Violin based on Carlo Bergonzi 1731

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July 2010

Carlo Bergonzi is one of the less well-known of the great Cremonese makers, but one whose instruments are worthy of closer study.  He was the last figure in the long catalogue of the golden period of Cremona, and his work combines the ruggedness of Guarneri del Gesu with the style of Stradivari.  I made violins based on this particular example some years ago, which sounded powerful, with quality and responsiveness. 

So it's a real pleasure to revisit this model.  I've started by preparing the wood for the back - I've chosen a beautifully figured piece of maple that will make a one-piece back.  In this picture, I've just started roughing out the shape of the arching from the solid block of wood.

I've made the ribs from the same block of wood for the back, and they are bent and glued in place round a mould.

During the course of making this violin, I have a second-year student from the Newark School of Violin Making, Isabelle, for a fortnight's work experience.  In this shot she is preparing the front for inlaying the purfling.

The purfling is now in, and I've finalised the shape of the arching.  The attractive figure of the maple back is now quite apparent. 

The next stage is to turn over the back and front and hollow them out, reducing them to the final thickness.  This is one of the areas that has the most influence on the sound of the instrument - and it's different for each one depending on the density of the wood and the shape of the arching.  As I get close to what I think will be the final thickness, I remove wood very slowly and carefully, checking the weight and stiffness until I'm happy with the result.

I now cut the cut the soundholes in the front.

The final task on the front is to fit the bass bar, which helps support the weight of the bridge and also reinforces the bass register of the violin.

Now that the back and front are finished, I can start to assemble the body. I've taken the ribs off the mould, and use these special cramps to hold the back to the ribs while the glue sets.

This model of violin has a really attractive scroll - a good mix of grace and character, and it's been fun to carve.

September 2010

The violin is now varnished and finished.  I've chosen a soft golden brown colour, and worn away the varnish slightly on the edges, adding a little bit of fake dirt, so that the instrument doesn't look quite brand new.  It's sounding really strong and powerful, and even over all the strings.