone they possess. A had in mind for this instrument lots of projection, almost as if making a concert violin, but that lovely, antique quality of a Gobetti. One will see other Venetian makers reflected as well in this violin, however the primary inspiration was undoubtedly towards Francesco. (SOLD)

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Baroque Violin Venetian-Inspired.

This is one of my early instruments made in Vienna when my focus began to shift towards honing skills as a baroque violin maker. This baroque violin with its high archings was made inspired by the instruments of Pietro Guarneri when working in Venice. The beautiful one-piece back is of quilted maple, top of antique bear claw spruce seasoned over 20 years. The violin was further seasoned in in the white for 14 months in the Vienna Workshop. (SOLD)

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Violin Inspired by Pietro Guarneri (Dedicated to Anna Vinnitskaya)

This violin was one of the first instruments I made after starting my own workshop. Although  the unique and high archings sway more towards the eccentric sense of aesthetics, I am still rather proud of the final results. The instrument is dedicated to the pianist Anna Vinnitskaya, as her music filled the workshop during its creation. This violin is owned by Giulia Buccarella, who regularly uses it, along with her original violin by Jacob Stainer, for concerts in Bari and Rome, Italy.