Conor Russell Posted September 16, 2014 Report Share Posted September 16, 2014 For most of us, 'what's missing' changes with every new violin, from the cradle to the grave, at least in our own work. That's what keeps us learning, and with a bit of luck improving. When I started out, and saw my first decent French trade fiddle, to be able to make something as cleanly as that was the ultimate goal. It took seeing a few really good violins for me to realise that there was much more to it all than tidy edges and polished varnish. Seeing the makers hand and personality in the work is very important for me. A well educated hand is usually pretty obvious. The old Cremonese makers had the benefit of unbroken generations of learning and teaching. If anything is missing, it's that unbroken chain. The bowmakers are so lucky - they have a lineage that stretches all the way back to Tourte. But since we have so many examples of the great makers' work, we can take them as our teachers,and guided by our talented and generous colleagues, that's not a bad start. The great thing is to avoid getting too hung up on some particular aspect, and getting sidetracked. I actually think it's all pretty simple, and that with an open mind, and a decent eye, you can make great fiddles. I'm pleased to tell you Lucitano, that most of the science is completely lost on me. But I'm not sure that it's all that necessary anyway. Quote Link to comment Share on other sites More sharing options...
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.