May 2011

The model for this large viola is based on a fabulous instrument from the late 16th or early 17th century: the Gasparo da Salo viola in the Ashmolean Museum, Oxford. Gasparo was one of the earliest known violin makers; he worked in Brescia, northern Italy, and he and his successor, Paolo Maggini, are credited with making some of the best sounding violas. I love to use these as models for a number of reasons - the sound primarily, that the proportions make instruments that are easy for the player to manage, and that there is a wonderful rustic spontaneity in the design and style of making that always brings joy to my heart.  These are not the polished stylish instruments of Cremona, but nevertheless they have a real charm all of their own. 

The original viola is a tenor instrument, but I've reduced it to a size which is popular with orchestral players. 

I make the ribs of the viola from strips of maple planed down to just over a millimetre thick, then heat bent round the mould.

I’ve started work on the back.  The wood I’ve chosen for this viola is willow, which is lighter in weight than maple but also has a higher weight to stiffness ratio, which enables me to make a strong back that is a little lighter than the equivalent maple back, an advantage for larger instruments.  The willow also helps give breadth to the sound of the finished viola.

This is the head for the viola.  It’s one of my favourite parts of making the instrument.  Some of the original Gasparo heads are really crazy - highly unsymmetrical, and covered in toolmarks.  My aim is to keep some of the freedom and inspiration of the original, but working in a way that fits with my overall personal style.

The fronts of my violas are bent rather than carved - this helps to make them stronger, so that I can leave them a little thinner - helping to make a more powerful, resonant and responsive instrument.  The two halves of the front are steamed, then the shape created by driving wedges between the two halves.  I leave the wood to dry for a few days before I can join the two pieces.

In the meantime, I’ve been working on the back.  I’ve inlaid the purfling and finalised the arching.  You can see the unusual grain of the poplar, and lots of little knots that look like seeds in a pod.

I’ve now thicknessed the back.  This is one of the areas that is critical to the sound of the finished instrument - it’s important to get a good balance between weight and flexibility.  This is in turn determined by the arching shapes and the quality of the wood.  This piece of willow works nicely and I’m happy with the result.

The front is made from a lovely piece of spruce that comes from Northern Italy.  I’ve now jointed the two pieces, finalised the outline, inlaid the purfling and finished the arching.

This picture shows the final stages of thicknessing the front.  I use a small scraper to remove the final shavings of wood.  It’s delicate work - just a few tenths of a millimetre can make a difference to the final sound.

June 2011


The f-holes are now cut in the front.  I’m happy if they are not totally symmetrical, but complimentary.  I like to think that they are having a conversation.

I’ve now finished the front - fitted the bass bar inside, and glued the back to the ribs.

I’ve now closed the body of the viola, gluing the front to the ribs, and all held in place as the glue dries with specialised cramps.

The neck has now been fitted to the body of the viola, and carefully shaped so that it is slim and comfortable for the player.  The viola is now finished “in the white”, ready for varnishing.

August 2011

The viola is finished!  I have varnished it using my usual oil varnish system, and the colour is a rich golden brown, with a slight patina of wear.  I’m really happy with the sound; it’s very resonant and powerful, as well as even and projecting.