EarlyMusicNews.Org

"Welcome to vihuelademano.com - home of the fluted-back designed and made by Alexander Batov Luthier ... with the ultimate purpose of recreating of the art of making the fluted-back vihuela as is so explicitly manifested in one of the finest surviving instruments of this kind, made by the Belchior Dias, Lisbon 1581 " Visit website for more information. (ed.)

Added on: May 10, 2008 | Hits: 539

"he Consorzio Liutai Antonio Stradivari Cremona was founded in 1996 for the purpose of promoting and making known contemporary Cremonese violin making, which upholds an ancient artisan tradition.

The Consorzio has its seat in Cremona , the city of Stradivari , Amati and Guarneri, the great masters of the past. Their art, known and admired throughout the world, is a source of inexhaustible inspiration for modern instrument makers.

Around sixty master stringed instrument makers from Cremona and its Province belong to the Consorzio. " Visit website for more information. (ed.)

Added on: Jul 05, 2008 | Hits: 380

"The Toro family, from the city of Salle, province of Pescara in the region of Abruzzo, Italy, has been manufacturing high quality gut strings since 1965. Today, these hand made strings are produced by the Toro Brothers and their artisans using the very best techniques.

Our aim, supported by constant research and painstaking experimentations, is to offer natural gut strings produced by modern technologies respecting the ancient Italian Salle stringmakers' tradition to reach the magic sound that only gut, among all materials, can achieve.

The Toro family produces gut strings with the strictest respect to historical authenticity with the aim of recovering the typical proportions and materials of the gut strings in use in the past.

The instruments particularly used in the above mentioned musical material are: violin, viola, cello, double bass, pardessus, tenor viol, treble viol, bass viol, Baroque and Renaissance bass viol, violone, lutes and classical guitar, theorbos. ... " Visit website for more information. (ed.)

Added on: Jul 05, 2008 | Hits: 444

"Born in Cremona in 1954, since his childhood he has been fond of music, and especially of violins. He attended the International Violinmaking School of Cremona, where he graduated in 1972, after studying with masters like Giobatta Morassi and Pietro Sgarabotto. He has his workshop in Cremona, where he makes and restores violins, violas, cellos and doublebasses. He uses classic Cremonese models as well as his own ones, paying particular attention to acoustics and using excellent quality material. His instruments, made by hand in each stage of the construction, are used by concertists and sold all over the world. His primary interest lies in acoustics, and he pays particular attention to the setting-up of instruments. He took part in several ehibitions, and he is member of Cremona "Antonio Stradivari Violin and Bow Makers Consortium. ... " Visit website for more information. (ed.)

Added on: Jul 05, 2008 | Hits: 381

" ... I left my university studies to enrol in the Scuola Internazionale di Liuteria (IPIALL, the International School of Violinmaking) in Cremona and in the Professional Training Courses (CPF) of the Lombardy Region; the latter courses were directed by the master bowmaker Giovanni Lucchi in Cremona. After receiving my diploma as a BOWMAKER in 1982, I stayed on for an additional year of post-graduate training under Maestro Lucchi. ... " Visit website for more information. (ed.)

Added on: Jul 05, 2008 | Hits: 189

"... Following a year of national service as an auxiliary fireman, I began my apprenticeship in the Milan workshop of the master violinmaker Celestino Farotto in 1979. I left my university studies to enrol in the Scuola Internazionale di Liuteria (IPIALL, the International School of Violinmaking) in Cremona and in the Professional Training Courses (CPF) of the Lombardy Region; the latter courses were directed by the master bowmaker Giovanni Lucchi in Cremona. After receiving my diploma as a BOWMAKER in 1982, I stayed on for an additional year of post-graduate training under Maestro Lucchi. ... " Visit website for more information. (ed.)

Added on: Jul 06, 2008 | Hits: 672

"Canadian Bowmaker Michael Vann was trained in New York City in the shop of the world renowned master Bowmaker William Salchow. Since embarking on his career in 1975 he has won six international and more than a dozen Canadian awards for his bows which have been acquired by such notables as Pierre Fournier, Ruggiero Ricci, Steven Dann, Steven Staryk, Eugene Fodor, Sidney Harth, Gwen Hoebig, Gabriel Magyar, (Hungarian String Quartet), The New Brunswick String Quartet (Canada), The Franciscan String Quartet (U.S.A.) The Colorado Strings Quartet, (U.S.A.), The Manfred String Quartet. (France), The St. Lawrence String Quartet, The Miro String Quartet, just to name a few.

They are in use by members of symphony orchestras in Amsterdam, Chicago, Montreal, New York, Toronto, Edmonton, Calgary, Winnipeg, Vancouver, Los Angeles, Minneapolis-St.Paul, Tokyo, Paris, Toulouse, Nice, Copenhagen, Salzburg, Dusseldorf and many others.

He has also made bows for the Royal House of Denmark.

He also makes Conductor Batons for such maestros as Mario Bernardi. ... " Visit website for more information. (ed.)

Added on: Jul 06, 2008 | Hits: 591

"Vittorio and Marcello Villa are Italian violin makers. In their workshop in Cremona, Italy, they make violins, violas, cellos, bowed baroque instruments according to Stradivari, Guarneri, Amati's violinmaking style. Marcello and Vittorio Villa luthiers have also been teachers at IPIALL, the violinmaking school in Cremona. In the world there are many words that indicate the same job: violin maker, fiddle maker, luthier, geigenbauer, geigenmaker, etc.. The Italian word for luthier is liutaio. Violinmakers from Italy are considered the best in the world. Although many people make violins, only few are actually professional makers of fiddles. Marcello and Vittorio Villa are also well known as makers of inlaid decorated instruments (violini intarsiati). Have you ever seen a Villa violin, viola or cello? You can find their violins in many important classical music places in the world, sometimes even along with Stradivarius instruments: orchestras, string quartets, music schools and, of course this web site! ... " Visit website for more information. (ed.)

Added on: Jul 06, 2008 | Hits: 394

"... Furthermore, the focus of our activities is the construction of a historic string instruments. Here we also produce copies of old masters instruments based for example iconography in templates. ... " (Google translation) Visit website for more information. (ed.)

Added on: Jul 23, 2008 | Hits: 453

"In the last 25 years, working as maker of bowed instruments I was in the opportunity to measure a number of original 17th and 18th century instruments . Instruments from makers like Barak Norman, Edward Lewis, Cheron, Bertrand, Rombouts, Jacobs, Hellmer, Stradivari, Castagnieri, Linarol and Ciciliano.

This list of names concludes as well old cellos and basses as all members of the viol family, from treble to consort bass, and the viola d'amore. On the next pages of this website you will find pictures with a short description from several 'copys' from old models which I made in the last two decades. ... "

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Added on: Jul 23, 2008 | Hits: 502

"I started my training as violin maker in Jochen Voigt in 1979.

I gained more valuable experience from many abroad including the violin builder Alexander Krylov at the Moscow Tchaikovsky Conservatory.

With my longtime companion Jens-Uwe Ott I work in my workshop. ... " (Google translation) Visit website for more information. (ed.)

Added on: Jul 23, 2008 | Hits: 673

"Born in Milan (Italy) on 1960, at his time he attended fine art high school and Music school (piano). In 1989 he gets the Civic School of Luthery of Milan. In 1991 he starts building his own instruments since then he gets to a lot of exspositions and meetings in Italy and abroad. In 1993 he achieve the final digree as a Luthier and Restorer of Musical Instruments. His Instruments are implied professionally for concerts, recordings and performances all around the known world. Several Conservatoirs did choose his Instruments (Milano, Parma, La Spezia, Venezia, Vicenza, Ginevra, ...) " Visit website for more information. (ed.)

Added on: Jul 25, 2008 | Hits: 384

"Sergio Gistri was born in Poggibonsi (Siena, Italy) in 1958. His work is devoted exclusively to the construction of bowed instruments (especially violas da gamba and violones) inspired to 16th, 17th, 18th century originals, after a passionate study (since 1993) of the originals preserved in the main public and private collections in Europe, and an intense training with M° Paolo Sorgentone in instrument restoration and building. His instruments today are played by famous musicians and important ensembles (such as Modo Antiquo, Accademia Strumentale Italiana, Venice Baroque Orchestra, Europa Galante, Accademia Bizantina and others in Italy and Europe), also in many recordings. He has taken part with his works to several international meetings and exhibitions. His creations (up to now, about 80 in the world) follow closely the construction features and procedures of the originals, but also embed the results of his own research about acoustics and style. Moreover, Sergio's instruments are each time a custom project, set up and discussed with the musician in order to fit all her/his needs for playing and artistic expression." Visit website for more information. (ed.)

Added on: Aug 01, 2008 | Hits: 398

"The bows that I make are modelled after early bows or well known typologies, and are built with extreme care using top quality materials. The wood used are the traditional ones, above all "snakewood". European wood is used to build Renaissance bows.

Some bows can be made with different mechanisms: "button and screw", "settled frog" or "clip-in system". The "clip-in system" gives the user the quality of the sound typical of the "settled frog mechanism" coupled with the possibility of moving the frog to obtain the desired tension. " Visit website for more information. (ed.)

Added on: Aug 02, 2008 | Hits: 440

"All the listed instruments are built upon original historical models surviving in Museums and collections. The description of the models is just informative and not a bond; the construction will follow any wish and need of the customer.

I've been making lutes since 1988, and have built instruments for players from Europe, United States and Japan. Thanks to the help and suggestions of many distinguished players, I've been able to fine tune my workmanship and to develop the sound quality and a more personal style. ... " Visit website for more information. (ed.)

Added on: Aug 02, 2008 | Hits: 565

"Born in Genoa in 1961, after graduating High School he is admitted in 1980 to the International Violinmaking School of Cremona, where he studies under the direction of V.Bissolotti, W.Zambelli and Stefano Conia, taking the degree in 1984. In that period he attends Sesto Rocchi's laboratory; later he continues his apprenticeship in the workshop of Joe Curtin and Gregg Alf. Alberto Giordano estabilished in Genoa in 1987.

Since 1994 colaborates to the preservation of the 'Cannone', the famous violin of Guarneri del Gesù owned by Niccolò Paganini, property of the City of Genoa.

In 2004 together with Bruce Carlson and Pio Montanari, he attend the violin of Paganini's refurbishment also called the ‘Historical Recover’. The work is the result of intense researches in civic and private genoese archives and the result of the in depth analysis of the technical and organological features of the violin of Paganini.

The goal of this work was the removing of the recent interventions made on the Cannone in order to recreate the historical image of the violin as it was left by Paganini (see Strad October 2004).

A studier and researcher of the italian violinmaking, Alberto Giordano has written a number of articles, essays and books. He is contributor for ‘The Strad’ magazine. ... " Visit website for more information. (ed.)

Added on: Aug 02, 2008 | Hits: 562

"Upon completion of his apprenticeship in France and in Germany (Mittenwald), Dominique Freguin opened shop in Strasbourg (France) in 1976, and focuses his work on making and repairing classic string Quartet instruments. In 1978, he was awarded the departmental first prize of the annual contest of S.E.M.A. (Société d’Encouragement des Metiers d’Art).

From 1982 on, Dominique Freguin completed regular training courses under the master Etienne Vatelot, expert luthier. These residencies allow him to hone in his skills in antique instrument restoration through the study of the traditional techniques of the old masters. He also began to collect his own extensive documentation (photographs, blueprints and measurements) on the instruments he works on. He then enlarged his research field to European museums and exhibitions.

In 1992, Dominique Freguin extended his investigations to baroque instruments. He met the viol master Jonathan Dunford who teaches at the Strasbourg National Conservatory. His interest in antique instruments is spurred by frequent interaction with the Baroque classes at the Conservatory. Dominique Freguin was eventually commissioned by the school to make a copy of a 17th century English “dessus de viole” (treble viol). He then built the whole gamut of the viols (bass, tenor and treble), experimenting with French, English and German models.

These instruments are regularly shown in various baroque lutherie events: In Asfeld (France), Utrecht (Holland), London (Great Britain), Berlin and Regensburg (Germany), Paris (France) and Cremone (Italy).

In February 2001, in collaboration with Philippe Foulon, Dominique Fréguin recreated a forgotten musical instrument which had been described by Michel Corrette in a 1781 treatise: “La Viole d’Orphée” (Orpheus’ Viol).The reconstructed instrument was presented to the public during a concert/conference at the “Salon de la Musique” on March 31, 2001 in Paris, France. " Visit website for more information. (ed.)

Added on: Aug 04, 2008 | Hits: 392

"Date of birth: 1942
Perse School, Cambridge: 1953-1960
University Library, Cambridge, Assistant: 1961
University of Exeter, B.A.(Hons) First Class, English Literature. 1962-1965
University of Exeter , English Prize: 1965
University of Exeter Summer School [E.F.L.] Tutor: 1965
University of York, Research in 17th Century Literature: 1965-1968
Made my first lute, advised by Ian Harwood: 1967
University of York, Teaching undergraduate seminars: 1967-1968
Herefordshire Technical College, Lecturer in English Literature: 1968-1970
Studio School, Cambridge, EFL Lecturer in English: 1970-1971
Slough College of Technology, Lecturer in English Literature: 1971-1974
Open University, Tutor and Counsellor, 1973-1974
Open University, Summer School Tutor, Keele University: 1973
Manor Farm, Bramfield, Suffolk. Formed commune in derelict farm and started
lute making professionally in a converted pig sty: 1974-1978
Lowestoft Technical College, Part-time Lecturer in English Literature: 1975-1978
Workers' Educational Association, Part-time Lecturer: 1975-1978
Elected to Crafts Council Selected Index as a lute maker 1977
Moved to Norwich and set up as a full-time lute maker: 1978
Norwich City College, Part-time Lecturer in Humanities Dept.: 1978-1979
Teaching private evening class of instrument making: 1979-Present "

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Added on: Aug 04, 2008 | Hits: 409

"The lute, an instrument with a long history, is the central instrument of instrument-maker Matthias Wagner. His interests lie with instruments such as guitars, mandolins, Mandolen, harps, tremor, but also all historical Zupfinstrumente as the Lutes, Theorben, Baroque guitars, Vihuelen, Cistern and the relative small mandolins, Stradivari also Mandolino. Matthias Wagner has focused on the construction and restoration of lutes, and guitars Theorben specialized. " (Google and ed. translation) Visit website for more information. (ed.)

Added on: Aug 04, 2008 | Hits: 565

"I started out (age 13) as a guitar player (electric and acoustic).

Later on, I focused on classical guitar performance and composition (CALARTS, Valencia and California State University, Northridge). My first encounter with the LUTE, was listening to Hopkinson Smith playing Weiss over the waves, as I was driving to school. From then on, lute became more than an interest, it became my passion.

Parallel interests in sculpture and poetry, along with repeated sojourns in Europe in my 20s, led me to a violin maker’s door in Bourges, France. That moment my professional life took a different path, as I stayed and apprenticed with Master Luthier J. Gonthier, for the next three years.

Back in the United States, I built and restored violins for a number of years, while privately pursuing lute playing. My dissatisfaction with my first lute motivated me to start building my own instruments. Encouragement and advice from performers and teachers (chronologically, Pat O’Brien, Edin Karamazov, Hopkinson Smith, Olav Chris Henriksen) led to my turning into a full time lute maker.

While respecting historical building techniques and materials, I strongly believe that lute making is a living art. Clearly, the construction of the instrument evolved continuously over the centuries, driven by new musical styles and performers’ needs to adapt to them. As part of this evolutionary process, I’m always searching for the “ideal” sound, and I try to achieve that with every new instrument I build. I believe—as the late Robert Lundberg put it—that lute making is a way of life. " Visit website for more information. (ed.)

Added on: Aug 06, 2008 | Hits: 393

“  I started making modern guitars in 1992. In 1994 I began a three year apprenticeship at West Dean College under the supervision of Martin Haycock and Roger Rose. During this time I acquired many skills and much knowledge in the making, history and styles of the lute family, renaissance and baroque guitars and other early plucked instruments.

        The majority of my time at West Dean was spent either working at the bench either making, repairing or setting-up instruments. I also spent time visiting museums and private collections both in the United Kingdom and Europe studying origina intruments.

        Most of my time at West Dean was spent working on new instruments, where a lot of attention was given to the playability and sound quality. However, I also had the opportunity of restoring an original 1721 Smorsone mandalino.   

        I have now setup my own workshop in East Sussex specialising in the making of fretted instruments, some of which can be seen on this web-site. I have also under taken repairs, alterations and restoration of lutes and 19th century guitars.

    All the instruments I make are based on instruments in museums or collections around the world and any repairs, alterations or restorations are made in sympathy with the style of the period. Where no instruments suvive then instruments are based on icographocal and other evidence plus skills acquired during the making of many instruments.”

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Added on: May 22, 2009 | Hits: 411

“ I have been making musical instruments since 1986. In 1988 I received a grant to study at the London college of Furniture / London Guildhall University and specialised in early stringed instruments, I graduated in 1993 with a degree in Music Technology. I have more recently experimented with making contemporary instruments including the electric guitar.“

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Added on: Jul 11, 2009 | Hits: 385

“Henner Harders

Growing up surrounded by music and crafts, I was fascinated by working with wood and playing the viol from an early age.

In 1986 I went to England to study at the London College of Furniture, on the ‘early fretted instruments’ course. Since leaving college in 1990, I have run my own instrument building workshop, in both England and Germany. I was very lucky to have the opportunity to work in London with the viol maker Dietrich Kessler, where I handled, studied and played a variety of lovely old gambas.

Among my commissions has been a set of four renaissance viols for the English viol consort Fretwork, a set of viols for the Suomen Kulttuurirahasto in Helsinki, and a lira da gamba for Erin Headley. My instruments are closely based on those I have measured in museums and private collections in Europe.

I find that playing the viol myself helps considerably when setting up my instruments - particularly neck shape, action, bridge curve and height.

Susanne Küster

In 1989 I began my apprenticeship as a woodcarver in Flensburg at the Werkkunstschule. Besides carving in wood and working in clay, plaster, concrete and stone I gained a lot of experience in design and drawing. After leaving the school I went to Bremen, where I started carving heads for the viols of Henner Harders.

This is where the instrument-making bug infected me, so I went to the Newark School of Violin Making to learn the making and repairing of violins. When leaving this three-year course, I decided to go to London for two years and work with Adam Whone to get experience in the repairing and restoration of old violins. Now I make my own violins and carve heads for a variety of instruments.

Makers like Dietrich Kessler, Michael Heale, Jane Julier, Renate Fink, Helen Michetschläger, Wesley Brandt, Thomas Mace, Norman Myall, Robert Eyland.... have commissioned carved heads from me for their instruments.

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Added on: Jul 11, 2009 | Hits: 435

“Hans Reiners

On these pages you can find information about many of the bows I make, both replicas of existing originals and bows designed after iconographic documents as well as my own inventions. They are as umcompromisingly like the originals—or contemporary pictures—as possible, because I am convinced that each period in musical history knew exactly the kind of instruments they wanted and how to make them. They are entirely hand-crafted using the same techniques and tools as makers of the period did, because every tool and every use of it leaves its mark on the finished product. Since it seems more likely to be good at what one likes, I have confined myself to pre-1800 bows.What you will not find are bows produced in series, anachronistic details, and materials such as finishing paper, modern bows disguised as early ones, and ivory. You can also find some information about how I came to do what I do, and why I am doing it the way I do. ..“

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Added on: Jul 14, 2009 | Hits: 460

“George Stoppani inherited his Italian name from his Venetian grandfather, Pietro Faustino, who came to London in the early 1900s. George's father and mother were respectively a painter and a sculptress. George studied English and Related Literature at York University, graduating in 1972, but a few years on turned to instrument making. Circa 1977 he began an association with Northern Renaissance Instruments in Manchester where he developed an interest in historical matters and string making. He made a large number of period instruments but then began to make modern orchestral instruments as well.

Real Guts Strings started out purely on an experimental basis - to make strings for period instruments where what was currently available did not seem either satisfactory or even historically credible. Naturally, replacement strings were needed and friends of customers also wanted these strings and the enterprise gradually expanded to meet the demand. Baroque violinists Oliver Webber and Stephen Rouse take part in the making sessions and it is run in the spirit of a musicians cooperative. ..“

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Added on: Jul 14, 2009 | Hits: 402