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
Workshop
This page offers you the following submenus:
My violin making workshop was founded in 1932 by the Lübecker violin maker Günther Hellwig, one of the first German violin makers to make a name for himself by building Violas da Gamba that were true to the originals. These instruments are still in demand and played regularly. Practically all of the notable da Gamba-makers of following generations have passed through his workshop.
His work with the instruments of the Gamba family culminated in his treatise about the famous da Gamba maker Joachim Tielke of Hamburg, to this day a work belonging to the standards of violin making.
I joined his workshop in 1977 and was able to look back upon his rich experience in the areas of new violin construction and restoration when I took over the business in 1983.
In 1991 I established a second workshop in the regional capital of Mecklenburg-Western Pomerania, Schwerin.
Our aspiration is to implement the variety mastered by the "old violin builders " in our work. Therefore, next to modern string instruments of the violin family, we also make all the representatives of the Viole da Gamba instruments, as well as the bows for both families.
You are welcome to make an appointment to visit our workshops.
Should you be interested in instruments from our violin making workshop, we will furnish you with reference addresses in your area so you can get a firsthand impression of the high standard of our work.
- From Dream to Instrument
- Paths to Success
- From the Idea to the Implementation
- Our Ideal Instrument
- Variety as Specialisation
- Copy as Original
Salesroom in Lübeck
From Dream to Instrument
I have long been interested in outstanding and artful instruments of Italian violin building design which stem from the seventeenth and eighteenth centuries. The harmony between aesthetics, artisan technique and tone quality set standards to this very day. Due to the high prices, however, many can only dream of owning such an original work. Perhaps you will let your dream come true one day with one of my instruments.
Our workshop at the foot of St. Peter's Church
Paths to Success
To make a first class instrument, we carefully match all the components with one another. When selecting the choice woods we use, tone quality has absolute priority. The decades-long natural aging of this wood ensures the execution of the most challenging demands. Intuition and a fine feel for the material let us find the strengths of wood which are essential for the fine balance between tone quality and a centuries-long life span.
Old artisan techniques, their refinement leaving freedom for personal self-fulfilment, form the character of my instruments. My varnish, its Italian composition dating from the seventeenth century, brings out the natural beauty of the wood and creates harmony between appearance and tone quality.
Copy by Pietro Guarneri, Venice. This instrument was built for Eckart Runge, who in addition to his work as cellist in the world famous Artemis Quartet, is also involved in numerous solo projects. See Celloproject.de.
Here is an audio sample from his CD Cello Tango.
From the Idea to the Implementation
I am delighted by the possibility of being able to cater to the wishes of my customers.
The work of an orchestral musician likely requires other solutions than those needed by a soloist. Likewise the size and dimensions of an instrument can be adapted to individual needs. Tonal perception is very subjective and grand in scale. These must be resolved by the musician and then integrated into the instrument building concept. This implementation process is a special challenge for me.
Copy Gasparo da Saló Top
My Ideal Instrument
The idea of what an instrument should sound and look like varies, of course. The decision for a new instrument has only one cause, however: The old instrument has placed limits upon the musician, whether it is due to a lack of dynamics, slow responsiveness or inadequate modulation ability. My ideal is to build an instrument without these limitations, one which will enable the artist to perform with discrimination and sophistication.
Copy, Gasparo da Saló
Variety as Specialisation
We make the entire spectrum of string instruments in my Lübecker workshop. This includes the violin family (violin, viola, violoncello) and the Viole da Gamba family (from pardessus to bass), as well as the bows for both groups. We work using historical models as well as our own. My copies of old master instruments are particularly beautiful and fulfil the highest artistic demands.
Lions head: Master Violin Builder H.-H.Uilderks
A Copy of the Original
When recreating a great instrument, both optical and tonal similarity must be reproduced. This is never achieved merely through the exact assignment of wood strengths and measurements. The personality and the concept of the builder behind a first class model are decisive when it comes to questions of quality. I try to empathize with these aspects of the instrument when making my copy and, through this, create a new original. One can not ask for more in a violin.