Violin 'Alard'

Violin 'da Salo'

Violin 'Scarampella'

Violin 'Guadampella'

Violin 'Testore'

Violin 'Stradish Kemp'
Violin 'bros. Amati'
Violin 'BSdG'
Violin 'OB1'

 

Viola 'da Salo' 15 7/8"

- body length: 403mm 

- string length: 361mm

Viola 'Obialto' 16"

- body length: 406mm

- string length: 364mm

Viola 'Maggini' 16.25"

- body length: 413mm

- string length: 370mm

Viola 'Gennaro' 16.15"

- body length: 413mm

- string length: 379mm

Viola 'da Salo' 16.5"

- body length: 419mm 

- string length: 379mm
Viola 'Brescian' 16.75"
- body length: 426mm
- string length: 363mm

Viola 'da Salo Ashmolean alto' with J-bout

Viola 'da Salo Ashmolean tenor' with J-bout
 

Cello 'Testore'

- body length: 767mm

- string length: 694mm

Cello 'filius Andrea'

- body length: 748mm

- string length: 680mm

Cello 'Casals'

- body length: 739mm

- string length: 688mm

Cello 'Peter of Venice'

Cello '5 string'

Cello 'da Salo'

 

A note on violins: Though each model's slightly different size and shape influences their voicing and feel, my intention is not that they perform fundamentally differently from one another - that at each step of the making process, I've made a decision to guide the instrument in a direction I want it to go that I think the materials I've chosen want it to go.  Subtle differences mean the world of course, and the various models simply allow us to dial in a fit and feel that matches the player, but in each case resulting in something that is fun to play, quick to speak, and possessive of a wide dynamic range with a reserve of power.  

To give a few examples: the da Salo is the smallest model with the strongest arching; the Alard, a del Gesù model, a bit bigger; the Scarampella, based on del Gesù's big 'Cannon'.  The 'Stradish Kemp' is a model that has Strad-like C bouts on a del Gesù mold.  Amazing how much a model can change by corner block carving alone (which goes to show just how much flexibility can be found in a single form.)  The Testore is another model that quite simply works: Based on an instrument by Carlo Antonio with a flat back scroll and scratched back purfling typical of the maker.  It is a model with a serious amount of style; which makes sense to me - Milan the source of all things fashionable.           

 

A note on violas: Such an interesting instrument where the size, proportions, and set-up need to be balanced to the player to a degree that is a fair shade more obvious than the subtle variations found in the violin form.  The Brescian models I use - the bigger and smaller da Salo models and the Maggini model - have a shorter stop length relative to their body length which allows a shorter neck and consequent string length compared to the Cremonese school - the Amati based Gennaro for instance - which have a longer stop proportional to the body size.  The Brescian models then can be bigger instruments with shorter string lengths compared to the Cremonese models, with a bowing area that is further away from the body than the Cremonese configuration.  
Not to say which is better.  Not at all.  But there are variations here that make a significant difference for each particular player, who of course has a body geometry all their own.  For instance, it is interesting to compare the three violas in the middle - the 'Maggini', the 'Gennaro', the 'da Salo' - where each has one thing in common with the one next to it.  The Maggini and the Gennaro both have the same body length but the Maggini a shorter string length.  The Gennaro and da Salo share a string length but the body length of the da Salo is larger.  How long should you extend your left arm?  How wide should your fingers spread?  How far away should your bow be from your body?  As much as they influence current performance, these questions are crucial to the violist's comfort, health, and stamina in the near term as well as the long.   
The 16 3/4" model's measurements are inspired by a cut down Andrea Amati that possesses the same short string length in relation to its body size.  The beloved concert instrument of one of the world's revered violists, what more does one need to suggest this configuration might work well in the end?  Still, I was not a small bit relieved when what I might have considered pushing the boundaries of instrument layout produced such a powerhouse of a viola.    

 

A note on cellos: I've spent a long time considering the cello models I use, how to improve them, and where each one might appeal to whom.  The Testore started as a bench-top copy of an instrument made by Carlo Giuseppe in 1692. Held in the collection of the Paris Opera Orchestra and quite magnificent with a glorious and earthy willow back, beech ribs and scroll with flecks dancing all over the place.  Similar to a B-form Strad in the upper and middle bouts, this model has a much larger lower bout which contributes to the powerful bass of this, my largest cello, while not compromising the easily navigated shape imparted by the Strad-like upper bout.  (The Peter of Venice below is another story entirely!)
Looking for a smaller cello model, I turned to Joseph Guarneri 'filius Andrea' and focused my attention on making a proportionally smaller version of the instrument held in London's Royal Academy of Music - a robust model that would preserve its generous proportions even if redrawn at a sligthly reduced size.  My 'filius Andrea' cello is my smaller cello when compared to my 'Testore' - a centimeter shorter in body length, but as broad across the bouts.  The big difference is in string length, which contributes more directly to its ease of play - a crucial element to cellists who might be looking for an instrument more available to their reach.

The 'Casals' is based on the great virtuoso's instrument. The one made by Gofriller.  The one he recorded the Suites on.  The recording which changed everything.  I have a lot to say about this instrument - its subtle beauty, its importance as a cultural object - but I'd overwhelm the page.  In brief, it is the smallest in body length and breadth of my cellos but it has a string length longer than my 'filius' model.  The compactness of size coupled to the higher tension produces something almost pugilistic in terms of its tonal output - punchy indeed - and if my versions sound even half as good as the original, I consider myself lucky.  But it is also quite moving to make this cello:  To touch the feet of Gofriller, Bach, and Casals, it is a dedication to those who played it and to those who play it now, a tribute not only to those who made it, but to those who over the years altered it, kept it, and restored it.  And though we often try to distill the greatness of great things to a single point of origin, perhaps as a matter of convenience, it is not so easy to single out who is to blame for this instrument's great success.  In this what seems to me its profound refusal of our attempts to attribute any singular responsibility for its existence, we might all be seen to somehow contribute to or share in the beauty its brought.  This project a special reminder to me why I love this work.  

The Peter of Venice is based on the cello once owned by Rostropovich.  I made a bench-top copy of it years ago and then made a few more.  It is a monster of a model and it takes a player that really wants to get up and on top of it.  A bit challenging with long corners that take some negotiating, but still, it's a magnificent thing. 

The 5 string cello is a five string cello. 

The da Salo model is if you want something rare indeed.