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Showing results for tags 'del gesu'.
Found 11 results
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Welcome Since I've heard this violin I've got it always on my mind. It sounds magnificently. You can hear it for example here in duo concertante with 1727 Vesuvius Strad: https://youtu.be/4UWkoYI8C4E Pitty there are only some photos available but no table and back maps/measurements, just LOB and bouts. Maybe some of you would be so gentle to give me a hint where to find them. I can pay for it. I know there is a poster avaiable at cremonaviolins.org and some data at Tarisio and: http://www.archiviodellaliuteriacremonese.it/strumenti/violino_51.aspx?f=457944 That's all I know. Thank you.
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Here are some basic drawings of Plowden del Gesu of 1735 I cobbled together. No scroll, yet. I will work on more as time permits. They are pdfs A3 format thay should print in full size if printed to 100% (and if you can trust your printer). Enjoy! PlowdenBack.pdf PlowdenRibs.pdf PlowdenTop.pdf
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My daughter's violin had the wolf on B note of G string and I went to the best Luther in my city. He told me most of the Italian violin got wolf tones and It's hard to make it disappears. He told me it needed to open the violin and take very long time to fix it and he is not 100% sure if he can make it disappear. I read an article about René A. Morel fixed Sarah Chang's Del Gesu wolf tone. but sadly he passed away on 2011. I wondering if it worthy to give a try? any thoughts? thanks a lot!
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Hi All, I’m privileged to be the owner of a Tres Amigos violin (2013, Strad Model) made by Ryan Soltis, Antoine Nedelec, and Jeff Phillips for Julie Reed-Yeboah’s contemporary violin exhibition in New York. Every year (theoretically, ) the trio of first-class makers go through rotations of who does what. In the case of my current violin, the scroll/varnish is by Ryan, the back and ribs are by Antoine, and the top is by Jeff. After they completed three Strad models, of which mine is the second, they moved on to Del Gesu models. When the time for the second DG model came around, which would be the twin to mine in terms of who made what, I had expressed a lot of interest in the fiddle as a companion to my current Strad. Fast forward to 2020 and here we are with the fiddle completed! When I asked the trio if they would be okay with me posting the pictures, the condition was that I give Antoine a mohawk in one of them. VOILA.
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For sale: IHS del Gesú 1998 double volume book cloth bound. By Peter Biddulph. PM me if interested. N
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A friend was kind enough to share some images of one of Nicolas Sawicki's early dG copies - made after Sawicki worked on il Cannone for Paganini. It is evidently thickly graduated, which I understand is pretty unusual for an early copy:
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The Cannon comes to Columbus Ohio I presume a lot of you may already know about this and I hope to see some violinmakers turn out. Bruce
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It's Friday. I thought I'd change the subject and show something I think is interesting. A few months ago I was perusing the cd of the catalogue from the Stradivari Museum and came across something that caught my eye. A bit of effort turned up this little tidbit. Below are two images. The first is a template from the Stradivari Museum (MS786) and the second is a CT scan of a del Gesù violin (I won't say which one, because I don't know who owns it now). The measurements I have for the lengths are 346 mm and 345.8, so I scaled them as accurately as I could in Illustrator. and here they are overlaid Interesting, no?
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Hello and welcome to my second build thread! After finishing my first violin a few months ago, my wife and I both got made redundant from our jobs and have picked up sticks from Sydney Australia and moved to snowy (hopefully) whistler on a 2 year working visa in Canada BC. The idea is to work as little as possible and ski and make violins as much as possible for the next two years . My wife was gracious enough to let me set some money aside for building my number 2 violin so I have ordered a bunch of materials and a few new tools that I was missing from the first build. The last violin was quite a rush as I was finishing up work, packing up a house, finishing a record and moving countries all at once. I like to work fast, but I am going to push myself to take my time and put as much effort as possible into the finer details of this fiddle. Building number 3 is conditional on being able to sell number 2 for at least a small profit to repay materials and a proportion of my time. This violin like the last will be inspired by Del Gesu's 1742 'Alard'. I loved the sound of the last fiddle and I want to master that model as well as I can before taking a risk on a new model. I will be making a new inside form from scratch as the last did the job, but was far from perfect. And here's the materials and a few of the tools that have arrived so far: The spruce is from Simeon Chambers (rocky mountain tonewood) log 89 and the maple is from Drewbas Tonewood. Both are master grade. I did struggle without any decent carving knives on the last build and was using cheap x-acto blades and sharpening them up. Did the job, but very frustrating so I took a trip to the Lee Valley shop outside Surrey and picked up a couple of japanese and flexcut carving knives. Progress will be a little slow for a week or two yet as my wife and I are still living in a hotel room with no room for violin making. We move into a small studio apartment on Nov 1 and my first task will be to build a small workstation before beginning my violin.
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Hi guys, I have started building my first violin and I thought this might be a good place to document the process. I'd welcome any/all advice on the build as I'm sure I'll make plenty of mistakes. This will probably take a while as I have a busy work life and can only make progress on my violin as time allows. I decided to base my violin on the Del Gesu 'Alard' as I have never owned a Del Gesu and I want something with a deeper tone than my current cheapie strad copy. In a way I think this is my first mistake because I'm discovering a lot of asymmetry and 'close enough is good enough' from reading the Strad poster and plans. From what I hear, Stradivarius was a lot more disciplined and repeatable in his work. Obviously being a beginner, any asymmetry or roughness I try and emulate would have my own mistakes and asymmetry built in so it probably isn't the best choice. Despite this, I would love a Del Gesu violin and I'm already committed so I am going to stick with it. Sometimes I have a tendency towards wanting to achieve perfection in my projects and this sometimes means I don't get the job done because I get discouraged/caught up in the mistakes. This project I am determined to be pragmatic, fix the mistakes I can and if there's something I can't fix, I will just move on and keep going. I know it will take the practice of many violin builds and many mistakes before I'll get something I am happy with so I might as well keep the project moving as much as I can.
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I've been bitten by the bug…!! I am just beginning, ribs bent and glued using a single piece inside mold influenced by the du Diable Del Gesu. I know a lot of you might be wondering why copy (influenced) the du Diable. Well I am taking a class that is about a year long , 6hrs., 1 day/week through Surry Community College in Dobson NC that is being taught by Joe Thrift. That happens to be a del gesu that he has a lot of information about, his copies that he has built sound just incredible, it is also one of del gesu's more normal looking violins (scroll and shape of the body). Joe has just finished a copy of the Lord Wilton that if I had the money, I would buy it in a heartbeat or less. We have 12 people in the class and everybody is making great progress toward a completed violin. Everyone is using Italian Alpine spruce and European maple through a source that Joe has developed a good relationship with. I have no doubt that the wood will exceed my abilities as a newbie luthier. For the people who are not familiar with Joe Thrift, he lives in Dobson NC, and is a very accomplished luthier as well as a great Old Time fiddler, all around musician, and a great teacher of violin making as well. He was trained at the Newark school of violin making. He and Roger Hargrave were table mates and have remained friends. It has really been enlightening getting to know the building process. It gives me a whole different prospective on the violin which has provided me a living for the better part of 40 years as a musician. I highly recommend any one who wants to learn how to build a violin in the "Cremonese Method" sign up for the course when it comes up again as the tuition is incredibly affordable and Joe has been a first rate teacher. We have classmates from all around the area and some have come from a pretty long distance. One has come from Vermont (a good friend of ours that is renting a room from us), and one drives every week from around Beckley WV. My wife, who is an incredible musician, even signed up for the course and is doing great in the class. I need to get busy installing the linings but I will post pics in the appropriate place when I get a little further along. I can most definitely say this will not be the only violin I build. I just intend to build, try different ideas and have fun…!!! David Blackmon
