EarlyMusicNews.Org

“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: 415

“

I first got interested in playing the guitar when I was 17. I liked ragtime/country blues (anyone remember Rev. Gary Davies?) and John Renbourn, though I never owned a steel string guitar. I taught myself to read music and started to explore the classical guitar repertoire. Then I went to college and got the chance of free(!) guitar lessons every week with Julian Byzantine, who taught me a lot about music as well as the guitar. My left hand underwent some pretty thorough training.

The next decisive moment was (about a year later) attending a lecture-recital given by Anthony Rooley in 1973. He was really friendly and enthusiastic and from that moment on I realised I had to play the lute. Being an impoverished student it took me some time to get around to buying a lute, and it wasn't until the end of my doctoral studies (1979) that I finally acquired a lute, aged 24 (me, not the lute). I filed off my nails, changed my right hand to "thumb-inside", put the guitar in its case and that was that.

In 1980 I attended my first Lute Society Summer School at Cheltenham. I was particularly impressed with Chris Wilson's recital of early 16th C music and went off to make myself a 6c lute. I subsequently had further lessons with Chris in London and continued to explore Spinacino, Capirola, Francesco, etc. My first concerts on the lute were around this time. I also met Stewart McCoy, and we've been playing lute duets ever since.

I made several more lutes for my own use, then started to take commissions in 1988. One of the first was from a lady called Claire who was looking for both a lute and an accompanist for lute songs. I made her a nice lute and she became my wife! ..“

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Added on: Sep 20, 2009 | Hits: 416

“  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: 417

"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: 418

"I trained at the Newark School of Violin Making after a career in education, I prefer to work with more unusual instruments copied from the originals or derived from other information.I have now retired from full time making but specific commissions for particular purposes are welcomed. Naturally repairs or modifications to the many instruments already in circulation will be undertaken. " Visit website for more information. (ed.)

Added on: Apr 20, 2008 | Hits: 423

Medieval and Renaissance stringed musical instruments. 

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Added on: Mar 30, 2010 | Hits: 424

“I am passionate about hurdy gurdies and have been a player for over 20 years.

I initially studied instrument making with Zachary Taylor at West Dean College and then spent 3 years at the London Guildhall University on their Musical Instrument Technology course.

I have been making hurdy gurdies exclusively for the past 12 years and also give playing tuition, individually or in workshops. ..”

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Added on: Jul 29, 2009 | Hits: 427

"OMI is made up of Alden and Cali Hackmann. We are the only workshop in North America dedicated exclusively to building hurdy-gurdies. We have been building them since 1988, when we began building a kit instrument that inspired us to build a more advanced model. We presently have several models available, and we offer repair and restoration services, as well as a range of other products related to the hurdy-gurdy.

We are located on the Olympic Peninsula in Washington state, from which we get our business name. Our town is Indianola, which is on the shore of Puget Sound with a view of Seattle. " See website for more information. (ed.)

Added on: Feb 26, 2008 | Hits: 430

" From my most early studies of violin making I gravitated towards instruments intended for historical performance practice, making my first baroque violin in 1973 when I was still a student. About that time I began to research early instruments and set up, spending time in museums with as many unaltered instruments as the curators would allow. In the late 1970s I came to the conclusion that our early instrument reproductions would not work to expectation with the gut strings that were available at the time and I started to study the properties of historical strings based on old extant samples that I had taken out of violin cases over the years, historical descriptions of the string making process and early comments on the nature of strings. This led me to the conclusion that the only way to make authentically styled historical strings was to make them myself. The string making process does not lend itself to making just a few strings when needed, so I found myself developing a new business that developed into Gamut Musical Strings.

My interest in lutes began while I was at college in London where I became friends with several of the lute players and makers in the early 1970s. I began to study these instruments and make reproductions in 1977 and they have been part of my catalog ever since. " Visit website for more information. (ed.)

Added on: Mar 23, 2008 | Hits: 441

“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: 444

"Born in Genova, Italy, in 1948, I started teaching myself how to build period musical instruments out of sheer passion and curiosity in 1979. Later on I took formal apprenticeship in the shop of the Genoese master luthier De Vincenzi. In 1982 I was one of the Founding Members of the Genoese Artistic Luthiery Society.

For years I have specialized in replicas of baroque bowed instruments, of the Viola da Gamba family in particular, but also baroque violin and cello. Besides these philological reproductions, for which I'm aided by bibliographic and artistic researches and by consulting many professional musicians and experts in this field, I also perform baroque reconversion of original baroque instruments which have been modified in the course of the years, restoring them to their original aesthetic and functional features. ... " Visit website for more information. (ed)

Added on: Apr 13, 2008 | Hits: 451

"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: 451

"Early Harps were also visually aesthetic instruments in the culture in which they were originated, based on historical- physical- technical princip of period. Musical and visual beauty, maden by musicians and the harpmakers united to create a fascinateing atmasphere. Eric Kleinmann sees it as his task to pass on this rich heritage. The instruments are handmade. The basis of his work is the personly instrumentexploration in museums and colections around the world. The coloring and varnishing is maden with natural materials from old prescriptions.

The speciality is also the harps maden from iconographic studies in early paintings, manuscrips and sculpturs. Eric makes also individual instruments to customers requirement. Customers are international Musicians and Ensembles from Swizerland, France, USA, Sweden, Norway, Estonia, Germany, Spain, Italy, Austria, Belgium, Japan and Great Britain. Museum and collections ask for help and advice in Historical Harps. Lectures about Historical-Harp-Subjects are held in Conservatories, Universities and Technical-schools as well as at international Harp- and Musicinstrument-Congress. " Visit website for more information. (ed.)

Added on: Apr 18, 2008 | Hits: 455

"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: 457

“Harps, Hurdy Gurdies, and Bowed Psalteries. There's nothing more magical than music made on these ancient instruments. Whether finding an honored place in your home or becoming a lifelong travelling companion, We make all our instruments with you in mind. Instruments should inspire the player..... bring out the magic in your hands.“

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Added on: Mar 30, 2010 | Hits: 462

Hurdy Gurdy maker. 

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Added on: Apr 23, 2010 | Hits: 466

"... 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: 467

"Handicraft has been my primary interest since childhood, continuing into my professional life. Beginning in 1984 in Bourges, my brother Pierre-Gilles Jarny (artistic director of the Aymerillot ensemble) and I took an interest in 15th and 16 century music. We performed together on occasion and I continued to work as a manager of a joinery and cabinetry workshop.

My 1991 meeting with Carolos Gonzales, a luthier specializing in lutes, was pivotal for my career. Beginning my training as an apprentice and then as a journeyman, I studied this trade in the tradition of Joël Dugot. Instructor to us all, Joël Dugot is the conservator of plucked string instruments at the Music Museum in Paris. Carlos Gonzales and i organized several luthier workshops, and from 1999 to 2003 I taught practical luthier workshops in Paris. During the same period, I made the acquaintance of one of the best lute musicians in France, Pascale Boquet. She helped me to refine and better understand the art of lute music, and since then we have continued this adventure together.

I opened my first workshop in 2000 in Meung-sur-Loir (Loiret) and then moved to Tours in 2003. For two years, I have had an apprentice in my studio, Nicolas Petit, who has studied the art of making these instruments and will open his own workshop in Tours. At present I continue to build the instruments in which I have specialized, 16th and 17th century plucked string instruments: lutes, Renaissance and Baroque guitars, theorbos, archilutes, vihuelas ... " Visit website for more information. (ed.)

Added on: Apr 20, 2008 | Hits: 468

“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: 476

"Lutemakers working in central London, Stephen Barber and Sandi Harris make a range of instruments of the lute family, including renaissance lutes and baroque lutes, along with archlutes, theorbos, chitarroni, baroque guitars, vihuelas of all types, specialising in fluted-back vihuelas.

Long-established, our combined experience of lute making exceeds fifty years, during which time we have made approaching one thousand instruments; Stephen made his first lute – a copy of an original Venere lute owned by Robert Spencer – in 1972, and Sandi made her first lute in 1983, under Stephen's guidance.

We went on to form a unique, highly-successful and very efficient equal working partnership, and we usually produce around 30 instruments between us in a typical year. Our workshop in Peacock Yard was established in 1980. " See website for more information. (ed.)

Added on: Mar 06, 2008 | Hits: 482

"The bow I make for your instrument incorporates the finest of materials and quality workmanship. In order to insure the quality of materials, I travel to Brazil for pernambuco wood, to Spain for blackwood and Paris for mammoth ivory and abalone. Acquiring materials, learning their characteristics, interacting with musicians, and studying bows in collections and museums are all integral factors in my personalized approach to bow making.

I began developing my skills in 1981 with a two year apprenticeship in the French method in Portland, Oregon with Robert Shallock. In 1984 and '85 I attended workshops with William Salchow, Fullbright Scholar in bow making. On invitation in 1996, I attended the Oberlin Bow making Workshop, sharing in the collective knowledge of some of the best bow makers of this generation. I work in my studio in Port Townsend, Washington, using time-honed skills and giving attention to every detail needed to achieve artistry and excellence in every bow I make.

You may try my handmade bows on an approval procedure. You will know which bow is best for you and your instrument by testing them in in your specific contexts. I will be happy to provide you with a finely crafted bow that will enable you to reach your optimum potential as a musician. " Visit website for more information. (ed.)

Added on: Feb 26, 2008 | Hits: 484

"G. Sambot (born in Paris in 1954 ) is a luthier and specialized in cello making. He was a pupil of László Lendjel and has completed a whole range of modern cellos as well as baroque ones including: 4/4, 7/8 and a 5 stringed piccolo, after Stradivarius. G. Sambot also makes baroque and romantic guitars as well as some plucked stringed instruments. " Visit website for more information. (ed.)

Added on: Apr 20, 2008 | Hits: 494

"I began making violins in 1979 at the Violin Making School of America. After graduating from there in 1983, I moved to New York City to work with William L. Monical, where I stayed for four years. While in New York I took advantage of many opportunities to examine, both inside and out, a spectrum of very fine modern and historical instruments. Since 1987 I have lived and worked in Seattle, Washington. I continue to study instruments often and to participate in ongoing professional violin making forums. Taking opportunities to examine fine instruments continues to be invaluable toward developing insight into classical construction techniques and tonal characteristics.

I build violins, violas and cellos for musicians specializing in modern performance practices. I also build instruments in an historically informed manner for musicians specializing in period performance. " Visit website for more information. (ed.)

Added on: Feb 26, 2008 | Hits: 495

" ... Since 1995 I focused my attention on baroque bows and they are now my main activity. In 2002 I completed the bows’ catalogue of the Orpheon Foundation in Wien (Austria) and, in 2003, brought to an end the one of the Galleria dell’Accademia di Firenze. In 2005 I started the listing of historical bows by the MIM (Musical Instrument Museum) in Bruxelles (Belgium) and edited the complete records of the two bows belonged to G.Tartini collected in the conservatorio di musica of Trieste (Italy).In 2007 started the catalogation of the hirtorical bows collected by the Accademia nazionale di Santa Cecilia in Rome. ...

In cooperation with F.Lowenberger and stringmaker Mimmo Peruffo I started a program for spreading and sharing knowledge about the evolution of stringed instruments; its goal is to issue a support for all the musicians who want to perform “historically informed”.

Alongside with the production on bows I actually work in instruments repair and set-up, during my free time I also carry out my own research on classical guitars. " Visit website for more information. (ed.)

Added on: Apr 13, 2008 | Hits: 497

"My studio is a very rare studio dedicated to the research and preservation of the inheritance of European violin-making culture between 1511 and 1789. Brief history:

• I apprenticed to the instrument maker Viktor Oiberman at the age of 11.

• My first studio was opened in St.Petersburg in 1991, shortly after my very first violin received a Diploma at the Russian National Competition of violin-makers in 1991.
• In 1994 I moved to Brussels and dedicated myself to the research into the violin history and aesthetics, including the history of violin repertoire and baroque violin playing (under Sigiswald Kuijken).
• In 2002 I opened my studio in Brussels and made instruments and baroque bows for a few soloists such as Sigiswald Kuijken, Francois Fernandez, Ryo Terakado, Luis Otavio Santos and others, for the members of ensembles such as La Petite Bande, Ricercar Consort, Bach Collegium Japan and some others.
• As whole I made 60 instruments and used to keep a waiting list for both the instruments and bows. The secret is in my appealing approach to the European violin-making in the spirit of the Baroque, and in my ability to play the instruments I make (I graduated from St.Petersburg State and Brussels Royal Conservatories).
• In 2006 I opened my studio in o­ne of the greenest areas of Tokyo, 35 minutes from the city centre."
  

Added on: Mar 23, 2008 | Hits: 499