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Audio Sample
The King
This is Pauline’s violin in many ways. It’s hers to play but also hers in design and ideas. You see, for me the philosophy is that there is no exquisite beauty without some strangeness of proportion. These are not my words. They were used by Edgar Allan Poe and as I understand even he was referencing Francis Bacon—whether Bacon was himself quoting someone else I don’t know; I didn’t search further but in my mind these words are a little too good to not be from the greatest writer of all the ages, Anonymous. But this violin has little in terms of strangeness.
It is based off a Guarneri violin, which Pauline believes is the better course of action. I would agree, although very reluctantly because I almost don’t believe that “better” or “best” is a fruitful way of understanding art. But it is certainly easier to make a good sound, to produce more voices, and is easier to play in tune.
The arching blends the best ideas of the first half of the 18th century Cremonese instruments. The arching is low, which is undeniably better for sound than high arches. And they are shaped with gentle curves to create a large and cohesive soundboard, which is unencumbered by sudden curves which stiffen certain sections. Lengthwise, the arch is a gentle radius without straight sections. On the reverse side the plates are thinned just right. Not too thin, and not too thick.
We used a piece of plain maple for the back. This idea runs a bit counter to the standard thought, but both of us feel a plain back has a better sound than a heavily figured one. For a long time now, more than a hundred years, availability of exquisitely figured maple has not been an issue. Certainly, it is more expensive but compared to the value of a well-made violin, it is not a cost that would be prohibitive. It is thought by many, that in the early part of the 18th century and earlier that highly figured maple was harder to come by. Consequently, we have a good number of the finest instruments of their time crafted using less exotic wood. In our experience these instruments very consistently outperform their more adorned counterparts when it comes to sound.
This violin is incredible to play. It feels absolutely telepathic. Each note, bow stroke and idea of the violinist is amplified and you do not have to work very hard at all to communicate the music. Rubato is easy to execute convincingly. The Viennese repertoire, which is so difficult to play well, sits very naturally under the fingers with this violin. Paganini, Wieniawski, and the other fast-fingers pieces articulate in a way that can’t be done on most violins. Every note articulates at every speed. It is really something to experience.
Of course what I have outlined is just a small portion of the thought and effort we put into the design and creation of our instruments. Pauline and I make each of these instruments to create an experience which is cohesive and unique.
The King
This is Pauline’s violin in many ways. It’s hers to play but also hers in design and ideas. You see, for me the philosophy is that there is no exquisite beauty without some strangeness of proportion. These are not my words. They were used by Edgar Allan Poe and as I understand even he was referencing Francis Bacon—whether Bacon was himself quoting someone else I don’t know; I didn’t search further but in my mind these words are a little too good to not be from the greatest writer of all the ages, Anonymous. But this violin has little in terms of strangeness.
It is based off a Guarneri violin, which Pauline believes is the better course of action. I would agree, although very reluctantly because I almost don’t believe that “better” or “best” is a fruitful way of understanding art. But it is certainly easier to make a good sound, to produce more voices, and is easier to play in tune.
The arching blends the best ideas of the first half of the 18th century Cremonese instruments. The arching is low, which is undeniably better for sound than high arches. And they are shaped with gentle curves to create a large and cohesive soundboard, which is unencumbered by sudden curves which stiffen certain sections. Lengthwise, the arch is a gentle radius without straight sections. On the reverse side the plates are thinned just right. Not too thin, and not too thick.
We used a piece of plain maple for the back. This idea runs a bit counter to the standard thought, but both of us feel a plain back has a better sound than a heavily figured one. For a long time now, more than a hundred years, availability of exquisitely figured maple has not been an issue. Certainly, it is more expensive but compared to the value of a well-made violin, it is not a cost that would be prohibitive. It is thought by many, that in the early part of the 18th century and earlier that highly figured maple was harder to come by. Consequently, we have a good number of the finest instruments of their time crafted using less exotic wood. In our experience these instruments very consistently outperform their more adorned counterparts when it comes to sound.
This violin is incredible to play. It feels absolutely telepathic. Each note, bow stroke and idea of the violinist is amplified and you do not have to work very hard at all to communicate the music. Rubato is easy to execute convincingly. The Viennese repertoire, which is so difficult to play well, sits very naturally under the fingers with this violin. Paganini, Wieniawski, and the other fast-fingers pieces articulate in a way that can’t be done on most violins. Every note articulates at every speed. It is really something to experience.
Of course what I have outlined is just a small portion of the thought and effort we put into the design and creation of our instruments. Pauline and I make each of these instruments to create an experience which is cohesive and unique.