In the workshop 2008

July:   The new 'Strad'  belly next to a golden period Strad plaster cast with the typical ff wing fluting - click to enlarge.

Meanwhile I have been developing a new Stradivari model  based on the PG mould (one of his inside forms/moulds used
during his golden period). This next violin is based on that design and is also taking inspiration from the 1709 Viotti Strad which is now at home at the RAM London. I have found a very close matching front and back for it and I am presently hollowing the plates.

                     RAM Viotti Strad 1709

The Bergonzi Violin is now ready, fitted up and 'ready to go'.

May/June: In recent weeks I have been busy with a restoration of a nice old English Cello. I normally just concentrate on new making, but sometimes I feel the need to get involved in another challenge.
But the Bergonzi Violin has been making steady progress and is now awaiting the varnishing stage. More on it soon.

April/May:   The Mantegazza Viola is fitted up and playing and will have its first outing at the RNCM Manchester Viola day.
Photos are now uploaded.

My next 'lobby' exhibition will take place during the RNCM Viola day in Manchester on Sunday, 27. April 2008.
Just like last year I will have a number of my instruments on display for trial. Please contact  me beforehand if you have interest to see any particular instrument.

The 2008 da Salo inspired Viola is  finished - pictures are now uploaded. The first professional sound trial was very positive, the sound even and colourful, and both players found it easy and comfortable to play.

March: The Brescian style Viola after da Salo is now varnished and awaits fitting up - pictures here soon.
The next projects are going to be a 16'' (406mm) Viola after the Mantegatia brothers of Milano from 1793
and a Carlo Bergonzi Violin from 1739.

The Mantegatias ( also 'Mantegazza')  were very talented makers - following somewhat in the Landolfi style - but were also kept busy by the first Violin collector Count Cozio de Salabue, who supplied them with plenty of Cremonese Instruments from his collection to be fitted up, neck grafted or altered,  'tonally improved' (sic!) which might well have included the re-thicknessing of  original graduations in instruments by del Gesu and Stradivari!
Compared to today with probably no Cremonese instruments left in original AND unopened condition, the Mantegatias were in an enviable position.  Many makers and restorers would gladly be present and able to view and learn from a truly original instrument. Quite a pity that all we have today by these first hand observers is  the 'Carteggio' of De Salabue - his  diary style entries and observations on his instruments, dealings with the Stradivari family and early research on makers.

The Mantegatia Viola is a medium sized model, with an outline of Amati proportions, broad but yet comfortable to play. My last Viola to this model goes back quite a few years - so out came the mould and original tracings of that fine instrument and at time of writing the ribs and scroll are done and I am looking forward to the carving of the plates. The one piece back is from my favourite 1994 sycamore tree, the belly from European Alpine spruce.

The Carlo Bergonzi - the last true classical Cremonese master - is an exciting new venture for me.  Latest research and thoughts seem to believe that he was not a Stradivari pupil (as often quoted in the literature) but probably connected to the Ruggieri workshop. Howevere, he was friendly with the Stradivari family and did even rent the old Stradivari house and workshop from Paolo Stradivari, and also had the use of tools and forms (which many years later Count Cozio tried to buy from the Stradivari family).
Bergonzi's violins are often a touch smaller and narrower then the golden period Strad, but with a longer stop. This particular 1739 model is nevertheless a strong modelled instrument which I am looking forward to be adding to my 'portfolio'.
Again, at time of writing - ribs and scroll are completed - the one piece back is of  strongly figured Bosnian maple and  a very even grained  Italian spruce front.
 

February: The latest modern Violin after Guarneri del Gesu is now fitted up and has settled in quickly. Its sound is very free, yet having core strength and projection.
At present it is strung up with medium Dominant strings and a Kaplan Golden Spiral E.

The Brescian style Viola after da Salo is progressing well with the slab back arched, hollowed and glued to the ribs.
The next steps are the carving of the belly and the scroll.

January :      I shall be exhibiting my work at the forthcoming BVMA makers day  in London.
Sunday, 2nd March: 10am – 4pm;  The Old Sessions House, Clerkenwell Green.
Please contact  me if you wish to make an appointment to see and try a specific instrument.

The 2007 slab back  Guarneri Viola  has now sold -  two other 16.1/4'' Violas are available at present.
 
Last years successful  Brescian Da Salo style Viola  has prompted me to make another with a  slight design change.
A deeply figured slab back and a superb Alpine spruce front  makes a promising combination for this model.

The Strad model Cello is varnished, fitted up and had it first professional sound trial. After the initial settling in period and slight adjustments the sound is free, very even and appears to have plenty of power in it.

The latest modern violin after Guarneri del Gesu ( ex Joachim 1737) has also been varnished and awaits its fitting up. An update will be soon posted here

                                  
                                  Strad model Cello 2007                                                                              del Gesu Violin 2008 during varnishing

In the workshop 2007:

November/December: The Strad model Cello is now finished and awaiting varnishing and then setting up. The latest photos are  on the Cello project page.
Meanwhile a new modern Violin is underway - based on the  Guarneri del Gesu ex Joachim 1737, which I previously made as a baroque violin. The 1 piece broadly flamed back  is cut from the same log as the one used for the earlier violin.

Oktober/November : Continuing work on the Cello keeps me well occupied - together with an interesting study trip to Berlin to see some exciting contemporary makers work. The Cello is now in its final stages - neck fitting and purfling remains to be done - and then of course the always hugely enjoyable varnishing process.
The Gasparo Viola has already sold - it had some very positive reviews by a number of players and makers who have seen it and maybe it was no surprise that it was purchased almost instantly by a young promising British viola student.

August/September :  The Gasparo da Salo Viola is now finished, more details and photos through the link.
After our summer holiday a new Cello after A. Stradivari's' B-form' ( the golden period instruments) is now in progress.
Through the above link - or click on the photo - you will be able to follow the progress of this instrument.
 

The forthcoming BVMA annual conference in Dartington Hall, Devon from 14.-16.9. promises to be as exciting as ever. As most years I will have a stall showing some of my violin books and making wood, meeting friends and colleagues, and comparing notes over the instruments on show. Anyone not knowing about the BVMA ( British Violin Makers Association), I urge to have a look at its website and consider becoming a member.
 

Some impressions from the Brescia exhibition: A Da Salo Viola ff and back, the 2 Viola players of the Gio:Paolo Maggini Quintet (playing on a Da Salo and a Maggini from the exhibition), and finally a stunning Rogeri violin.

June 2007: The last 2 Violas after Andrea Guarneri and A.&H. Amati are now completed, fitted up and sounding.
More details & photos on the instruments page or through the above links. Any trial is welcome.

Is 2007 going to be the year of the Viola?  Certainly on my bench it appears to be the case!
Latest project - just started -  is a  16. 3/4'' - 424mm Viola - proportionally designed after Gasparo da Salo.
To my knowledge there is no original ( uncut) Viola by that maker of that size - so I decided to fill that gap. The back is of wonderful deep flamed sycamore and the spruce front of the most impressive hazel  figure  I have ever seen.
Watch this space for more info - or email if you are interested to see and try when it becomes ready.

The final inspiration for a Brescian style Viola was the forthcoming exhibition of Brescian makers in June/July 2007.
This promises to be a  unique and worthwhile event - not to be missed.

May 2007: In the last few months my time was taken up with 2 new exciting Viola projects:
one after Andreas Guarneri - the Conte Vitale of 1676 and the other after an even earlier Alto model  by the brothers Amati - Antonio and Hieronymus.  These 2 Violas will be available for trial shortly. Please email/ phone to be kept informed.

For the Guarneri I have chosen a spectacular 1 piece slab back of well seasoned English sycamore (actually the real European  maple - acer pseudoplatanus) - not unlike the one found on the ex Primrose Guarneri - only mine with less knots!
The front is of Italian spruce with a very attractive hazel figure (Germ.: Haselfichte; amer. - bearclaw spruce).
The body length is just over 16.1/4'' - 413mm with a string length of 373mm.

                      
                                      2007 A.Guaneri model of 1676                                                               A.Guarneri Vla - ex Primrose

The photos show 'work in progress' - with the ground coat and the 1. colour coat applied.  The 2. and final coat brings the instruments colour to a glowing transparent orange brown, maximizing the visual impact of the woods character. The sound should have the warm resonating  tenor quality expected from this model and its deeply fluted arching.

The Brothers Amati Viola is inspired by the ex Danks / Stauffer (now back at home in Cremona) of 1615. It is one of the earliest Alto Violas in existence - and the earlier one of the 2 known by the Brothers Amati.
Its body length is also 16.1/4'' - 413mm with a slightly shortened 'Stop' to bring the string length  to a comfortable  376mm. The outline is of a flowing elegance with typically long Amati style corners ( and the matching long purfling mitres).
It is narrower across its bouts then the Guarneri and promises to have more of an Alto character in sound.
The back is of the most handsome Bosnian Maple, cut on the quarter and one half 'flipped' over to give an continuous appearance of the deep flame - a customary 'trick' by the Amati family.
The front is of dead straight even grained Italian spruce - showing close similarities to the original.
 

Brothers Amati

The photo again  shows 'work in progress' - ground coat and 1 colour coat of my own oil varnish already applied - the final 
2cd. coat to give a warm golden amber colour allowing  maximum clarity and visual depth.

March 2007: The latest Viola after Andrea Guarneri  is just completed. An exciting instrument made from a  wood selection to mirror the acoustic properties  of the original. Trials are welcome. Big, warm and even sound with a good projection. Its a great and popular model for those players looking for a 16.1/4 '' Viola with a comfortable string length of 373mm.

January 2007: During the making of the last Baroque violin after del Gesu I took some photos to illustrate the alignment of the nailed neck with the help of a cross structure (utilizing the location pins - an essential part of most classical Italian instruments).