Secrets of Violin Making-Lesson 3 Varnishing the 1690 Stradivarius viola

Summer in Plymouth, Massachusetts...

Summer on the South Shore of Massachusetts Bay is a slower time. It is a time for beaches, light houses, sailing ships, and violin varnishing!

Jump!

No hurry!

Seals (and friends) this year!

Plymouth beach at dusk

Chatham light.....

Cedar point light...

Preparations for the 400th anniversary...

HMS Bounty visit..

Violin varnish and varnishes for wood surfaces are a very old technology.The varnish I use is linseed oil based, thinned with turpentine. It is applied outside; it drys slowly. I do summer things as it drys!

Flax is cultivated both for its fibers which can be woven into  linen and oil  which is called linseed oil. Fibers of linen have been dated to 30,000 BCE and, thus, represent the oldest domesticated plant material. see en.wikipedia.org/wiki/Flax  Flax seed oil has a long history as a varnish for wood surfaces. en.wikipedia.org/wiki/Linseed_oil   Turpentine is a common and effective solvent for the thinning of linseed oil. en.wikipedia.org/wiki/Turpentine

A sable brush is ideal!

Application may take only 30 minutes but drying over two weeks! (each coat...)

The plan is to play this viola in November!

Guarnerius Family Page

The Guarnerius family page posting is a challenge with Wiki names and dates not in agreement with names and dates from Heron-Allen, Racster, and other 19 century sources. Historians have been and will continue to be busy! Another example of fame and notoriety coming later to an obscure craftsman.

 No matter, violins from this accomplished family have been and continue to be of interest to Violins of Plymouth and to all! Below are shown three reproductions and one darker brown original (?) Andreas Guarnerius. This 300 year old violin may alternatively be of Bohemian or Saxony provenance. Opposite is shown a VofP reproduction. The most famous Guarnerius, "del Gesu" is represented by reproductions shown by the top and lower images.

 

 On to the family history. Andrea Guarnerius, dates 1626 (30?)-1698 (95?), is identified as a pupil of Nicolo Amati of the Cremona school.

This  "Andrea Guarnerius" labeled instrument has been in my possession and care since 1980.

Andrea's sons included Pietro Giovanni, 1666-1740, called Pietro of Mantua, the eldest, Pietro  of Cremona  1690-1725, and others. Historians are not clear on family details.

These talented family members were followed by the third generation (including cousins) with Pietro Guarnerius, 1696-1762, called  Pietro of Venice, and (Bartolomeo) Giuseppe (Antonio) Guarnerius, 1698-1744, called del Gesu,  who fabricated some of the finest violins ever! His instruments have been played and treasured by the greatest violinists, some of whom can be seen and heard playing Guiseppe Guarnerius violins on Youtube! See below (Instrument of the Devil) for Paginini's performances with the Guarnerius "Cannon"!

Joshua Bell:
http://www.youtube.com/watch?v=2FTjjGOeuoY

Kristof Barati
http://www.youtube.com/watch?v=O_8M9Ycd35k

Michail Kaznik
http://www.youtube.com/watch?v=1ciBcmwBDyk

Ruggiero Ricci
http://www.youtube.com/watch?v=6wNcyL2JYU8


A Violins of Plymouth reproduction of a G. Guarnerius middle period instrument is shown in the following four photographs.

Reproductions of these instruments are wonderful to work on, to fit up, and to play! Here in this workshop the newly completed instruments wake up to the Bach d minor solo partitas!

Should f-holes be "standardized" ?

We all own and play violins and violas with "standardized" f-holes. Is this good? Do we like the "standardized" sounds, especially the high frequencies? Did early music benefit from early sound holes? Do today's "early music" performances lack essential acoustical features?

At Violins of Plymouth, new (old) sound holes are being tested.

What and where are the inspirations for these novel sound holes?

The answer varies. From time to time, museums are explored for insights into past designs. Below is a gallery at the Hermitage in St. Petersburg!

The past owners of this palace (now state museum)  in Russia, owned several elegant instruments. They, the Czars Alexander and Nicholas, even preferred violins in their wall decorations!

Might this design yield a more elegant sound quality?

We may empirically test this proposition!

1690 Stradivarius test drive!

The 1690 Stradivarius viola reproduction is strung , partially fitted, and ready for the first playing in public!

Unvarnished but playable.

Perlon strings this first time. Pegs not fully fitted.

Bridge fitted to the belly but not thinned and shaped.

"f" holes approximately correct but not blackened.

Neck french polished but not fully smoothed.

Sound post positioned in first trial position.

Plays Bach's e minor Prelude Suite 1 with a deep, resonant tone!

This instrument will be introduced to my "Con Moto" quintet this afternoon. This is an exciting time for an instrument maker!

And, this is a great time for varnish color suggestions. After minor tuning modifications, this instrument will be stripped and will enter a 6-7 month varnish process (Stradivarius inspired). It is springtime in New England and time to stain, seal, and varnish! More to follow!

Secrets of Violin Making- Lesson 2

Time for "lesson two" on violin making. Below, we left off with plate outline carving and preliminary shaping- a most important task in matching an original in appearance and performance! Above are shown the back (partially shaped condition), the "garland" still attached to the mold, and the preliminary neck assembly.

Profiling continues on the top exterior.

 With the exteriors correct, the concave interiors are carefully excavated.

Antonio Stradivarius did not have available a caliper with micrometer dial!

Although he did use less advanced tools, these were adequate when carefully utilized. He repeatedly compared thickness to a known good master. Also, thin spruce, held to the light, is partially transparent, aiding in finalizing the target thickness. Interior surfaces were finished with a high degree of workmanship.

 The top plate next requires a bass bar. We carefully copy, fabricate, and attach his bass bar design.

Purfling of the top and back, the attachment of a tri-wood laminate strip, is done next to strengthen the plate edges. Stradivarius held this step until after assembly. (He did not use a Dremel tool.) Very likely his sharp knife  "bee stings" remain the best of all time (author's opinion)!

The spruce top now can be cut for "f" holes. Templates help match the original makers outline exactly!

With  the mold removed, the label is now attached and the corner blocks smoothed.  Finally, the plates are glued with hide glue. With the neck is mortised, the instrument rapidly takes shape! The saddle is located and glued; the fingerboard is finalized and glued in place.

  The author and violin maker is shown with the Stradivarius 1690 instrument reproduction. This fine viola is now ready to be strung and tested before varnishing!