Violin Making Blog

Geigen und Gitarren aus Goisern - Flyer und Ausstellung

2011-08-08T12:30:00.000-07:00

Anlässlich der gemeinsamen Präsentation der vier in Goisern ansässigen Instrumentenbaubetriebe am heurigen "Meistersommer" im Handwerkhaus Bad Goisern wurde folgender Flyer entworfen.

Die Ausstellung im Handwerkhaus in Bad Goisern läuft noch bis zum 4. September 2011.

tonewood suppliers in Austria- Tonholzhändler Österreich

2011-06-26T12:41:00.000-07:00

In addition to my latest post about preparing tone-wood for violins, I want to present you a list of Austrian tone-wood suppliers.
Traditional European tone-wood for violins, the whole string quartet and guitars can be found in the European mountain ranges. The highest and the best known are the Alps.

Satellite image of the Alps, Po-Valley, Ligurian- and Adriatic Sea

It stretches over several states in middle Europe and is the most highest mountain range in Europe. At its foothills and its adjoining lower regions you will find the world famous old cultural centers of Europe. The journey of the violin started in the 16th century in the Po Valley, a major geographical feature of northern Italy. As the violin became more common in Europe, violin makers and their workshops spread over whole Europe rapidly. The demand on more good materials (wood, varnish ingredients, strings, ...) for violin making led to the rise of an entire economic sector quickly. To get high quality materials was the main difficulty for prior violin makers and very expensive too! Some luthiers in the history therefore settled into regions closer to the alps, to get the materials more easily.

Nowadays the range of materials for instrument making is incomparable generous. You can find tonewood suppliers all over the globe. But first of all the alps are the one region where most of the wood for violin making comes from. Several established companies, based in Switzerland, Germany and Italy are well-known for their quality materials worldwide.

The following wood suppliers are based in Austria and may be listed in addition to a wide range of tonewood suppliers in Europe. You will find a short description of each company below as well.

tonwood supplier	specification
Kölbl Tonewood http://www.tonewood-koelbl.com	European mountain spruce, maple for: string quartet, guitar, piano, woodwinds + large stock of tone-wood in different qualities, + international business activity
Traditional Tonewood Austria http://www.tonewoods.info	European mountain maple, European spruce for: string quartet and guitar + beautiful preselected tone-wood, + know how in violin making, + friendly website
Klangholz Haas http://www.traunmühle.at/klangholz	Austrian mountain spruce, maple for violin, cello, guitar, woodwinds + good tone-wood + ecologically and efficiently processing of wood + flexibility and custom service

Tonewood Kölbl
The family business deals since 1929 with tone-wood. After their expulsion from Sudetenland it settled in Aigen im Mühlkreis (Austria). It is located in the Bohemian Forest (Wikipedia article about the Bohemian Forest), a wooded low-mountain region in the border area between the Czech Republic, Austria and Germany.

The company in the last ten years directed its view in international activity and is now one of the largest operation in European tone-wood. It offers a large stock of tone-wood (especially European Spruce) in different qualities for the whole string quartet, guitars, pianos and woodwinds. It sells forests of tone-wood to instrument manufacturers all over the world.
I've got the pleasure to visit the company some years ago when I was searching for some good guitar soundboards. The owner and manager Ing. Christoph Kölbl has extensive knowledge about selecting and machining wood and is also a good businessman.
Of course you will find some good plates at Kölbls, but you wont find an official price list for sure.

Traditional Tonewood Austria
Traditional Tonewood is a small company founded by Dr. Reinhard Zach, based in Mariazell in Austrians region of Styria (Steiermark). Mariazell and its large Basilika is the most important (Catholic) pilgrimage site in Austria. The city is surrounded by rich old mountain forests and refers to its long tradition of forestry back to the middle Ages.

Dr. Zach is an expert for traditional methods of harvesting and does relevant research. He's also interested in violin making, especially in varnishing and historical informed varnish making. Recently he started to offer so called "varnish workshops" where luthiers and aspirants can learn from his investigations and experiences in varnish making and the techniques of varnishing.
The company deals mainly with European Maple for stringed instruments of the violin family and has good reverences.
It's friendly website offers photo galleries where anybody could choose sets of tone-wood by picture. Certainly the beautiful European maple is a of good quality and will arouse interest to any maker of stringed instruments.

Klangholz Haas- Salzkammergut

Klangholz Haas is a one-man-company operated by its owner Richard Haas. It's a small sawmill, based in the "Ausserland" in the center of Austrians region "Salzkammergut". It's widely known for its rich natural beauty, mountains, lakes and forests. Therefore many world- famous artists and writers passed their summers in the region of "Ausserland" to draw new inspiration. The region harbors old stocks of excellent mountain spruce.

The old sawmill is definitely special under all the sawmills I know, because of its ecological manufacturing, efficiency and flexibility. Some years ago I ordered custom dimensioned spruce tops for some of my instruments and I was served to my complete satisfaction. The sawmill got its own power station and all the energy needed for proceeding the wood comes from the small river nearby. All machines are simple to use but of extraordinary high quality. The machining of the rare wood is done precisely and with little loss. The contact with Richard is very pleasant and friendly.
Recently the company offers special heat-treated wood (Thermoholz) for violin making.

Tonewood- Geigenholz

2011-05-15T19:25:00.000-07:00

Folgende Bilder aus meiner Kamera ruhen schon länger auf der Festplatte meines PC's und sollen nun endlich in einem eigenen Artikel veröffentlicht werden:

Die Fotos wurden vor zwei Jahren in einem Sägewerk im Salzkammergut (Österreich) aufgenommen. Sie dokumentieren das Zerteilen eines grossen Fichtenstammes in kleine tortenähnliche Stücke, wie man sie zur Herstellung von Streich- und Zupfinstrumenten benötigt.

Also die sogenannte Tonholzproduktion!

Mit meinem Freund und Kollegen G. Bauer hatte ich schon öfter gemeinsam das Vergnügen diese erfahrungsreiche und aufwendige Arbeit am Rohmaterial der Geige auszuüben. Das Zerlegen eines dicken Stammes ist eine handwerkliche Herausforderung und ein richtiger Kraftakt! Das Arbeiten mit einem wundervollen Material ist aber immer ein schönes Erlebnis, und deshalb keine wirkliche Anstrengung.

The following pictures are an documentation in short of preparing tone-wood for violins. In cooperation with my friend and associate violin maker G. Bauer I got the pleasure to cut up a big trunk of European spruce in to small pieces, like they are used for making violinparts.

Certainly there are specialized tone-wood suppliers, offering any quality and selection of tone-wood for violin makers. Usually violin makers do not have to pick up a chainsaw or other heavy forestry tools to get good raw materials for violins.

What makes it still interesting to practice this job is the plan to understand wood in all details. Nevertheless the fascination of wonderful rare tone wood makes one excited, when he's truly interested in making violins.

Rare tone-wood in austrian sawmill

A lot of trees are not qualified to become violins!

Rare tone-wood - fascination and desire

sawing spruce tree in to pieces, for violin making

Eigentlich ist es für einen Geigenbauer nicht nötig Hand an eine Motorsäge und schwere Holzarbeiter- Werkzeuge zu legen. Immerhin gibt es einen eigens dafür zuständigen Berufszweig, den des Tonholzhändlers, der üblicherweise für die Beschaffung und Aufarbeitung von Klanghölzern spezialisiert ist. Rohmaterialen für den Geigenbau kann man dort in verschiedenster Qualität und Sortierungen erwerben und meist sogar sofort verarbeiten, da es sich im Normalfall um ausreichend abgelagerte Hölzer in der passenden Dimension handelt! Von den Kollegen aus der Geigenbauwelt wird dieses Angebot üblicherweise auch gerne genutzt und es gibt daran auch überhaupt nichts auszusetzen. Jeder tut das, was er am besten kann, und für das er ausgebildet und ausgerüstet ist:

Der Förster verkauft das Holz, der Tonholzhändler verkauft das Tonholz, der Geigenbauer verkauft die Geige und der Musiker verkauft den Ton.

Jeder nascht ein bisschen von dem guten Baum im Wald. So läuft das in unserer Welt! Man könnte meinen alles drehe sich nur ums Geld!

Doch dem ist nicht grundsätzlich so.

Viele persönliche Kontakte zu Personen, einerseits aus der Holzwirtschaft und andererseits aus der Musikwirtschaft zeigen mir, dass so etwas wie Wertschätzung von Naturressourcen, und eine Wahrnehmung für "das Material für den besonderen Zweck" durchaus auf beiden Seiten vorhanden ist!

Als Geigenbauer ist es mir eine besondere Freude wenn ich bei einem Spaziergang in den österreichischen Bergen einen schönen und prachtvollen Baum erblicke. Desgleichen bleibt der Blick an einem makellosen, astfreien Stamm hängen, wenn er aus einem Rundholzstapel am Straßenrand hervorsteht, von denen es einige gibt hierzulande.
Die Ausschau nach dem perfekten Geigenholz übt eine gewisse Faszination aus, die einen, der sich ernsthaft mit dem Geigenbau beschäftigt nicht emotionslos lassen kann!

cleaving wood for making violinparts

make a way through the grain of the wood

Gen. 1,12: And the earth brought forth grass, and herb yielding seed after his kind, and the tree yielding fruit, whose seed was in itself, after his kind: and God saw that it was good.

Violin Number 26 "für Julia" by Robert Grieshofer 2010

2010-12-17T21:52:00.000-08:00

1/2 Violin by Robert Grieshofer; Anno 2010 - TOP

I recently finished my 26th violin. It went off my workshop in the hands of its lucky new owner yesterday.

In conclusion to previous posts I'd like to present you some photos and background information concerning my latest artwork. If you like to read the whole story from the beginning feel free to use the following links to previous posts on this blog:

Part 1: "Not Just Another Violin"

Part 2: "Violin making- The Most Important Component"

Part 3: "Violin making- Little Violins In a Nutshell"

Part 4: "Sculpturing Violins"

The violin, an undersized 1/2 violin, was made for a seven year old violinist named Julia; so its signature says: "Violine No. 26 - Robert Grieshofer - für Julia - Goisern, Dezember 2010".

It's made of exquisite and carefully selected European maple and Austrian mountain spruce. I used the most appropriate materials I actually got in my personal rich stock of tone wood to set up best conditions for a successful work. The right choice of tone wood for a instrument is very important for me. I pay a lot of attention in it to choose the most suitably wood by looking at its behaviour, acoustical parameters and optical appearance as well.

As indicated I refuse the application of prefabricated or semi- finished parts keenly!
Used oil- varnish, ground layer and color were fabricated by my own using my own recipes and techniques. My knowledge in varnishmaking is based on traditional varnishing techniques described in several relevant historical sources, modern research and as well empirical experience.

The used model for this violin, its arching shape, f-hole styling, scroll model, etc. are designed and constructed by my own and are based on a model I developed in 2002 for the first time. I actually made some individual changes of the model from 2002.

My personal goal for this and every new violin is to create a system of single parts, melted together, acting like one single body. For I know that luthiers tend to emphasize different details on a violin I try to view the violin as whole, as one part. A masterly work only can be done when all significant parameters are controlled by the constructor. So it's oblique to pay attention to every part of the violin, its behavior and characteristic to achieve an unique instruments with beauty and character.

Violin making could be compared with painting a portrait of a perfectly tuned body.

Violin No. 26 "für Julia" therefore is a solid representation of the latest status of my skills and knowledge in constructing and making violins.

In sum I am very happy to serve a fine and great sounding instrument to a talented violinist! For I know, only the active violinist can make a violin be really worthy.

1/2 Violin by Robert Grieshofer; Anno 2010 - BACK

1/2 Violin by Robert Grieshofer; Anno 2010 - SCROLL right side

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Sculpturing Violins

2010-12-14T16:20:00.000-08:00

Referring to previous posts I continue the representation of making an undersized violin in my violin-making-workshop. The links below may be helpful to you to read the whole story:

Part 1: "Not Just Another Violin"

Part 2: "Violin making- The Most Important Component"

Part 3: "Violin making- Little Violins In a Nutshell"...

Violin making is artwork! And not at least it is indispensable to the expression of other great artwork of music. Since its birth, the violin has been an embodiment of the highest ideals of art. So it is today. But violin making is definitely more than a craft. It's much more than making a three-dimensional figure that looks like a violin by carving it out of wood. There are many areas of skills that have to be mastered by the violin maker. Wood sculpturing is only one task of a series of exercises to make a violin. A violin maker has to be a Sculptor, an Architect, Acoustican, Engineer, Musician, etc. too.

Compared to other wood crafts the sculpture of a fine violin is looked upon with great respect and wonder. It's delicate carving and it's elegant appearance amazes laity and experts in the same way.

violinmaking, white violin - ©robert.grieshofer

The sculpture of certain famous master violins is still so impressing to our eyes that it makes us goggle at it with pleasure! Despite the fact, that these violins are able to attract our eyes and ears there are violins that do not have any effect.

Why one violin is so fascinating while the other one is boring?

The key to understand this force of attraction is to understand the art of violin making.

The actual method of violin making I practice in my workshop allows me to sculpture the violin when it is already assembled. I love this phase in making a violin, where I can deeply mutate the shape of the instrument with great influence in its characteristics in appearance and tone. It's a creative process, and I love to do it by hand.

Take a look at the following pictures I took to show how an untreated and roughly carved violin turn into a concrete sculpture.

I really enjoyed it, hope you did too.

previous Part 1 / previous Part 2 / previous Part 3 / to be continued ...

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Jungen Leuten das Handwerk näher bringen

2010-10-09T11:22:00.000-07:00

Außergewöhnlich netter Besuch diese Woche in meiner Geigenbauwerkstatt veranlasst mich wieder einmal in meiner Muttersprache einen Eintrag zu schreiben:

Der Beruf des Geigenbauers scheint bei vielen Leuten unterschiedlichster Herkunft und verschiedenen Alters Interesse zu wecken. Das haben mir die vielen Gäste, die ich in meiner Werkstatt schon empfangen durfte bewiesen! Des öfteren kommen Gruppenführungen in meine bescheidene Werkstatt im Rahmen von so genannten Handwerksführungen, welche nicht von mir selber organisiert aber insofern mitgestaltet werden, dass ich meine Werkstatt und mein ausgeübtes Handwerk in eigenen Worten zur Schau stellen darf. Es kommt aber auch nicht selten vor, dass Passanten mein bewusst unauffälliges Türschild doch entdecken oder durch intensives Geigenspiel angelockt werden, das durch die nicht schalldichten alten Fenster nach draussen auf den alten Dorfplatz dringt. Jene, die von der Neugier gedrängt in die offene Werkstatt hereinkommen werden nicht enttäuscht und bekommen meistens jene Einblicke, die sie sich erhoffen!

Was erwartet man sich eigentlich von einem Geigenbauer und einer Geigenbauwerkstatt?
Die ersten überraschten Blicke meiner unbekannten Gäste verraten mir, dass die meisten von ihnen nicht das vorfinden was sie erwartet haben. Wie auch! Ich hoffe nicht, dass ich einem Klischee entspreche! Ausserdem ist immer alles ganz anders wie man es erwartet.
Um genau zu wissen wie es ist muß man es schon selber erleben.

Das war auch der erster Gedanke, als diese Woche der Besuch einer ganzen Schulklasse samt Lehrern ins Haus stand. Wie bringt man jungen Leuten das Handwerk, den Geigenbau, näher?
Ein oft zitierter Spruch hierzulande klärt auf:

Sag es mir, und ich vergesse es.

Zeige es mir, und ich erinnere mich.

Lass es mich tun, und ich behalte es. (Konfuzius)

Es ist sehr erstaunlich mit anzusehen, wie praktisch diese Worte anzuwenden sind: Nach einer kurzen Einführung und Veranschaulichung des Prozesses wie man eine Geige baut, ließ ich die Jungen und Mädchen selber Geigenzargen biegen und mit Geigenbauhöbeln an einem richtigen Geigenholz arbeiten. Der Eifer dieser jungen Leute war höchst erstaunlich und es hat mir Freude bereitet die vorliegenden Szenen zu beobachten und zu dokumentieren (siehe Fotos).
Die ebenso erstaunte Lehrerin hatte ihre Mühe die Schüler später zum Aufbruch zu bewegen, und erst nach mehrmaligen Aufrufen: "Jetzt müssen wir aber wirklich gehen!" und weiteren abschließenden Fragen waren sie auch wirklich bereit dazu.

Ich persönlich ordne solche Erfahrungen in die Reihe der erwähnenswert positiven Erlebnisse, die mir meinen Berufsalltag verschönern und als besonders wertvoll in Erinnerung bleiben.

Viele Grüsse an dieser Stelle an die Musikhauptschule Schwanenstadt. Danke für euren Besuch!

Violinmaking- Little Violins In a Nutshell

2010-10-07T14:20:00.000-07:00

Refering to previous posts I continue my writing about making an undersized violin in my violin-making-workshop. (Follow the links below to read the whole story from the beginning if you like to: Part 1: "Not Just Another Violin" and Part 2: "Violinmaking- The Most Important Component")...

Making undersized instruments for me is a real pleasure and a great challenge:
People usually don't make great demands on children's violins, so it's easy to surprise them with stunning soundquality and a beautiful artwork!

rare European maple for a 1/2 violin

mark out the rib-outline on the violinback

I noticed too that most of the violinmakers do not show much interest in developing a good sound quality on undersized instruments. It seems, they do not make great endeavors to master the tuning of violinbridge, soundpost and final setup as well, when it concerns an instrument for a young student. In my eyes that's a poor certificate. The fact, that smaller instruments are often classified as lowprice- instruments with lacking soundquality in my opinion is completely wrong and reflects deep ignorance and incompetence from the world of violinmakers and violindealers.

I hope that you belong to those people who know better: Good sounding undersized violins sparely can be found all over the globe, but they doubtless exist.
Certain endowed prodigies verify this statement from time to time:

6 year old violinist Sarah Chang

Some positive exceptions within the violin-making-world should be mentioned here too, trying to improve the situation: The book "Geigenbau und Klangfrage" from Konrad Leonhardt devots interestingness to the constructon of undersized stringed instruments, giving advises in general and some proposals to craftsmen how to deal with the small-sound-problem. Also one of my teachers, Violinmaker Fridolin Rusch has to be regarded as an excellent example of particular quality in making undersized violins. I don't know any other luthiers having more experiences in related items, practically and theroetically. Several positive examples are familiar to me.

Geigenbau und Klangfrage bei amazon.de

What makes a small violin sounding great?
Exquisit materials, conscious and intentional constructing opposite to copying, trial and errors, etc.; precise artwork and: Once more I believe that the right intension will conclude it to its best!

I always try to turn out the best results when building and repairing small instruments. The thankful little violinstudents, their sucessful violin-lessons, exercises and auditions are reward for the violinmakers earnest efforts.

violin-making robert.grieshofer

previous Part 1 / previous Part 2 / to be continued ...

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Violinmaking- The Most Important Component

2010-10-02T15:10:00.000-07:00

In addition to a previous article: "Not just Another Violin", I'd like to continue the representation of making an undersized violin in my violin-making-studio. The half-sized violin will be played by a young violin-student when it soon will be assembled and strung.

In Part2 of this violin making story I want to present you some photos and explanations of making the violin top, the so called sound board:

Follow this link to read Part1 if you like to read the whole story from the beginning: http://vio-line.blogspot.com/2010/09/not-just-another-violin.html

According to many other violin makers and much more violinrestorers the sound-board is a very powerful part of the violin.

(At this point it is important to note that a violin maker is someone who makes violins! Some so called violin makers do not fall in this category, but should be rather called violin-dealers or violin-restorers.)

Some say the belly is the most important component at all?!

In my opinion, to build an unique instrument with a stunning sound quality more than a good front-plate is needed! It is unfortunately necessary that all parts, their behavior and characteristics are observed by the maker. The violin makers goal should be to create a system of single parts, melted together, acting like one single body. It's like painting a portrait of a perfectly tuned body.

It's a challenge anyway!

violinmaking, tuning the soundboard - ©robert.grieshofer

In the manner of craftsmanship the art of making violins is a sum of routine and impulsive creativity! Much routine is needed not to fail in the manufacturing process, and the absence of creativity and flexibility usually results in flavourless instruments without any character in appearance and sound quality. Thousands of cheap mass-produced instruments give us evidence of a misled interpretation of the art of violin making in its traditional history and presence, where these precious attributes do not have been pursued entirely.

violinmaking, tuning the bassbar - ©robert.grieshofer

As a consequence, I do not use any molds and meters in the whole process of arching and tuning the violin-plates!!! Sharpened senses would be fully sufficient to achieve highest quality results and to be able to describe and reproduce detailed characteristics of selected violin parts.

At least a complete documentation is absolutely advisable too, because: Human tend to forget a lot!

comparison: weight of a violintop and a ebony-chinrest - ©robert.grieshofer

violin making workshop diary- ©robert.grieshofer

Vergiss mein nicht!

According to their pasture, so were they filled; they were filled, and their heart was exalted; therefore have they forgotten me! Hosea 13, 6

previous Part1 / continue to Part 3

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Not Just Another Violin

2010-09-19T05:31:00.000-07:00

Violins ©robert.grieshofer

Started to make my 26th violin some days ago. It's a real pleasure to see the work is making good progress. The violin, an undersized 1/2 violin, will be played by a lovely young girl I had the pleasure to meet last month for the first time. God willing it will become a remarkable violin for a unique person.

Instruments made in my custom shop are unique like the people who play them. Every tiny detail is designed, constructed and well done by my own hands in my modest workshop.
So what do you need to make a violin?
Some wood, glue and varnish,... some woodworking tools, ... a workbench!?
And what do you need to make not just another violin, but a rare and unique one?
Wood, glue, varnish, tools, workbench, ...all these things and best Know-How and the right intention...

arching the violin-top ©robert.grieshofer

In this post I want to present you a set of photos of my work on this 1/2 violin "Opus 26". All photos are shot during the process of making. These series of pictures do not claim to be a detailed guide for violin making or a complete demonstration of my way of making violins. They are just what they are: Pictures! I hope they will be pleasant to you, all my readers!

arching the violintop ©robert.grieshofer

thickness meter ©robert.grieshofer

Opposite to many other violin makers I start carving at the inner side of a violins top with a special big arched plane. It's a technique I learned to work with from my teacher Fridolin. I love this method because it makes me certain to gain great control over the wood and tools. I think it's the right order to start on the inside anyway, isn't it?

violinsonatas ©robert.grieshofer

Great compositions are welcome to support the process of violin making! What makes the compositions of Johann Sebastian Bach so exceptional suitable for listening is that it stirs up and animates the mind. A truly great "gift of God".

The construction of the arching shape on a violin is almost essential to the final sound like for example the quality of the used materials and the used model. The absolute and relative gauges of arche-height, f-hole, bass bar and the exact position of the bridge are basically influencing the shape of the arches.

A masterly work only can be done when all significant parameters are controlled by the constructor.

For me it's very important to take a closer look at the arching- style at the bridge position. I discovered it to be a very delicate location, where small changes can have great effect on tone and behavior of bowing.

violin top arching©robert.grieshofer

©robert.grieshofer

Every successful work on a new violin is accompanied by feeling an appreciation of kindness:

"I know that there is no good in them, but for a man to rejoice, and to do good in his life.

And also that every man should eat and drink, and enjoy the good of all his labor, it is the gift of God."

King Solomon

to be continued.../ read Part2

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sumo bridge

2010-09-09T16:32:00.000-07:00

My next door neighbours son lately visted me in my Violin- Making- Workshop. The boy is ten years old and got very interested in what I'm doing in my workshop. When I showed him raw wood materials and tools for violinmaking, explaining what I'm currently working on he listened carefully and asked me about different things that hung on the wall or stood around in the workshop: What is this; what is that? Sometimes he promised that he had never seen something before.
When his eyes picked up my violin bridge blanks, which are hanging on a string in the window I followed and asked him to examine it closer. I told him that is called: "Steg", (german for bridge) and what function it has on the violin.
Then he replied: "It looks like a sumo wrestler" while he simulates the typical acting of a sumo wrestlers by bending his arms and feet in the way sumos do!

This comparison wasn't new to me, but I really wondered that this young boy was able to reflect the truth that lies in this parable.

original baroque violin photos

2010-02-27T12:41:00.000-08:00

This unique violin was made 230 years ago in my home town in Austria. The name of it's maker is Joseph Keffer. He lived in Goisern /Salzkammergut in Austria in the 18 th century and built this lovely violin in 1780.

Violin by Joseph Keffer 1780 ©robert.grieshofer

The violin is completly original in all details: original neck and neckjoint, original tailpiece and fingerboard, original bassbar.
"Keffer" is the name of a family of violinmakers in Austria. They built violins in the later 18 th and the 19 th century. Their violins are made from good and beautiful tonewood and have a really charming character.

Violin by Joseph Keffer 1780 ©robert.grieshofer

This violin is for sale at the moment! Please contact me for more information.

A Riddle!

2010-01-08T16:42:00.000-08:00

My voice is tender,

my waist is slender

and I'm often invited to play.

Yet wherever I go

I must take my bow

or else I have nothing to say!

A Bosnian Lute called Sargija

2009-11-17T03:02:00.000-08:00

Started a new project this week in my workshop: Making of Sargija.

The šargija is a long necked lute used in the folk music of Bosnia, Croatia, Albania and Serbia.

It originated in Bosnia during the Era when it was under the rule of the Ottoman Empire from 1463 - 1878.

The instrument looks similar to the Turkish saz, with a one- piece- body, traditionally carved out of a trunk from hard wood like maple, cherry or walnut- tree. The construction of the instrument, its over- all size, body depth, is not standardized as it is in the Violin- Making tradition, what makes it very interesting for me to build it. Also the number of the used strings could vary from four to six or even seven strings.

The šargija sound is linked to the Bosnian root music (Wikipedia- article: izvorna bosanska muzika) and is usually played in small ensembles with one or two violins, flutes and different types of percussion instruments. Often the Sargija- player is shouting traditional folk songs, called "ganga".

This music is original only to rural Bosnia.

My project of making a Sargija is monitored by my friend Ilja, a Bosnian emigrant, living in Austria for many years now. The construction of the instrument and its use is totally unknown territory for me, so the assistance of Ilja would be a great deal! He is introduced in the process of making a Sargija and he knows how to play it as well. With his support it would be possible for me to understand the function and use of the Sargija.

I look forward to post some more photos of the progress in the making of my Sargija soon. You are welcome, everybody, to follow my news if you like to, by visiting my blog from time to time, or do subscribe to my RSS- feed.

Stradivari - Myth and the Finacial Crisis

2009-11-06T02:10:00.000-08:00

The announced exhibition "Stradivarius Myth & Music" planned to take place in March 2010 in Germany has been postponed. The organizers explain on the "Wallraff-Richartz-Museum-website":

Dear lovers of Stradivarius,... ...The continuing financial crisis forces us to postpone this unique project. This decision has only been taken after long and careful consideration. Everyone involved feels very sad about this. But we have seen that the subject of Stradivarius arouses interest worldwide, and we are hoping for better times, so that we can implement the project at a later date, maybe as early as 2011.

When I read those well-considered words today, a fascinating scene awoke in my mind:

Hundreds of Stradivari-fans all over the world sitting in their homes; shattered by this bad news that the announced Stradivari- exhibition is canceled; weeping; and they are angry about this thing called financial crisis, that is even powerful enough to break the Myth of Stradivari! A really horrible scene! - Now, the great Myth of Stradivari found an enemy that is strong enough to fight against it at last? Will the Myth of Stradivarius be defeated?

So, when you are a "lover of Stradivarius", and you longed to visit this "unique" event don't be "sad". There is hope: Perhaps it is possible to visit the exhibition in 2011. And for all those who already bought their tickets: Your tickets will be refunded!

new workshop equipment

2009-11-06T02:09:00.000-08:00

Violin 3/4 No 24

2009-10-08T23:40:00.000-07:00

My newest creation, an undersized 3/4 violin, is strung, varnished and left my workshop two days ago. It will be played by a young student from the regional string orchestra.

I built the violin in white last year using a model created by me two years ago. I didn't finished it last year, because there has been no demand on undersized violins at that moment. When I got a request for it this summer I started to continue the work and finished it last week.

The top of the violin is made of a rare species of spruce called 'Haselfichte' in german. The 'Haselfichte' is identifiable by small irregular waves as a result of a growing anomaly of the wood, which can be seen in the right upper bout and beside the tailpiece of the violin. It is widely known in the violin making world, because many famous violinmakers especially the cremonese ones used this type of wood for their instruments.
The 'old look' of the violin was desired from the customers. It was achieved by using simple varnishing and painting techniques.

Scratchy Violin Sound Mystery

2009-09-26T13:16:00.001-07:00

Today a young violinist came into my workshop and pleased me to help him get rid of a 'noisy' problem on his currently violin-sound. After showing me the violin he gave a short demonstration of its sound and the mentioned problem. I diagnosed the noise as a really disturbing scratchy bowing resonance.
After testing the violin with different bows from my studio I presented him a few suggestions what could be done to solve the problem.
Then I made some simple regulations in the presence of my customer: A few regulations on fine-tuners, tailpiece and string adjuster were required. Changing the strings on the bass-side and the substitution of the used bow-resin were most of all successful!

When the work was done the violinist was astonished about the fact that the problem was gone! It was a real pleasure when he left my workshop with a well sounding violin in its case and a happy smile on his face. It was nice too, that it was easy to help this time. For I know that such affairs could become very tricky riddles when the problem is hard to find.

Handwerks Führungen

2009-09-23T09:25:00.000-07:00

23. September 2009;

Führung: "Hand.Werk.Führung"

Im Rahmen der Salzkammergut- Hand.Werk.Führung, einer Handwerks- & Ortsführung ist es möglich hinter die Kulissen selten gewordener Handwerksbetriebe zu schauen: Geigenbauer, Buchbinder, Fleischhauer, Seifensieder, Schuhmacher... geben einen persönlichen Einblick in den Werkalltag ihre Handwerksbetriebe.

Mehr Infos und Termine bei Fremdenführerin

Mag. Barbara Kern: www.barbarakern.at

Tourismusinformation: Hand.Werk.Führung unter:

www.dachstein-salzkammergut.at

First Week in Luthier School

2009-09-17T12:37:00.000-07:00

First week of teaching in luthier school is over now. It was dominated by getting involved into the schools internal regulations, preparations for the beginning school-year and administrative procedure. It seems that everyday school life will be a great contrast to my usual work as luthier in my own workshop, where I am going to proceed in varnishing the two violins, that were made in my workshop this summer.
It's a totally different world to put it correctly!

Nevertheless my students seem to have good intentions and I am confident of a fruitful cooperation with them and also with the other luthier teachers.

Hand.Werk.Führung Herbst'09

2009-09-15T13:56:00.001-07:00

19. September 2009;

Führung: "Hand.Werk.Führung"

Im Rahmen einer Handwerks- & Ortsführung Besuch verschiedener Handwerkswerkstätten: Geigenbau. Buchbinder, Fleischhauer, Seifensieder...

Mehr Infos und Termine bei Fremdenführerin

Mag. Barbara Kern: www.barbarakern.at

Tourismusinformation: Hand.Werk.Führung unter:

www.dachstein-salzkammergut.at

Austrian Fiddle Festival 'Geigenfest'

2009-09-15T13:56:00.000-07:00

In my homtown, a small village in Austrians region Salzkammergut, every year the so called 'Geigenfest' (translated from german the 'Fiddle-festival') is celabrated. The festival took place last weekend, and I want to invite you to take a closer look at some lovely pictures from the event published on 'www.kulturfoto.at'.

As the name implies it's a festival, usually a single day festival concerning fiddlemusic. It's a kind of non-profit folk music festival where folk musicians from all over the region are playing together for each other and for the welcomed listeners.

Actually I was not involved in this event unless if one considers the fact that the festival took place in the same alley I'm living in. The lovely square directly in front of my workshops door is the main space where the show was going on. Initially I hadn't planned to write about the 'Geigenfest' because of my lack of interest in folk music. But later, when I was watching the above mentioned photos from 'www.kulturfoto.at' I changed my intention.
Get the picture now!

show Pictures from 'Geigenfest 2009' (www.kulturfoto.at)

Teaching in Luthier School

2009-09-08T14:13:00.000-07:00

After teaching in Austrian violinmaking school in Hallstatt for a month this summer (I wrote about it some time ago in another post), I'm invited to join the teachers team once more. This time a teacher for the whole years turn is required!

The work with my students this summer was really satisfying so I'm willing to enter the profession once again:

I'm going to teach first class students two days a week in cooperation with other luthier teachers. The very beginners should be learned the basic woodworking techniques and basic luthierie training what should conclude in a first self made stringed instrument. Secondly, I've got the mission to guide fourth class students in drawing stringed instruments, especially violins, in a one-year course with one lesson a week.

What a challenge!

How to enter the profession of luthierie

2009-09-03T13:26:00.001-07:00

This week my work as luthier had been accompanied by a young student from Austrian luthier school in Hallstatt.
The welcome guest is now in his third year of training in luthier school.

Interested to get involved in the guitarmaking world he also considers to start a career as drummer, for he find himself in a good position to get a chance in a carrer as musician. Certainly, a good idea!
It would be nice to watch him become a guitarmaker as well. Hasn't he demonstrated willpower when he stood up early in the morning at 5 o'clock to arrive my workshop in time, riding by bus and train every day this week?

Thinking by myself that it is truly difficult to decide where to turn your full attention to, when you'd love to do both I remembered what "Cennino Cennini" wrote about becoming an artist. The Italian renaissance artist and author of the book 'Libro dell'arte o trattato della pittura' left a real treasure in this little book. It should be recommended to note on your 'have-to-read' book-list as well:

"The Craftsman's Handbook; Il libro del' Arte" at amazon.com
"The Craftsman's Handbook, Il libro del' Arte" bei amazo.de kaufen

"You, therefore, who with lofty spirit are fired with this ambition (...to become an artist), and are about to enter the profession (...of arts), begin by decking yourselves with this attire: Enthusiasm, Reverence, Obedience, and Constancy. And begin to submit yourself to the direction of a master for instruction as early as you can; and do not leave the master until you have to." ...Cennino Cennini, Libro del arte

daily violin making routine

2009-08-30T14:01:00.000-07:00

I am just about to build a new violin in my workshop, wondering that violinmaking is so much routine. Step by step the violin takes shape developing from raw wood to more and more definite structure only by following usual activity in familiar surrounding...

When Violinmaking is all routine, where's the art in violinmaking? Does workshop routine prevent from acting intuitive? Does daily routine keep off being creative? No!
I say routine means to act regularily and constantly, never failing to follow a distinct plan. The artistic inspiration lies in getting this plan and let it become explicit.
Finally only daily routine will help to turn an artists vision into art and it would be the skills of the blessed craftsmans hands that turn it into reality.

violin bassbar: The well fitted bassbar is glued on the violintop by using some wooden clamps.

lamplight shining through the thin wood of the violintop and the f-holes.

uncover guitar bracing geometry secrets

2009-08-28T12:12:00.000-07:00

In this post I want to show a methode how to uncover bracing geometries secrets of guitars. Unlike other stringed instruments the guitar has a braced sound board and back plate. Bracing geometry is acoustically critical. When varying bracing techniques the stiffness and mass of the plates are modified, affecting the guitar's sound.

To make the bracing layout of guitar become visible you only have to put a lamplight, that is strong enough, into the inside of the guitars body so that the plate and the braces would be illuminated. The light shining through the wood of the guitars sound board will project shadows on the surface where the braces are located immediately.

Special Equipment for Repairing Instruments

I use this methode of lightning when repairing cracks on a guitartop. From time to time such a damage could happen to guitars and other instruments because they are made from wood, and wood does react to humidity. The appearance of such cracks in wooden instruments is not fine, but it's no tragedy. Nevertheless luthiers should be able to repair the instruments they have built.
In most cases the injury can be healed easily, but sometimes repairing cracks can also be very complicated. Like surgeons do when practicing surgery, luthiers have to practice in repairing instruments, using special workplace equipment, tools, and lighting.

When a crack on a guitar has to be glued it's usually not necessary to open up the body. Operating through the guitars soundhole would be sufficient in most cases, what makes it useful to illuminate the inside of the body by the methode described above.

The Fan-Bracing-System

On the picture below you can see a typical fan-bracing-system of a hand made classical guitar. The fan-bracing-system primarily was developed by the spanish guitarmaker Antonio De Torres.
It shows seven symmetrical fan-braces below the bridge position and two additional diagonal fan- braces at the lower bout. A thick transversal brace is located obove and below the soundhole, other short fan- braces link to the upper transversal brace and the neckjoint.
Note that the bracing geometry shown in the picture below is not an original Torres bracing-system but an individual variation used on a modern hand made guitar.
The two dark stripes you can see on the lefthand of the bridgeposition are patches of long-fibred paper running along well repaired cracks on this guitar.

more guitarmaking photos by Robert Grieshofer

view related posts about guitarmaking