NEWS
Concerts with Uilderks' instruments, among other things
11.05.2010, 8 PM Main Church (Hauptkirche) St. Katharinen
Katharinenkirchhof 1 20457 Hamburg
Program:
Mozart Clarinet quintet, KV 581
Brahms Clarinet quintet, Op. 115
Sharon Kam (Clarinet)
Isabelle van Keulen, Ulrike-Anima Mathé (Violine)
Volker Jacobsen (Viola)
Gustav Rivinius (Violoncello)
Mathias Johansen Cello
DO 04.03.2010 20:00
"Cello Total" with Yoko Yamada A.Schnittke-Gesellschaft, Hamburg
Max -Brauer-Allee 24
Alfred Schnittke
(1934-1998)
Cellosonate nr.1 (1978)
Edward Elgar
(1857-1934)
Cellokonzert in e-moll op. 85 (1918/19)
20.01.2010
The newest CD Celloproject Eckart Runge, Cello and Jacques Ammon, piano
The Celloproject goes east.....
Russian soul by Nikolai Kapustin and Sergei Rachmaninoff.
You can order the fantastic CD here
9.11.2009
Diplomexamination Viola mit Yulia Smirnova
u.a.Brahmssonate
Kammermusiksaal 20.00 Uhr
8.11.2009
Mathias Johansen
Elgar Celloconzert Laeiszhalle, Hamburg
11.00 Uhr
1.11.2009
Artemis Quartet play Beethoven Kolloseum in Lübeck
19.30
14.06.2009 9.15 - 10°° Uhr
Artemis Quartett Schwetzinger Festspielen 2004
Ludwig van Beethoven: Streichquartett f-moll op. 95
György Ligeti: Streichquartett Nr. 1 „Métamorphoses nocturnes“
The UK´s Doric String Quartet has been awarded the Nordmetall Prize for best ensemble at the Festspiele Mecklenburg-Vorpommern worth €10.000.
5.12.2008: Die neue Cellotango CD Celloproject Eckart Runge und Jacques Ammon, eine Tango CD voller Emotionen.
Eine erstklassige Einspielung, der Geheimtipp für Kenner. Hier gibt es sie schon!
19.11.2008: neue Tonica Saite von Pirastro 
In unserem Geigenbau Blog mehr darüber. Und bei uns sensationell der Preis: für einen Satz nur 18,47 Euro! einschl. Mwst.zzgl.Versandkosten
08.11.2008 17.30 Schwerin Schloßkonzerte Ahnengalerie anl. des 70. Jahrestages der Reichsprogromnacht) "Zeitzeugen hören - Brücken bauen" Rosenbusch-Quartett & Thomas Gärtner Schlagzeug: A.von Zemlinsky Streichquartett Nr. 1 A-Dur P.Haas Streichquartett op.7 "von den Affenbergen"
31.10.2008 20°° Uhr Theater Combinale Lübeck Amaryllis Quartett mit Jens-Peter Mainz, Cello Frid: Quartett "Fugues" Schubert Streichquartett Es-Dur D87 und Streichquintett C-Dur D956
16.10.2008 20°° Uhr Kammermusiksaal der Musikhochschule Lübeck mit Studierenden der Klasse Prof. Barbara Westphal
Wir drücken den Teilnehmern, die auf ihren Uilderks-Instrumenten den diesjährigem ARD-Wettbewerb im Bereich Streichquartett und Viola bestreiten, die Daumen.
In meinem Blog (Geigenbau-Blog) gibt es interessante Neuigkeiten. Produkte, Tipps aus der Geigenbau Werkstatt. Neueste Themen: Stege für Geigen, Cellodiebstahl,Provisionen im Geigenbau,GPS Signal zum Auffinden von gestohlenden Instrumenten und vieles mehr vom Geigenbau.
Neu: es gibt jetzt den ersten Geigenbau-Blog. Interessante Meinungen, Neuigkeiten aus dem Geigenbau und der Streicherszene sowie Produktneuigkeiten. Ihre Meinungen sind im Blog gefragt.
John Myerscough hat mit seinem Doric String Quartet den 1.Preis vom 6th Osaka International Chamber Music Competition 2008 gewonnen und den 2.Preis im internationalen Streichquartett-Wettbewerb Premio Paolo Borciani 2008 und das Amaryllis Quartett gewinnt auf diesem Wettbewerb einen Sonderpreis
Artemis-Quartett in ARTE am 24.06.2008 08:00 - 08:45 und in Hessen 3 am 06.07.2008 07:45 - 08:30 mit Ludwig van Beethoven: Streichquartett f-Moll op. 95; György Ligeti: Streichquartett Nr. 1, "Métamorphoses nocturnes"
Die neue CD des Amaryllis-Quartetts Fantasia Tropica
mit Streichquartetten von Géza Frid mehr dazu in unserem Shop und auf dieser Seite
Sonntag 18.5. 2008 Lübeck
Amaryllis-Quartett
19.30 Uhr Großer Saal Musikhochschule
Veranstaltung Verein Freunde der Kammermusik VFK
Béla Bartók: Streichquartett Nr. 5 (komp. 1934)
Johannes Brahms: Streichquartett a-Moll, op. 51/2
M u s i k h o c h s c h u l e L ü b e c k
Mo 21.4.08 | 21 Uhr | Kammermusiksaal
Mu s i k f ü r V i o l a
im Rahmen der Diplomprüfung
Jan Grüning Viola, Klasse Prof. Barbra Westphal
Christian Ruvolo Klavier
Rebecca Clarke (1886-1979)
Sonate für Viola und Klavier
Impetuoso – Poco agitato | Vivace | Adagio – Allegro
Krzysztof Penderecki (*1933)
Cadenza per viola sola (1984)
Astor Piazzolla (1921-1992)
Le Grand Tango (arr. für Viola und Klavier)
Tempo di Tango | Meno mosso | Piu mosso
Eintritt frei
Hier geht es zu unserem News-Archiv!
July 28. 2010 10:52:45
The Making of a Violin
Here we would like to show to you how a violin is made in our violin workshop. Many photos will allow you to follow the construction of a string instrument at the hands of a master violin builder. In violin building, only old, mature woods are used. In general, 10 year old wood will suffice, but using older wood has its advantages.
For the body, primarily two kinds of wood are used: sycamore maple for the back, ribs, neck and bridge while the belly is made of resonant spruce. The wood pieces for the belly and the back are layered like cake pieces from the upright stem, called radial cut.
Maple stem with marked segments
Radial cut: The annual rings are vertical to the base and provide long-term resistance to the pressure exerted from the strings and the bridge. For the same reason, it is advantageous to split or to saw the wood along the splits length.
Attachments like the fingerboard, tailpiece and pegs are fashioned out of hard wood such as ebony or rosewood. All woods should be mature and not artificially dried.
Construction
The Inside Mould
Often a inside mould is used for violin making. It can be used over and over again. The moulds size is approximately the size of the violins outline and is fitted with 6 blocks. The blocks are attachment points for the ribs.
Mould with glued on corner, upper and lower blocks.
The ribs are made of thin boards (violin: about 1mm) that are shaped using a special iron and moisture. The profile of this iron matches the waist of the instrument. Originally embers were used although nowadays the iron is heated electrically. The ribbing is shaped according to the mould and glued to the blocks.
This is how the ribs are bent into shape.
The Back
In violin making, maple is usually used for the back. The back can be made using one piece of wood or two separate wood pieces that have been glued in the middle. At the thickest point, the backs of violins are 15-16mm thick.
The back is cut into shape according to the mould and then the wood is arched. The carving work is done using a smoothing plane, chisels and a curved-sole finger plane and a custom-made draw blade.
This is how that back of a violin is curved in violin making.
After the curving has been completed a channel is cut that runs parallel to the perimeter. The channel will hold the lining. The lining is made of three-layer wood splint. A light layer is sandwiched into the dark layers. It is meant to prevent cracks in the cover and also has decorative purposes.
With these same carving tools, the various thicknesses of the back are determined. The wood strength depends on the firmness of the wood used and generally no two instruments are made the same. The thickness of the back has a big influence on the sound. Linings, or little wooden boards, are fitted into the rib shape to increase the surface area for gluing the ribs to the back and belly.
The Belly
Belly Curvature
The belly is inlaid and worked in the same way as the back. Here the wood strength and its distribution have an all-important effect upon the sound of the finished instrument. Following these preparations, the f-holes and the bass bar are added.
Belly Preparations
Before that belly can be glued in place, the mould must be removed. Once the body of the instrument has been closed, the edges are chamfered and the lower saddle is fitted into the belly.
Chamfering the back edges
The Neck
On both sides is an outline drawn and chiseled down accordingly.
The windings on the scroll are formed with a neck iron which consists of 8-10 chisels that correspond to the respective radii of the scroll windings.
In order to fit the neck into the instruments body and glue it in place, a cut-out is made into the upper block.
The base of the neck is slowly fitted into the cut-out.
The necks angle and the fingerboard determine the height of the bridge. This must therefore already be taken into account when fitting in the neck. After the fingerboard is glued onto the neck, it is given a form that is agreeable to the player.