Cello project 2007 (last update 26.1.2008) -
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This new Cello is based on the B-form of Stradivari.
They are the 'golden period' Celli of this master and includes famous
instruments like the Gore-Booth of 1710, the 1711 Duport (
Mstivlav Rostropovich),
and the 1712 Davidov ( ex.
Jacqueline du Pre and now played by
Yo-Yo Ma).
This model combines grace and elegance with a wonderful acoustic
platform which has served as an inspiration for many Cello makers.
Quite a few of my previous modern as well as baroque Cellos are based
on this model.
For this instrument I have selected well seasoned
material from my wood store: For the back deeply flamed native maple (acer
pseudo platanus; Engl.: sycamore) seasoned since 1994. I have some
choice pieces from this large tree, most my Viola slab cuts come from
it, but this is the first Cello I make from it. It comes from near the
Suffolk coast, and though it it has grown in the 'lowlands', the
growth rings are surprisingly narrow because of the shell compacted
soil.
The broad flames descend from the join and with its especially deep flame in
the treble lower bout it mirrors the back of the Davidov Cello.
The belly wood is from the Italian Alps, cut and seasoned
sometime
before 1993. In common with the cello wood of many Cremonese makers
and Strad Cellos of that period it has medium to wide growth rings, is
cut well on the quarter and has the acoustic properties and that special look about it which
we makers always search for.
Jointed and sawn out plates, and ribs on
the inside mould.
The back arching nearly done....(it really is hard work!)
....reflection time...
....tools and shavings of the trade.
Starting the hollowing of the back -
hard work again....
The first layer is cut.
Quality wood shavings
Marking the graduations
Careful measuring
The linings on the ribs get trimmed
Checking the alignment of ribs and
back...
...and finally the back is glued on!
Ribs with linen strips glued to
inside for crack prevention ( see F.Sacconi: 'Secrets' of Stradivari)
Starting to carve the belly.
Belly arching completed - to medium
height of 25.5mm
Hollowing out of the belly with the
large gouge
Still some way to go and the shavings
are piling up
Now its time to use the large thumb
plane before the final scraping and thicknessing
The bass f-hole cut - and comparison
with the Strad original
A pair of Strad f-holes with flutings
in the lower wings
The completed belly with ffs - the
purfling inlay still to come of course.
The bassbar position before its
fitting
First coarse cuts to trim the bass bar
The bass bar is acurately
fitted and glued
A slight angle of the bar across the
bellies grain, supporting it against the string pressure.
A 'big' moment: gluing the
label in.
The belly is glued to the ribs -
sometimes not needing opening again for some hundred years.
The cello scroll being marked out on
the block, sawn out and outlined
( click on pictures to see them enlarged)
The peg box and volutes carved....
The volutes & flutings are finished
and now the back is carved.
Cutting the purfling channel
Inlay in back corner....
....and a Strad style purfling mitre
with 'bee sting' in a
front corner.
Carving the neck.
The neck mortice cut....
....and fitting the neck.
The varnish ground coat has been
applied giving a warm golden colour.
Grinding transparent lake pigments
into the oil varnish.
The varnishing almost done.
The finished Cello - click on photos
to go to the Cello picture gallery.
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