“Thank you for this extraordinary violin, which is so fine and fun to play that it is opening all kinds of possibilities in early music to me. I love its inner life and warmth, its exuberance!” Maria Benotti, Baroque & Classical Violin
During the 1980’s almost a third of my work was in baroque form: some fifty violins, violas, celli, and violas da gamba. Until recently the demand for my modern instruments has kept me too busy to work on baroque style instruments. During the last couple of years, I began to feel that my command of acoustic excellence was at a significantly higher level than it was in the 1980’s, so I have ventured into making baroque instruments again.
I have several baroque violins available. One is a copy of the “Harrison” long pattern Strad from 1693, a violin I worked closely with while making a copy for the National Musical Instrument Museum in 1990. The other is patterned after the “Vieuxtemps” Guarneri del Gesù violin, perhaps the strongest statement of his making and design genius. This is an exciting voice not usually heard in the early music world. I have recently set up two new baroque violins: one on my Gaspar da Salo pattern, and one after a 1610 Maggini violin that I am also making in modern form.
I recently completed a 16 3⁄8" Guarneri model baroque viola on special order from a client, as well as a 17 ¼" Gaspar da Salo, a small Testore and a small Gaspar, all in baroque form. I have a very early - Opus 65 - Tenor viola in inventory.
I view myself primarily as a toolmaker: I make violins and violas to be used by musicians to order sounds in the universe, to express their soul and spirit. As a user of good tools I know that tools have a beauty that comes from elegance and efficiency of design, comfortable fit to the body, and a relationship to a tradition of use. My work is limited by the nature of wood, the laws of physics, the shape of the human body, and the imagination of my clientele. Tonally I strive for ease of response and a full, flexible sound. I work on a wide range of models to meet the needs and tastes of a wide range of players. The goal is a rich, complex foundation with enough character and personality on top to provide projection and clarity of articulation.
My instruments can be found in the hands of professional and amateur players, students and teachers, at institutions and universities. I welcome your inquiries and visits to my studio.