Violin 'Alard'

Violin 'da Salo'

Violin 'Scarampella'

Violin 'Guadampella'

Violin 'Testore'

Violin 'Stradish Kemp'
Violin 'bros. Amati'
Violin 'BSdG'
Violin 'OB1'

 

Viola 'da Salo' 15 7/8"

- body length: 403mm 

- string length: 361mm

Viola '16'

- body length: 406mm

- string length: 364mm

Viola 'Maggini' 16.25"

- body length: 413mm

- string length: 370mm

Viola 'Gennaro' 16.15"

- body length: 413mm

- string length: 379mm

Viola 'da Salo' 16.5"

- body length: 419mm 

- string length: 379mm

Viola 'da Salo alto' 

Viola 'da Salo tenor' 

 

Cello 'Testore'

- body length: 767mm

- string length: 694mm

Cello 'filius Andrea'

- body length: 748mm

- string length: 680mm

Cello 'Casals'

- body length: 739mm

- string length: 688mm

Cello 'Peter of Venice'

Cello '5 string'

Cello 'da Salo'

 

A note on violins: Each model is of a slightly different geometry and so then each possesses a slightly different mechanical nature.  This influences the sound but my intention is not that they work all that differently from one another, that at each step of the making process, I've made a decision to push the instrument in a direction I want it to go that I think the materials I've chosen want it to go.  The goal is that when it comes time to fit an instrument to the musician, you will be more comfortable with the way one model plays over and above another.  

In broad strokes, the da Salo is the smallest model with the strongest arching; the Alard, my del Gesù model, a bit bigger; the Scarampella based on del Gesù's big 'Cannon' but not a copy of the Cannon because that would be too obvious.  The 'Guadampella' is something that juggles the Alard, Scarampella, and Guadagnini in approach.  First the bros. Amati form is swung on an axis to widen the bottom bout à la del Gesù did to his Amati base, then broadened again as in Guadagnini widening a del Gesù pattern, and then made with the gusto of Scarampella because he was another maker who knew where he wanted to go while quoting del Gesù's 'Cannon'.  The 'Stradish Kemp' is a model that has Strad-like C bouts on a del Gesù mold.  Amazing how much a model can change by corner block carving alone which goes to show just how much flexibility can be found in a single form.  The Testore is another model that quite simply works: Based on an instrument by Carlo Antonio with a flat back scroll and scratched back 'purfling' typical of the maker.  It is not to everyone's taste which is strange to me indeed - Milan the source of all things fashionable.           

 

A note on violas: Such an interesting instrument where the size, proportions, and set-up need to be considered and balanced to the player.  The Brescian models I use - the bigger and smaller da Salo models and the Maggini model - have a shorter stop length relative to their body length which allows a shorter neck and string length compared to the Cremonese school - the Amati based Gennaro for instance - which has a longer stop proportional to the body size.  The Brescian models then can be bigger instruments with shorter string lengths compared to the Cremonese models, with a bowing area that is further away from the body than the Cremonese configuration.  Not to say which is better.  Not at all.  But there are variations here that make a difference for each particular player who of course has a body geometry all their own.  Interesting to compare then the three violas in the middle - the 'Maggini', the 'Gennaro', the 'da Salo' - where each has one thing in common with the one next to it.  The Maggini and the Gennaro both have the same body length but the Maggini a shorter string length.  The Gennaro and da Salo share a string length but the body length of the da Salo is larger. 

 

A note on cellos: I've spent a long time considering the cello models I use, how to improve them, and why keep using the ones that I've chosen.  The Testore is based on a bench-top copy I made with my mentors Robert Young and Brice Dupin de Saint Cyr at Brice's shop in Carnegie Hall.  Made by Carlo Giuseppe in 1692, it was at the time of copying it in the collection of the Paris Opera Orchestra and quite magnificent - a glorious and earthy willow back, beech ribs and scroll with flecks all dancing.  Similar to a B-form Strad in the upper and middle bouts, it has a much larger lower bout which contributes to the powerful bass of this, my largest cello model, while not compromising the ease of play.  (The Peter of Venice below is another story entirely!) Looking for a smaller cello model, I turned to Joseph Guarneri 'filius Andrea' and focused my attention on making as smaller version of the instrument in London's Royal Academy of Music collection - a robust model that would preserve its generous proportions in a smaller size.  My 'filius Andrea' cello is then my smaller cello when compared to my 'Testore', a centimeter shorter in body length, but as broad across the bouts as the Testore.  The big difference is in the string length which contributes most to the ease of play for players looking for an instrument more comfortable and available to their reach.

The 'Casals' is my most recently added model and based on the great virtuoso's instrument. The one made by Gofriller.  The one he recorded the Suites on.  The recording which changed everything.  I have a lot to say about this instrument - its subtle beauty, its importance as a cultural object - but I'd fill this page quickly.  I can add some technical things about it besides the fact that the original sounds, well, amazing: It is the smallest in body length of my cellos but it has a string length longer than my 'filius' model.  If it sounds half as good as the original, I consider myself lucky.  But for now the pleasure is in making it - to touch the feet of Gofriller, Bach, and Casals - a dedication to those who played it and to those who play it now, to those who made it, altered it, kept it and restored it.  This project a special reminder to me why I love this work.  

The Peter of Venice is based on the cello once owned by Avron Coleman and then Rostropovich.  I made a bench-top copy of it years ago and then made a few more.  It is a monster of a model and it takes a player that really wants to get up and on top of it.  A bit challenging what with long corners difficult to navigate, square and broad upper bout, but still, it's a magnificent thing. 

The 5 string cello is a five string cello. 

The da Salo model is if you want something that no one else would ever think of making. 

 

All the models mentioned above are not done until they are fit to the player and can be made modern or baroque.