News/Newsletter 1.08
Capturing allure: the mastering of the bench copy
Over the last few years I have been drawn to
understanding the world of violins. Although by no
means do I consider myself an expert, through my
research I have developed a deep respect for the
violin.
The violin holds the crown as quite possibly the
world's most prestigious stringed instrument to ever
grace this earth. It was designed and built to inspire
Kings and Queens and exists in an attempt to capture
qualities of the human voice in a stringed instrument.
Many feel the violin comes as close as an instrument
ever will. I personally love to listen to classical
music featuring violins. I also enjoy the rich history
that surrounds the music, musicians and especially the
instrument makers.
With the utmost respect for violin makers and players,
it's well understood that people who purchase
expensive violins have a discerning palate and can be
difficult to please. Vintage violins made by the likes
of Amati or Stradivaris are worth millions of
dollars...some are, of course, priceless. Just as in
the world of guitar making there are a host of
contemporary violin makers doing their thing. The best
of the bunch command a fist full of dollars for their
creations. When creating any kind of art form one can
be subject to much scrutiny, especially when trying to
match the artistic level of achievement of
Stradivaris. Capturing the sound of an instrument that
has been played and aged for 300 years is just
downright impossible in a brand new instrument.
I enjoy surfing the internet and looking at violin
makers' websites. To me violin family instruments are
gorgeous in every way, especially the rich amber glow
of the varnish. The warmth and character of the color
tells you the instrument is old and special - that it
was done by hand. One contemporary maker - Terry
Borman - recently caught my attention. He is held in
high regard and commands top dollar for his
instruments. He has been hailed as this century's
Guarneri del Gesu, a renowned 18th century Italian
violin maker. Whom many feel made instruments of equal
quality to Stradivarius.
While browsing Borman's website I came across a
specific violin that was labeled a "bench copy" of an
original del Gesu violin from 1735, an instrument
built for a first chair player with the London
Symphony. For those unfamiliar with the term "bench
copy" it's an instrument built as close in every
detail to a specific original instrument, including
scratches, marks, varnish patina, etc. Bench copies
represent the finest detail that can be accomplished.
Trying to capture the character and appeal of an
instrument that has been around for 150 to 300 years
is not an easy thing to do.
For many years now I have been restoring vintage
guitars. Most often I have to repair something and
make it look as if it has not been altered. Not to
deceive anyone, but to retain the overall aesthetic of
the instrument's age. For instance, if I was to repair
a broken headstock on a guitar built in the 20's and
it required finish work, I have to respect the fact
that the guitar has been played and loved throughout
much of its life. I don't want my repair work to look
better then the rest of the guitar, as it draws too
much attention to the repair and just plain and simply
doesn't look good. The repair must compliment the rest
of the guitar. This is achieved by specific graining
and finish techniques and years and years and years of
looking at old guitars - and just knowing what old
really should look like.
The point of my story is this. I almost feel validated
by the violin world. If these players of such fine
instruments are seeking builders to make bench copy
violins then why not acoustic guitars? Bench copies
have been made throughout the centuries. There have
been many instruments that were built under
Stradivari's name but were in fact incredible copies.
The most famous of these bench copy makers was
Vuillaume in Paris. It literally took almost 200 years
to figure out his instruments were in fact replicas.
I admit this is not for everyone. There are many
people who find the notion of making a new instrument
look old just absurd, especially for the purpose of
aesthetics alone. But the fact of the matter is old
instruments just seem to inspire us more. They have a
story to tell. New guitars today look so much
different than a new guitar looked in the 30's. Today
it's all about the super shiny glossy world, and that
aesthetic definitely has its place. However, I
personally know many musicians that just won't play a
new guitar, even if it sounds amazing. Being the
over-thinking physiological creatures we are, it's no
mystery.
I pride myself on the fact that it's all hand work
around here - I like to call it the "Dark Ages". But
it has its advantages...if you are looking to capture
that vintage vibe that you either can't afford or
find, look no further. I am adding the "bench copy"
techniques as an additional option available from
Montuoro Guitars. As I mentioned, this may not be for
everyone, but if it's interesting to violinist
Kyung-Wha Chung, then it may just interest you. Please
feel free to inquire. And as always thanks for the
interest.
Frankie Montuoro
1.28.08
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