First week working in new Viola da Gamba Joachim Tielke model maded with south mexican tonewoods.

DSC00504

 


Con Marianne Ronez y Ernst Kubischek

italia-1

italia-2

Con Chris Romanov

londres-2

londres-1

 

tarjetas mathias 2 con expo


 


 

New “Tertis” Baroque Viola

DSCN2683DSCN2684DSCN2685DSCN2686


Violín Peñaloza

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.)

 

violin peñaloza


 

Concert Guitar

My last instrument

Guitarra de concierto


 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”

 

7 junio 2016

2a de noviembre ok

First and last steps making the bass Viola da Gamba “Socolovsky”


Restoration work
Violin Guarnieri

 

segunda de octubre guarnieri

 

The photos show this Violin how
it reached in my hands.

I restored it leaving the
baroque set with the original sound bar . Inside it
has unreadable notifications,
written with a blue pencil. Belly and back are made of one piece.

 

We can identified two authors:

Belly and scroll are very well made.
I guess work of a luthier from Venice with influence
of the school of Cremona.

 

A member of the Guarneri family? The label
says “Joseph Guarnerius
1748″, which would be
the father of Guarneri del Gesu, but he died already
in 1746.

 

Back and ribs are made with more rough hand: South Tirol?

 

The varnish is old but
certainly not original.

 

 

The sound is beautiful, of the best! But
not with every technique of bow it develops.
You can classify it an instrument
of excellent quality but not easy
to play.

 

Las Fotos enseñan este violín como llegó a mis
manos.

Lo restauré dejándolo con montura barroca con
barra harmónica original. Al interior tiene notificaciones ilegibles,
escritas con un lápiz azul; La tapa como el fondo son de una solo pieza.

Se identifican dos autores:

Tapa y rizo son muy bien hechos. Supongo un
trabajo de un laudero Veneciano con influencia de
la escuela de Cremona.

 

Un miembro dela familia Guarneri?
La etiqueta dice: Joseph Guarnerius 1748, quien
sería el padre de Guarneri del Gesú,
sin embargo falleció en 1746.

 

Fondo y fajas están hechas con mano más ruda: Sur
de Tirol?

 

El barniz es antiguo pero no el original
seguramente.

 

El sonido es precioso, ¡De lo mejor! Pero no con
cualquier técnica de arco se desarrolla. Se puede clasificar un instrumente
de excelente calidad pero no fácil de tocar.

 

 

 


 

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.

cartel concierto


 

https://soundcloud.com/matthiaskayssler/marco-uccellini-sonata-prima

https://soundcloud.com/matthiaskayssler/viola-de-amore

Concierto con Viola d’Amore

concierto 22 de febrero


Concierto de Música Barroca

concierto de musica barroca


It gives an inside look

at my workshop

taller

 

 

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