foto-portadaI was born in 1960 in Munich, Germany.

I have always been fascinated by  art and handcraft from the  Renessaise and Baroque  – as a visual expression of knowledge: science and philosophy manifested in art as shapes, colors and sounds.

In 1981 I went to Italy and studied – I began with the “Scuola d’Ebanisteria” in Verona – shapes, colors, varnishes and construction techniques of these eras, I became cabinetmaker and stayed 15 years in Italy. I designed, restored and built (copied) prestigious old furniture  for a sophisticated clientele …

Since I possessed the technical requirements, one day I built  a violin. So my searching and studies culminated finally  discovering  that the art of instrument-making represents not only an expression of knowledge, but for me the way to this.

Since 2008 I have devoted myself  exclusively in the study, construction and design of stringed instruments. An exciting and difficult task, that indeed has brought me to where I am now.

Contemporary important masters  that have influenced in some way  my process of development as  instument-maker were: Dmitry Badiarov, Michael Rhonheimer and Keith Hill with his publication about area-tuning .

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Ernesto Rondero, Bowmaker:

visit my page: arcosrondero.wordpress.com

ernesto b y nMatthias Kayssler’s work is characterized not only by his passion for aesthetic forms or by the profusion of his skills on building each part of an instrument that is developed and created in his workshop,but throughout his profound knowledge on the different types of woods, in it’s mechanical and  organic characteristics, finding ways to respond to each element of  this noble material.

In what I consider  he is a master  in his high school of cabinetmaker, not only in terms of his intense way of creating each stroke and carving throughout his gouges and in his  varnishing work, but his incredible determination and purpose to achieve each instrument.He is specialized in the study of the baroque period, both classic and late and in the simplicity that  knowledge of Biedermeier gives him.

All this coupled with the development on the field of study of acoustic relations in the Pythagorean system among other things.

My perception of his work is based not only on the criticism of the canon that Matthias Kayssler amplies more than satisfied, it is the admiration of the powerful efforts to create each piece and not just the mathematical rigor of this trade, but by the amazing ability to put the heart and hands  in the passion of  this art.

ERNESTO RONDERO, BOWMAKER

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THE INSTRUMENTS

INSTRUMENT

TUNING

BODY LENGTH
(I use)

Pardessus de viole

g c’ f’ a’ d’’ g’’

35.4 cm

Quinton

g d’ a’ d’’ g’’

35.4
cm

Dessus de viole

Diskantviola

Treble viol

Viola soprano

d g c’ e’ a’ d’’

40 cm

Viola alto

Altviola

A d g b e’ a’

42.5 cm

Taille

Viola Tenor

Tenorviola

G c f a d’ g’

53 cm

Violín

g d’ a’ e’’

35.4 cm

Viola Alto

Bratsche

c g d’ a’

41-42cm

Viola Tenore da braccio

c g d’ a’

45 cm

Viola da Spalla

Violoncello piccolo

C G d a e’

(d g
d’ g’ c’’)

47.5 cm

Viola d’ Amore

A d a d’ f#’ a’ d’’

41.5 cm

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