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 instruments. This means one need not subtract from ease of speaking, tonal projection, and a myriad of tonal colorings.

baroque violin maker Nate TaborMost of the instruments below are inspired copies of famous originals, or take several elements of a single school of violin making, and expand upon them. 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.  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. 

Baroque Violin after Lorenzo Ventepane

Inspired by Lorenzo Ventepane, “Big Red” is a 36.5 corpus, thickly-wooded instrument with a quite moody, dark, melancholic/chocolaty tone. Yes you read that correctly, 36.5cm! Even the E-string broods and sings a dark but clear song. Note the quirky Neapolitan peg placement, and the charming root markings on the quilted maple back. Available for trials in Spain at 8K Euro or shipped worldwide. Read more here on violins over 36cm in history.

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Baroque Violin Inspired by Pietro Antonio Dalla Costa.

This long pattern violin at 35.9 inspired by Pietro Dalla Costa shows very typical Venetian traits of long C-bouts, and very full and wide lower bouts. One can expect with so much air volume a powerful and yet sweet-sounding violin in baroque setup. All fittings were made by hand in my workshop. Available for trial and sale at Brobst Violins 

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Modern Violin after Johanna Metelkova/Jacob Stainer.

It has often been said that Johanna Metelkova was the first female violin maker in history. Her own personal models reflect the long Bohemian tradition of Stainer interpretation, while maintaining a distinct style all their own. This special violin in Classical/Modern setup reflects countless hours of careful antiquing. The fittings are refurbished, 19th Century Bohemian, giving a quite convincing appearance to the general antiquing. The tone is extraordinarily voluminous, with plenty of projection. One can also expect that allusive sweetness and softness associated with a  thickly wooded Stainer model. This instrument is owned by the great virtuoso Emma Langford.

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Baroque Violin after Alessandro Gagliano.

Softly ascending archings, a slightly thicker top aged over twenty years, and the beautiful model all contributed to a very sweet and yet penetrating tone on this instrument. Inspired by the patriarch of the great dynasty of violin makers in Napoli, one can see my own personality reflected as well in many traits of the final appearance.

This instrument is in the collection of Oreste De Tommaso, whose recent endeavors in performing solo repertoire have tread upon new ground, opening the mind to refreshing questions on historical interpretation.

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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. (SOLD)

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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.


Feel free to use the form below to contact me and start a dialogue  about your musical needs.