As a Period Instrument maker and specialty viola maker, I am usually working on several instruments at a time; often no less than ten or more will be in various stages of building. Whether violas, baroque violoncellos, or violins, pure joy and inspiration guide each working day forward. The result is a beautiful chaos in the workshop, with many choices for the muses to come, many paths to take. Below some of the current instruments being made. One may reserve any instrument below with a fully refundable 25% deposit payment; it will then be marked hence as SOLD.
Baroque Cello 4-string early 18th Century Venetian/Teutonic inspired.
The beautiful one piece back of willow, ribs of plain, Italian Poplar, top of Austrian Haselfichte. The outline is a personal model with extended center bouts, reflecting the many makers in Venice whom came from Fußen. Currently available in Spain.
A Reconstruction of the Amati Propugnaculo Tenor Viola, 46.9cm Corpus.
The Andrea Amati “Propugnaculo” cut down tenor viola made in Cremona, ca. 1560 is currently housed in the National Music Museum in the United States. The organologist Matthew Zeller has kindly provided me with research details which theorize the original back to have been very large at 46.9cm. The decorations featuring a beautiful motto painted around the monogram very likely relate this instrument to the court of King Philip II of Spain, thus making it a companion to famous “King” Violoncello. All of the ornaments and decorations will be reproduced exactly. Though the original neck has been lost, Italian Tenor violas often had necks quite short at 12-12.3cm making an arm playing-position quite manageable.
Baroque Violoncello Anon. circa 1730 -adapted personal model.
This free-spirited interpretation with a corpus of 73cm has a lovely Italian Cypress one-piece back with beautiful figuring. The corners are drawn by hand. I will extend and lengthen the center bouts. Italian Cypress is a softer hardwood, once commonly used for the soundboards of Harpsichords. The damping qualities of this species tend to produce very creamy, even trebles to the timbre of an instrument. Currently available in Spain.
Viola in Modern Setup after Giovanni Baptista Rogeri.
Giovanni Baptista Rogeri was one of the finer makers in Cremona and Brescia to revive violinmaking after the devastating plague of 1630. His work often reflects the finer traits of these two quite differnt schools of lutherie. His models, as is this viola below, often resembled those of Nicola Amati, however with a recognizable personal style.This modern setup viola is patterned after the 1696 Brescian Viola in Fridolin Hamma’s wonderful and extensive book, Meister Italienischer Geigenbaukunst
Baroque Violin after Alessandro Gagliano.
One piece back of strongly flamed maple, the antique top of Haselfichte has been aged in the Vienna workshop for over 15 years. Ribs and scroll of plain Cherry. Currently available in Spain.
Violin in modern setup after Lorenzo Storioni.
Lorenzo Storioni (1751-1799) is often considered to be the last of the great makers in Cremona. His violins tend to have lower arching and thus well-suited as concert instruments, and coveted as such in recent times. Storioni brought his own unique style to the interpretation of Del Gesu outlines; the corners and forms are often very beautiful and unique. This instrument has a beautiful one-piece back of strongly flamed maple, top also of one piece aged for over 20 years in Vienna. Currently available in Spain.
Baroque Violin after Louis Guersan with female head.
Parisian maker Louis Guersan ( circa. 1713, – 1781) came from a family which had been practicing luthiers for over a century. He often made violins with smallish dimensions with employed reasonable, medium-high arching to achieve very fine tone, though one does see occasionally Tyrollean-influenced outlines with higher arching. A prolific maker of Quintons and Gambas , many which survive today. The violin below is shown as a rough sketch for a possible outline and will have higher arching which seeks a dark, melancholy tone. (SOLD)
Violin after Roman/Venetian maker David Tecchler
David Tecchler (1666-1747) is commonly known as a Roman maker and one of the finest from this school. Less often stated is that he was briefly in Venice and must have absorbed some of the traditions there before moving down to Rome, where he kept several workshop. His violins tend to follow high, Stainer-influenced arching. As with countless other makers his style occasionally reflects his birth place of Füssen. The very light ribs of poplar and willow linings will produce a rib garland with less weight. The back is the finest quality maple from Alpentonholz Pahler in Bavaria with very strong flames. The top aged 25 years and an additional five in Vienna. Available for trial and sale in Spain. (SOLD)
17inch Viola in Modern Setup after Giuseppe (Joseph) Guadagnini.
Giuseppe Gudagnini (1736-1805) had workshops in Milan, Turin, Parma Como, and Pavia. His instruments tended to be “thickly wooded” – hence thick in the plates. Their tone is well-esteemed and his instruments much sought after, though not as covetously as the violins of his father, the more famous J.B Guadagnini. This restless son most certainly worked without a mould (as did most Milanese makers) as his outlines vary from instrument to instrument. The low altitude poplar back, and more dense Italian poplar ribs on this viola will result in a very light instrument. As with some of my recent violas I plan for the top to be thicker, without loss of tone. The end result is a viola made to last forever, with a dark, rich tenor voice. Located in Vienna, Austria for trial and sale. (SOLD)
Kontrabass after Gottfried Tielke with 5-string Baroque setup.
Work on this stunningly beautiful 5-string bass should commence in the Autumn of 2018 in Vienna, Austria. All details of this instrument will be copied meticulously. Instruments from Gottfried Tielke are quite rare, and though the authorship of this instrument does come into question due to the scratched inscriptions on the back, its beauty and sonority are a given.
String Quartet in Classical/Transitional setup.
A quartet of instruments in Classical setup is planned for the near future provided there is sufficient interest in the project. A process of working together with all four musicians to achieve specific tonal requirements would be something which greatly interests me. Although a quartet suited towards for the performance of Viennese Classical repertoire would be the ideal in my own mind, I am open to any ideas and any direction for this project.