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30 December 2010

Tokyo -- 2011 January, The Record Geijutsu Special Recommendation of the J.S.Bach Cello da spalla Suites integral CD.


Tokyo -- 2011 January, The Record Geijutsu Special Recommendation

Review
Tadashi Yamanouchi

"Fast passages [performed] with ease and [energy], and can be heard with clarity - which is the [distinctive] character of this instrument. The open strings have a rich airy character adding to the richness of the harmonics."

Jiro Hamada
"... Overflown with spirit, his quick-witted performance is motivated by freedom of creativity (based on his deep knowledge of Historically Informed Performance Practice). He puts the suites in their original order, giving each suite its distinct character and placing the entire album above criticism... This album should be payed attention to by everyone".

Tsutomu Nasuda
"He is not only luthier but also

26 December 2010

Review of BadiarovViolins 1st violoncello da spalla solo CD in Japan


Tokyo -- January 2011 issue of classical music CD review published a large article about my CD recorded on my 4th violoncello da spalla. I don't know yet if the review is positive, negative or neutral as my knowledge of the Chinese characters is far too limited for this sort of text.  Earlier this year the CD received a Diapason Découverte prize in France.

The purpose of this recording was to demonstrate the standards of craftsmanship and fidelity to the historical research established at BadiarovViolins - my Studio for the Historically Informed Violin and Bow Making© and the use of these standards to the wider community of professionals as well as music lovers in the field of Historically Informed Performance Practice, aka Early Music.

The CD is available from my shop as well as from most of online and off-line CD shops out there. This very moment, being in Japan, I discovered that everybody here wants it signed! Therefore I will probably sign all my copies when I return to my studio in The Hague.

You can buy your singed copy on-line: from this blog, from my website (you can choose between English, Russian and 日本語 translations) or from BadiarovViolins FB shop. There is a number of CDs by other performers using the same kind of instrument from my studio. The list if these CDs,  in three languages, can be found on BadiarovViolins website.

Happy shopping!

20 December 2010

Seasonal Greetings and Musicians' Money for Free


Here we are: at the end of the 1st decade of the 21st century!
Merry Christmas and Happy New Year 2011! Happy New Decade too!

Most of my readers are music lovers and amateur players, professional string-players, some are visual or other kind of artists and nearly all involved in HIP  aka "Early Music". So some say, EM died. Here you can look it up: Bruce Haynes! A thoroughly recommended reading!

EM perhaps died but HIP did not and the problems/opportunities which  the young and starting musicians will face will be the same. I've spoken to many of these musicians and got excited about their projects! The problem is that  some this must be solved with a help of many non-musicians, that is, professionals in other areas such as marketing and finance. I believe the rest of this message will be of practical value to these musicians with big plans.

1. Marketing Your Music Projects - Royal Academy of Fine Arts, Design, Music and Dance.
This page is available in a number of languages, and there is even an online marketing-coach specifically for musicians.

2. Once you completed the steps described above you will need some money. There are several organisations to rely on:

Funds in The Netherlands listed on the website of The Royal Academy of Fine Arts, Design, Music and Dance. I copied some of the links just in case the page disappears in the future. Here they are:
Elise Mathilde Fund - purchase a professional quality concert instrument and other funding.
Fondsenboek - find an appropriate fund to finance your projects.
Triodos Bank - funding of culture and music projects or purchase of a professional concert instrument.

The above funds are active mainly in the Benelux area and The Netherlands. You might want to check similar funds and banks in your country.

The past success of Badiarov Violins - Studio for Historically Informed Violin and Bow Making depended on the success of musicians, and so, the future success will also depend on the musicians' success.

Wishing you lots of success in 2011!

            Dmitry

P.S. By the way, here is what happened at Badiarov Violins in the first decade.

What did we do between 2000 and 2010?


I was making the planning for the next year when this suddenly occurred to me: we just celebrated 2000 and yet the 1st decade of the new century has already gone!

What was accomplished during the 1st 10 years? 
Here is a summary of what we did at Badiarov Violins - my Studio for Historically Informed Violin and Bow Making:

1. Development of the Badiarov baroque violin models based on surviving instruments and written historical documents, rather than - as it is the case with modern violin-making - copying of posters of fine violins. To these I added the understanding of various playing techniques and national styles, because these affected the violin setup and its changes until and beyond the French Revolution.

2. Defining of the style and philosophy of Historically Informed Violin Making and development of a stylistically appropriate craftsmanship. This was accomplished in collaboration with Ryo Terakado and Sigiswald Kuijken and the colleagues around me: a number of makers of other historical instruments and researchers such as Marco Tiella.

3. Development of fine(r) gut strings in collaboration with Mimmo Peruffo of Aquila Corde Armoniche S.a.S. This was accompanied by the gradual re-stringing of all violins in groups such as La Petite Bande thanks to the interest of the players in this experimentation.

4. Re-construction of the violoncello piccolo da spalla with Sigiswald Kuijken and re-construction of the first concert-quality spalla strings in collaboration with Mimmo Peruffo. Now there are several recordings by a number of musicians and at least two groups - La Petite Bande and Bach Collegium Japan. There is even a CD by a luthier - that is my own record of J.S.Bach 6 Suites for unaccompanied violoncello solo.

5. Development of Half-Rectified strings with Mimmo Peruffo was a by-product of working on the strings for the violoncello da spalla. 

6. Re-construction of an early-baroque set of germanic violins for La Petite Bande to perform a large pre-Bach repertoire. Accomplished with the support from La Petite Bande and Mr Harm Vellguth

7. Development of the Badiarov baroque and classical bow models based on Iconography and surviving examples. 

8. Publication of a number of articles on the matters of Historically Informed Violin and Bow Making in Italy, England and Japan.  

9. Teaching the principles of the Historically Informed Violin Making in Japan in 2007-2009, and teaching some aspects of it in Italy at Scuola di Artigianato Artistico di Pieve di Cento (FE/BO).

10. Building the Database of Violin Iconography in collaboration with Marco Tiella.

11. Creation of the website Badiarov Violins and of its social networks: T F and In 

12. The last, the above work have been noticed in a media such as reviews, newspapers and TV programs. I have not paid much attention to these, so the bits of newspapers must be collected and digitized, lost files recovered from dusty backup CDs and put on a Blogger page.

13. Almost forgot what I had to start with. I made some:
- 57-58 instruments (today making my 67th and 68th baroque violins. These instruments include:
- ten violoncellos da spalla
- several violas
- two viola d'amore
- four early-baroque violins in germanic style
- probably about a hundred or two hundreds of bows - these I never counted, there could be a lot more.
The number is a proof that something in the field of HIP-making, that is the above points 1 and 2, has been done right and that is my way and conviction and nothing in the world would turn me back to the modern way of making violins (or playing them).

14. Co-created "Baroque je t'aime Club" together with Culture International Club in Tokyo to promote HIP in Japan. With the primary focus on amateurs and children, organisation provided 24 monthly short concert-lectures in the last two years (ca.30min of performance, ca.30 minutes of talk and a reception party with the listeners) given by the most respected Japanese professionals in the field. The club has filled the plan for 2011 and beyond.

There is a lot to come in the next decade, may god bless us. The best way to keep in touch is to join one of BadiarovViolins social networks listed above. Particularly my FaceBook page is kept fairly updated because and some musicians prefer to contact me via FaceBook rather than by email or phone.

Wishing you all a brilliant 2011!

Dmitry

18 December 2010

The technique of playing on violoncello da spalla and what "da spalla" stands for

Violoncello da spalla stands for a shoulder-violoncello. Shoulder-violoncello does not necessarily stand for an all together another violoncello except that it must have been almost invariably smaller than the modern violoncello. To mention just two out of many sources, Hawkins in the end of the 18th century noted that what was called violoncello in his time was called violone in the first half of the 18th century. This evidence, apart from other evidence mentioned in my Galpin SJ article, suggests that baroque violoncello was smaller than the modern violoncello. While the matters are a lot  more complex than that (meaning the history of the violone) there is a great deal of truth in Hawkins' words. My article also mentions a small number of violoncello drawings attributed to A.Stradivari and signed as models for violoncellos, presumably, by Stradivari's own hand. It would be a valuable study to investigate the authenticity of the hand-writing and that of the ink and paper. To my knowledge there was no such a study undertaken so far. However even their authenticity would not eliminate the da spalla phase and its importance in the history of the baroque violoncello. More theoretical info can be found in D.Badiarov in the Galpin SJ, G.Barnett in AMIS, M.Vanscheeuwijck in Early Music, L.Smit and others. The sound and information on playing technique can be found in the videos below.

It would be necessary to mention that my playing technique is not the only solution but just one of many. Several violoncello da spalla pioneers such as Sigiswald Kuijken, Samantha Montgomery, Ryo Terakado, Francois Fernandez,  Carlos Albuisech, Diana Roche, Jesenka Balic Zunic, Makoto Akatsu and others all have a slightly different playing technique though it invariably comes to supporting the instrument with a belt against the right shoulder.


(recorded a few years ago in Mexico)


(Excerpts from a few CDs recorded with Bach Collegium Japan)

Bach Cello Suites are also available on a CD shown on this blog as well as on my website. This CD was prepared during the spare moments of "free-time" after full-time days of violin and bow-making at Badiarov Violins. 

12 December 2010

Workshop: Violoncello da spalla - science or fiction?





THE 3rd Workshop
VIOLONCELLO DA SPALLA
Science or Fiction?


2011 September 19th, 15:00-18:00
at Badiarov Violins Studio

We shall talk about the true history of the baroque violoncello, the instrument and repertoire still to be pioneered into on this new historical instrument.


Cost: students - 50 EUR, professionals and amateurs - 75 EUR.


Upon reservation.  

The place, date and time subject to change. Contact to re-confirm.

Workshop: Practical History of Gut Strings


THE 2nd Workshop
PRACTICAL HISTORY OF GUT STRINGS
2011 May 16th, 15:00-19:00
at Badiarov Violins Studio

We shall organize the gut string history into easy to understand and remember periods, see what were the corresponding changes in music and instrument styles and what provoked or stipulated those changes. The workshop will be focused on practical application of knowledge rather than just useless theory.

Cost: students - 50 EUR, professionals and amateurs - 75 EUR.

Upon reservation.  

The place, date and time subject to change. Contact to re-confirm.

6 December 2010

Workshop: Dealing with Emergencies for Travelling String-players


January 19th, 13:00-15:30
At Badiarov Violins in The Hague.

- re-setting fallen or moved sound-post
- adjusting failing pegs
- replacing broken tailpiece gut
- removing dirt or grease from the bow-hair

Cost: students 50 EUR, professionals 75 EUR

Upon reservation.

20 November 2010

Stringing help - Historical String Gauges for Violins


Download and print this Stringing Chart (original size A3, printable on A4).

Information in this table come partly from Mimmo Peruffo's string history and manufacturing techniques research, partly from my own experience and research. Such is the explanation of Equal Tension VS Equal Feel in function with the bridge angles and downward pressure which is, in fact, Equal Feel. Remember, Equal Tension rarely results in Equal Pressure, therefor rarely results in Equal Feel.

The historical data in the table will perhaps work quite imperfectly on your violin. The reasons maybe your technique (these strings typically require slower bowing) or the specifics of your instrument or, the last but not least, the choice of a string-maker: strings made to the modern standards won't work.

Through your own experience this data will undoubtedly become your stringing intelligence indispensable in many projects. You are welcome to visit my studio in The Hague to fine-tune the setup of your instrument. Typically there is no charge for unsatisfactory work at Badiarov Violins. Thus to avoid the costs of unsatisfactory work I do the work well.

High res download link for printing. (For the low resolution click the poster)

28 October 2010

Equal Tension - a critical view on Speer, De Colco and Mozart's stringing advice



Equal Tension (ET) stringing is an historically informed idea which has been gaining in popularity among the followers of HIP since over 15 years by now. Several sources such as Mersene, De Colco, Mozart, Speer and others talk about equal-tension stringing in terms of equal kilograms exerted on the string longitudinally. Dowland, Mace and several other well known sources however talk about Equal Feel, that is not tension per se but how the strings "feel" when downward pressure of the bow or the fingers is exerted on them.

10 September 2010

29 August 2010

J.SBach - Violoncello da Spalla Suites


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THE SIX SUITES FOR VIOLONCELLO

For which instrument did Bach actually write his Cello suites –violoncello, violoncello piccolo, or "viola pomposa"?


The myth of Bach's invention of the viola pom- posa, recurring from the late eighteenth century until the present day is likely – despite substantially docu- mented refutations – to impress the minds of music- lovers for a long time to come. Unfortunately, no source from Bach's immediate circle or period proving that he was the inventor of this instrument is known to survive, nor is there any music from Bach's hand con- taining such a designation. There are mid-eighteenth century compositions for "viola pomposa o violino" by Georg Philip Telemann, Johann Georg Pisendel, Christian Joseph Lidarti and Johann Gottlieb Graun. These compositions are for an instrument with five strings, tuned as the viola with an additional e''-string. However, according to Johann Nikolaus Forkel (Musikalischer Almanach, 1782) and Johann Adam Hiller (Lebensbeschreibungen, 1784), Bach's viola pomposa was tuned in the cello range: C-G-d-a-e'. In his scores Bach invariably chose the formal name "violoncello piccolo"– "viola pomposa" is probably a collo- quial name for the instrument. If everything seems so clear, where do the confusion of terms and our uncer- tainty with the terminology and the use of instruments come from?In the end, it seems we are trying to draw a distinction where there was never any clear line. When we take a closer look at contemporary encyclopaedias, we notice that in the Baroque period the term "violon- cello" did not necessarily refer to the type of instru- ment as we know and play it today, but to one which could take several forms and names, and could be played in several ways. Gottfried Walther says in his Praecepta der musicalischen Composition (1708): "The Violoncello is an Italian bass instrument resembling a Viol; it is played like a violin, i.e. it is partly supported by the left hand and the strings are stopped by the fin- gers of the left hand, partly however, owing to its weight, it is attached to the button of the frockcoat". Johann Mattheson describes it in Das neu-eröffnete Orchestre (1713) as follows: "The excellent Violoncello, the Bassa Viola, and the Viola di Spala are small bass violins in comparison with the larger ones, with five or six strings, upon which one can play all manner of rapid things, variations, and ornaments with less work than on the larger machines. Additionally, the Viola di Spala, or Shoulder-Viola produces a great effect when accompanying because it cuts through strongly and can express the notes clearly. A bass [line] cannot be brought out more distinctly and clearly than on this instrument. It is attached by a band to the chest and thrown at the same time on the right shoulder, and thus has nothing that in the least holds back or pre- vents its resonance." The Vocabulario degli Accademici della Crusca (1612) defined the violone as "a large low-pitched viola, which is also called basso di viola, and violoncello when of smaller size". Pictures, written documents, and about 40 surviving instruments show that early violoncellos were made in different sizes, ranging from the size of a large viola to the modern full-sized violoncello. Unlike the present day, when small instruments are made only for the use of chil- dren, these smaller instruments were played by profes- sionals.

There were several other terms in use for that type of small bass instrument: "Viola di fagotto" or "Fagottgeige" was used for instruments probably mounted with double-wound strings to which they owed their bassoon-like sound. In Italy, "viola da braccio" generally referred to any member of the violin family, but in Venice after 1620, it meant more specif- ically an alto, tenor or bass violin. "Viola da collo" was yet another colloquial term for a small arm-held bass instrument. However, "violoncello" was the most common and formal term used by the publishers and composers after the new instrument was generally accepted. Before that, publishers preferred the designation "violone" or "bassoon" or some other bass instrument already in vogue. In fact, publishers' resistance was so strong that the violoncellist Giovanni Battista Vitali never used the term violoncello in any of his publications! Some composers were even forced to accept designations such as "violoncello se piace" despite the importance of the violoncello part, or to write "violone" on the title page and "violoncello" in
the parts! As we have seen above, the late 18th century sources stated that Bach's viola pomposa had been tuned in the normal cello range. However, many later researchers rejected this possibility and assumed that the instrument had to be tuned in another way – higher than was given in the primary sources. Though some scholars accepted the tuning found in historical sources, why did many others reject it, considering the sources to be erroneous?

The reason is the strings: the vibrating string lengths of the surviving instruments classified as violas pomposa or violoncellos piccolo are only half those of modern cellos. In order to sound at the same pitch they must have approximately the same weight, and this poses a physical problem. Moreover, no original strings have survived. This may explain the researchers' mistrust of the sources. Consequently, for the reconstruction of the instrument such strings had to be conceived from scratch. So it was clear that the strings would be a major obstacle when making the first violoncello piccolo for Sigiswald Kuijken in 2002-3.

The technique of winding gut strings with metal wire (mostly silver) was discovered in the second half of the seventeenth century. The winding allowed shorter low-sounding strings to be produced, which furthered the fabrication of smaller bass instruments: depending on the proportion between the gut core and amount of silver, violoncellos could be made in all possible sizes. Several trial sets were tested on a common viola whose bridge I placed closer to the tailpiece in order to obtain the necessary string-length of 42.8-43cm. That viola was definitely not an optimal tool to match the physical characteristics of the strings, however it permitted development of double-wound strings necessary for the violoncello piccolo: because of the double silver winding they weigh about the same as common cello strings. Of the many string makers I contacted for the production of these strings, only a few found effective solutions, and only after a discour- aging number of unsuccessful trials. Some string makers declined even to try, believing such strings were physically impossible to make and denying the existence of instruments that required it in the past. However, I could count on the tremendous expertise of Mimmo Peruffo, the string-maker and researcher at Aquila Corde Armoniche, who reconstructed the first strings of the right type for the instrument, closely fol- lowed by Damian Dlugolecki, and by Daniel Larson at Gamut, the latter actually using the technical specifica- tions kindly provided by Aquila. The modern strings for the use on a Baritone violin of the Violin Octet family were developed by John Cavanaugh of Super- Sensitive. Nicholas Baldock of Cathedral Strings also makes baroque strings for the instrument.

It is apparent from pictures and from playing instructions that the technique of playing bowed string instruments was not standardised in the seventeenth and eighteenth centuries. Judy Tarling (Baroque String Playing for Ingenious Learners, 2001) writes: "There is no area where the 'methods of practitioners' differ more than in the manner of holding the instrument", citing no less than eighteen sources between 1556 and 1761 which are far from consistent. Ulrich Drüner (Bach-Jahrbuch 73) draws attention to the fact that a modern violin and viola are expected to be held on the arm, while a violoncello is invariably held between the legs. This expectation, however, did not exist until the middle of the eighteenth century. As late as 1756, Leopold Mozart stated in his Versuch einer gründlichen Violinschule: "In our days, also the Violoncello is played between the legs." Baroque composers, including Bach, never seemed to concern themselves with the ways instruments should be held. The acoustic properties of instruments and their tessitura were given absolute priority over the way the players handled them, which was left up to their personal pref- erences. For example, Giuseppe Jacchini played the violoncello da gamba, while his pupil Carlo Buffagnotti played it da spalla, across the chest.

Due to the variable sizes and playing techniques, bass instruments were held in at least three distinct ways:
1. Suspended vertically with the aid of a belt, scarf or a rope;
2. Supported vertically against the floor, or a stool, near or between the legs with or without a spike or an end pin;
3. Suspended horizontally against the shoulder or across the chest, usually with an aid of belts, buttons or other devices, though these devices are not always mentioned.

While cellists or gamba players were generally unable to play a bass instrument da spalla, violinists or viola players could do it immediately or with only lim- ited practice. On the other hand, violinists and viola players are generally incapable of playing the same instrument da gamba without a great deal of practice.

There are two ways to approach the repertoire that is appropriate for the violoncello da spalla:
1. Focus exclusively on works which specify 'violoncello piccolo'. Using this method the repertoire is restricted to the few masterpieces by Bach – the nine cantatas BWV 6, 41, 49, 68, 85, 115, 175, 180 and 183, and the six suites for unaccompanied violoncello BWV 1007-1012;
2. The second approach is more complex, reflecting the fact that baroque performers enjoyed considerable freedom in choosing the medium for their performance. The above-mentioned resemblance of an instrument strung in this way to the sound of a bassoon not only explains the colloquial terms "viola di fagotto" and "Fagottgeige", but also suggests that the many seventeenth century Italian publications which call for either violoncello or bassoon, may call, in effect, for a small shoulder- or leg-held violoncello of suitable size: somewhat larger for bigger ensembles and simple parts, tutti and continuo, or somewhat smaller for smaller ensembles and more elaborate solo parts or continuo in chamber settings. The evidence and analysis collected so far suggests that much of the »cello« repertoire, from the second half of the seven- teenth century until the first half of the eighteenth cen- tury, can effectively be performed by violists or violin- ists on an arm-held instrument. Performers and musi- cologists can explore whether these instruments are practical, musically convincing and historically justifi- able. The appropriate size of instrument can be chosen by the players according to the technical and acoustic demands of the piece. The list of possible composers is not limited to those who worked within the da spalla tradition: Giovanni Battista Vitali, Domenico Gabrielli, Giuseppe Jacchini, Antonio Caldara, and Giovanni and Antonio Maria Bononcini. There are numerous duets for violin and cello (without con- tinuo) from the late 1680s and 1690s that treat the cello as an equal partner to the violin, as well as several other pieces which contain obbligato cello passages, such as Arcangelo Corelli's op.5, just to mention one famous example. This satisfies the definition Mattheson gives to the instrument.

In regard to Bach, we know that the composer possessed violoncellos piccolo with both four and five strings. Instruments of this nature were made by Johann Christian Hoffmann, a contemporary of Bach in Leipzig, and by several other instrument makers from all over 17th-18th century Europe. The majority of such instruments have been lost, while others were rebuilt into violas or into violoncellos for children. Nonetheless the scarcity of surviving examples does not imply they never existed! Surviving examples of violoncellos piccolo made by Hoffmann, which were the departure points for my work, are to be found in the Brussels Instruments Museum and in the Leipzig University Music Instrument Museum. An anony- mous mid-eighteenth century instrument very similar to the Hoffmann instruments is shown in the Bach Museum at Eisenach, and some forty other instru- ments are preserved in collections around the world. Practical experiments show that Bach solos, even the relatively simple ones in cantatas, are not playable on an arm-held instrument with a string-length longer than those of Hoffmann-type instruments (c43cm- 51cm), and in any case, not using the diatonic (violin) fingering given by Bartolomeo Bismantova in his Compendio Musicale in 1694. So we can suppose that Bach's violoncello piccolo / viola pomposa was a Hoffmann-type instrument.

Analysing the notation and performance mate- rials of several cantatas, we also see that the violoncello piccolo parts in cantatas BWV 41, 49 and 85 are notated in the treble G (violin) clef, and were probably played by the first violinist rather than by a violoncel- list. Even more convincing is the example of cantata BWV 6, where the violoncello piccolo part was first written in the first violin part, and only later given to the viola. Of course, we should not exclude a da gamba performance as one of the possibilities.

Due to the loss of the autograph, Anna Magdalena Bach's copy is one of the most important
sources for the cello suites. Many modern violoncel- lists use a violoncello piccolo for the last suite, although Anna Magdalena did not use the term "pic- colo", but wrote "à cinq cordes". Johann Sebastian Bach never used this French term in any of his works, so it is possible that Anna Magdalena is entirely responsible for it, just as the use of a smaller violoncello in the sixth suite is the choice of modern players. Besides the pos- sibility of input from Anna Magdalena, it is feasible that all six suites were meant for the violoncello pic- colo. Lambert Smit, who played an important part in reconstructing the violoncello piccolo da spalla, combined a traditional analysis of original sources with practical study of Bach's music, concluding that the number of unavoidable shifts is no more than average for baroque music, whereas the execution on a full-size instrument requires ceaseless shifting. Historical evidence suggests that Johann Sebastian, being proficient on both the violin and viola (nothing is known about him as a violoncellist da gamba), would then have been the first to play the Suites for an unaccompanied vio- loncello on his own violoncello piccolo, played on the arm: the Suites I to V on a four-stringed and Suite VI on a five-stringed instrument.

New and enriching aspects of music by Johann Sebastian Bach are revealed by the use of this instrument which was known in Bach's circle, and for which he obviously wrote. Any violinist or violist can rapidly become accustomed to the fingering almost identical to that of the violin. The right-hand technique is more challenging: it requires the avoidance of the near-ver- tical movement for up- and down-bows in which the weight of neither the arm nor the bow are in balance with the rest of the player's movements. The particularly large amount of silver in violoncello piccolo da spalla strings gives them their characteristic sound, similar to male voices or viols, especially apparent when playing messa di voce or full-bodied chords. Their tension is about half of that of common cello strings, their core is thin, and they are extremely reactive to changes in bowing. The response of the instrument's small body is fast and accurate. The dynamic range is greater than that of a large violoncello, especially at the piano end although, while the instrument is capable of powerful forte, it is not absolutely as loud as a large violoncello.

DEDICATION
Over the course of more than a decade Sigiswald Kuijken has encouraged me to pursue the study of baroque violin-making and playing - both as a luthier at my violin-making studio and as a member of La Petite Bande. His musicianship, artistic philosophy and personal example have inspired me in what has now evolved into an historically informed violin- making practice. It has also enabled me to pay tribute to the supreme and sublime music of J.S.Bach on the violoncello da spalla – the instrument for which Bach composed the cello suites. Without Sigiswald Kuijken’s highly constructive influence neither this recording nor many other things dear to my heart would have ever been possible. To him this recording is wholeheartedly dedicated.




On sale from Badiarov Violins FB fun page! Double CD, 25 EUR (inclusive VAT). 10% OFF for clicking the "Like" button and FREE shipping worldwide.


(French and German text in the CD brochure)
Prize "Diapason Découverte" Novembre 2010, Read the review.

Pictures from a violin-maker's studio


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