First week working in new Viola da Gamba Joachim Tielke model maded with south mexican tonewoods.
Con Marianne Ronez y Ernst Kubischek
Con Chris Romanov
New “Tertis” Baroque Viola
An old, not very attractive violin with a small sound and an industrial varnish on the backside transformed in a old looking fine instrument with a geat brillant sound. (I am aware that some luthiers do not agree with these procedures. It would be a subject of broad debate and set some rules about it.)
My last instrument
About the antique school of Cremona
Much has been published about the famous Cremonese violin makers of 17th and 18th century and about their also famous school of violin making founded by Andrea Amati Amati. On the other side, some of the most respectable contemporary violin makers avoid the subject with good reason, I supose they don’t want to get into unconstructive controversies. I would like to give a consideration about the topic because I feel the need to take a definite position with regard to this tradition in my area: In my opinion in the antique school of Cremona a method was taught with its techniques that guaranteed a result of very high level and all what is considered “secrets of Stradivari” is based on that. As all methods also this one can be applied in multiple ways, according to the criteria and talent of who it aplies. That is why we see significant differences between instruments made by disciples of the same school of Cremona of this era.
This method with its techniques has not been lost. It seems that the best contemporary violin makers know them very well – with the difference that today it is not longer taught in schools of violin making or incompletely. There are certainly good reasons for that.
In my opinion actually it would not make sense to publish it widely, but neither take care of them jealously as a secret. I believe that it would have to be spread carefully to create again a tradition of instrument making with a very high level guaranteed.
Viola da Gamba “Socolovsky”
First and last steps making the bass Viola da Gamba “Socolovsky”
The photos show this Violin how
I restored it leaving the
We can identified two authors:
Belly and scroll are very well made.
A member of the Guarneri family? The label
Back and ribs are made with more rough hand: South Tirol?
The varnish is old but
The sound is beautiful, of the best! But
Las Fotos enseñan este violín como llegó a mis
Lo restauré dejándolo con montura barroca con
Se identifican dos autores:
Tapa y rizo son muy bien hechos. Supongo un
Un miembro dela familia Guarneri?
Fondo y fajas están hechas con mano más ruda: Sur
El barniz es antiguo pero no el original
El sonido es precioso, ¡De lo mejor! Pero no con
Concierto de Iniciación de un Cello
Concierto a Realizarse el día 17 de Julio de 2016 en la Iglesia de Ixcatepec en Tepoztlán, Mor. El concierto se realizara con un Violoncello Proveniente de Alemania, que fué restaurado y se le realizo ajuste acústico por Matthias Kayssler, en Tepoztlán.
Doble Bass Lord
Concierto con Viola d’Amore
Concierto de Música Barroca
It gives an inside look
at my workshop