The violin was further seasoned in in the white for 14 months in the Vienna Workshop. The beautiful one-piece back is of quilted maple, top of antique bear claw spruce seasoned over 20 years. This baroque violin with its high archings was made inspired by the instruments of Pietro Guarneri when working in Venice. This is one of my early instruments made in Vienna when my focus began to shift towards honing skills as a baroque violin maker. One will see other Venetian makers reflected as well in this violin, however the primary inspiration was undoubtedly towards Francesco. 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. (SOLD)īaroque Violin inspired by Venetian maker Francesco GobettiĪs 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. Violin with Modern setup inspired by Pietro Guarneri. The mensur distance, and neck length at 13cm allow the musician to play most early classical repertoire comfortably. This is a “thickly wooded” violin with a dark and soulful sound. 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 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. 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. 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. This instrument is owned by the great virtuoso Emma Langford.īaroque Violin after Alessandro Gagliano. One can also expect that allusive sweetness and softness associated with a thickly wooded Stainer model. The tone is extraordinarily voluminous, with plenty of projection. The fittings are refurbished, 19th Century Bohemian, giving a quite convincing appearance to the general antiquing. This special violin in Classical/Modern setup reflects countless hours of careful antiquing. Her own personal models reflect the long Bohemian tradition of Stainer interpretation, while maintaining a distinct style all their own. It has often been said that Johanna Metelkova was the first female violin maker in history. Modern Violin after Johanna Metelkova/Jacob Stainer. Available for trial and sale at Brobst Violins All fittings were made by hand in my workshop. One can expect with so much air volume a powerful and yet sweet-sounding violin in baroque setup. 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. Baroque Violin Inspired by Pietro Antonio Dalla Costa. 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. 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. The true task of any luthier is to provide the exact timbre and character of sound sought by the musician. Most 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. This means one need not subtract from ease of speaking, tonal projection, and a myriad of tonal colorings. I am often seeking an antique dark sonority so often missing in instruments. For my baroque violins, multifarious solutions exist for the delivering a specific sound required by the musician.
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