Violoncello da Spalla Podcast

_____Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some of the posts at this link, and if you subscribe to a payed plan you have instant access to all the posts and to a private chat where you can ask me any question.https://violoncellodaspalla.substack.com/t/how-its-made This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

_____Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some of the posts at this link, and if you subscribe to a payed plan you have instant access to all the posts and to a private chat where you can ask me any question.https://violoncellodaspalla.substack.com/t/how-its-made This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

_____Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some of the posts at this link, and if you subscribe to a payed plan you have instant access to all the posts and to a private chat where you can ask me any question.https://violoncellodaspalla.substack.com/t/how-its-made This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Dear readers, sorry I’m late!Our fantastic customer Martin came this week, and we were a bit absorbed by our work, so I didn’t have the time to edit my videos! While Martin and his wife Valerie were enjoying a short holiday hiking around Meltina, the small mountain village where we are based in South Tyrol, Italy, we were in the workshop trying new bridges, different sets of strings, running to the photographer to have shoots for the certificate, making some sound adjustments (with them!), having coffee, cake and pizza together… it was a good week and we enjoyed the visit! Martin will soon retire after a life as a violist in the Bamberger Symphoniker, one of the best touring orchestras in Germany, and he is planning concerts on the Violoncello da Spalla to enjoy more music during his retirement! He went home with two spallas to try them in the concert hall, have feedback from colleagues and from his violist daughter. His first da spalla concert will be on the 8th of June, and we are planning to be there!Thank you Martin and Valerie!Here a few pics from their holiday with us!Do you see in our group pic that white da spalla cello in Alessandro’s hands? Next newsletter will be about him! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

_____Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some of the posts at this link, and if you subscribe to a payed plan you have instant access to all the posts and to a private chat where you can ask me any question.https://violoncellodaspalla.substack.com/t/how-its-made This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

A video of the day we closed the soundbox of our latest Violoncello da Spalla, from morning to sunset. We are following a checklist, free to download at this link:https://violoncellodaspalla.substack.com/p/how-its-made-part-12-checklistThe background music for this video is from a live exhibition of us from almost two years ago. It’s the sonata “L’Inconnue” by Michel de La Barre._______Our customer Wenhan Jiang released this beautiful video this week:https://www.instagram.com/reel/DVRYS2piF1b/?igsh=b3diMGI4eml4cnI3Violoncello da Spalla Daniela Gaidano 2023_____Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some of the posts at this link, and if you subscribe to a payed plan you have instant access to all the posts and to a private chat where you can ask me any question. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

We’ll be exhibiting in London again! On February 8th, in Kings Place, London, we’ll be exhibiting at the British Violin Makers Association Makers Day. Book your flight now and take the opportunity to try a Violoncello da Spalla, the special treat of a holiday in one of the most interesting towns in the world, rich in history and fabulous museums.Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some posts at this link, and if you subscribe to a paid plan, you have instant access to all posts and a private chat where you can ask me any question. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

This video above is part of a long chat I recently had with Els, violist, viola d’amore and now da spalla player. Last June she acquired one of my Violoncello da Spalla, and this call was part a trouble-shooting talk (I already published a small clip about straightening the bridge) and a catching-up on how things were going after 6 months, and at the eve of her first concert with the Violoncello da Spalla.After a brief introduction, Els tells us how she first got in touch with the Violoncello da Spalla through baroque cellist Hervé Douchy, and how later she got in touch with us. I then ask her about the first reactions she got and we discuss the role of the spalla as a continuo. She shares with us her practicing routine, her little obsession with playing fast spiccato notes (and her tricks to achieve that), and how everything came out easier at her first rehearsal with the group. Her first concert will be in an ensemble formed by viola d’amore, Violoncello da Spalla and theorbo. We discuss the repertoire she is working on and her strings set up, plus other technique tricks she’s practicing.We then indulged in a long conversation about Sergey Malov, the strings he uses (I had a video coming from him on my WhatsApp just the day before) and the fantastic experience of attending one of his concerts. Finally, back to troubleshooting again, we discussed wolf notes: exercises to get rid of them, tips to avoid them while playing and how to get rid of them forever. But remember: all good instruments have wolf notes!!We’ll be exhibiting in London again! On February 8th, in Kings Place, London, we’ll be exhibiting at the British Violin Makers Association Makers Day. Book your flight now and take the opportunity to try a Violoncello da Spalla, the special treat of a holiday in one of the most interesting towns in the world, rich in history and fabulous museums.Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some posts at this link, and if you subscribe to a paid plan, you have instant access to all posts and a private chat where you can ask me any question. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Last October in Brescia we attended a concert by Sergey Malov. We arrived early, but a cue was already formed at the entrance. We were lucky to have reserved sits for us, because many people had to renounce, it was already full. the concert was in a library from the baroque period, the Biblioteca Queriniana, a very special venue.We were sitting in the first row, and I recorded the video above with my iPhone. The acoustic was beautiful but dry, and Sergey didn’t employ any effects, amp, or any other trick than his musicality and practicing. No editing. This video is really like those taken from a phone on the stand of the player. Is it poor? Do you feel the sound of the Violoncello da Spalla is not making justice of those remarkable pieces of music? do you feel it out of place?Updates from our workshopThe four of us are hard at work these days!We’ll be exhibiting in London again! On February the 8th, in Kings Place London, we’ll be exhibiting at the British Violin Makers Association Makers Day. We’ll probably bring there 3 da spalla cellos by Daniela, plus a violin and a cello by Alessandro, the wonderful cello that you can hear in the video below.We are grateful to Gianluca Montaruli, principal cello of the Haydn Orchestra in Bolzano, for trying Alessandro’s cello and making this video for us.Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some of the posts at this link, and if you subscribe to a payed plan you have instant access to all the posts and to a private chat where you can ask me any question.We have a new domain! What else could it be if not:have a look clicking on the button above! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Violoncello da Spalla historical strings are big, tensed and overspun with a round wire. This means that when you tune, they tend to bring the bridge with them, even if you put graphite in the bridge's grooves. It is good practice to check that the bridge is straight daily, because if it’s not, the sound will be more resistant and poor. In this video chat with my customer Els, I show my technique to ensure that my bridge remains straight and is not under tension from one string pulling in one direction. It’s very easy, and it can be summarised as: lift/pinch and push.If there is anything not clear, as a question in the comments. A straight bridge is fundamental for the quality of your playing and the health of your instrument. Do you have a different way working well on the Violoncello da Spalla? Please tell us in the comments!Are you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some of the posts at this link, and if you subscribe to a payed plan you have instant access to all the posts and to a private chat where you can ask me any question.Save the date, book the flight! What can be possibly better than the opportunity of trying a Violoncello da Spalla AND enjoying a weekend in one of the most interesting towns in the world? The opportunity of trying 3 spallas!We’ll be exhibiting in London again! On February the 8th, in Kings Place London, we’ll be exhibiting at the British Violin Makers Association Makers Day. We’ll probably bring there 3 da spalla cellos by Daniela, plus a violin and a cello by Alessandro, the wonderful cello that you can hear in the video.Book your flight now and add to the opportunity of trying a Violoncello da Spalla the special treat of a holiday in one of the most interesting towns in the world, rich of history and fabulous museums.We wish you and your dearest ones a wonderful holiday season!Daniela & Alessandro This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Clemens Kutschera is a young luthier who recently made a Violoncello da Spalla as his degree instrument. He got in touch with us last year about an apprenticeship, but unfortunately, it was a bad time for us. In Italy, there is a lot of paperwork and regulations to comply with when you accept someone into your workshop. Anyway, we kept in touch, and he was one of the first to subscribe to our “How it’s made” series, and the first to complete an instrument following that.We had a video call to discuss the playing position because, as a cellist, he was having difficulty finding one that was comfortable and reliable. The video is long and may be a bit repetitive, but it is filled with tiny insights, so it was not really editable into something shorter. Thanks for watching!A few questions to Clemens:1. Where are you based, and where did you study/graduate in violin making?Hi, my Name is Clemens Kutschera, I’m 23 years old, and I am attending the last of 4 grades at luthiery school in Hallstatt, Upper Austria. It’s practically the only possibility to do such an education in the country. After my graduation in June, I plan to do internships in violin making across Europe.2. As a cellist, what attracted you to the Violoncello da Spalla?I remember first learning about the Violoncello da Spalla when seeing a YouTube video of Sergey Malov playing the 6th Bach cello suite, and I was immediately in love. The da Spalla offers a very interesting alternative to the traditional cello, with an even larger register and portability more akin to a viola. To me, it’s an endlessly fascinating instrument, and I hope it’ll become more popular and widely played in the coming years.3. A few words on your approach to its construction (your model, the process you chose)I had a very hard time researching the dimensions, general build information, etc. The most significant help was Daniela and Alessandro’s “How it’s made” Series, a CT scan PDF with many views of a Hoffmann I got from a kind person at the Musical Instruments Museum in Brussels, and, first and foremost, the wise advice I got from my Teachers, Helge Murgg and Robert Grieshofer. I took the Hoffmann as a starting point, but everything about the instrument I built was designed and refined by me, with the Thomastik-Infeld strings in mind. I made it using the same philosophy as with the school model violin I built the year before. Utilizing an internal mold, carving the outside arching first, then the inside. Finishing the body first and setting the neck with a mortise joint. The fingerboard was carved from a solid block of ebony. I finished it with oil varnish, painted on with my fingers and karate-chopped with my palms. My bridge design was lifted from a baroque viol model I found on the internet, and my tailpiece has fine tuners on the E, A, and D strings. (G and C wouldn’t fit)4. (If you like) what would you do differently next time? Is there something different that makes you curious to try?I’m generally quite pleased with the way it turned out. Building another one is definitely worth pursuing, even though I want to make the 4/4 cello I have moulds for first. I feel like my next da Spalla could definitely be thinner, especially given the high, curvaceous archings.News from da Spalla worldWe’ll be exhibiting in London again! On February the 8th, in Kings Place London, we’ll be exhibiting at the British Violin Makers Association Makers Day. We’ll probably bring there 3 da spalla cellos by Daniela, plus a violin and a cello by Alessandro, the wonderful cello that you can hear in this video.Updates from our workshopAre you a luthier interested in making a Violoncello da Spalla?In the archive of this newsletter I documented the whole process, sharing measures and templates. You can check the index and some of the posts at this link, and if you subscribe to a payed plan you have instant access to all the posts and to a private chat where you can ask me any question. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

It’s difficult to resume 3 such intense days in a few interesting phrases!We met amazing musicians, we enjoyed time with friends and colleagues, we met old friends, and much more. It was an exciting time. Some young musicians could play well violin, cello and Violoncello da Spalla and they fall in love with this instrument that summarize all others!We had meetings with people from Bogaro & Clemente, A-case, Pirastro, Thomastick, Sonowood, and our best wood suppliers. We found maple for a cello that was already seasoned 30 years, and some old tops for da spalla. We spent a lot of money!We made new connections with colleagues in the da spalla world. It was fulfilling seeing many people coming directly to us with specific interests about the Violoncello da Spalla.Bowmaker!Our friend Chuck Herin, designer of Peghed, introduced us to Pietro Cavalazzi, a well known bow maker from Milano whom we never had the chance to meet before. Daniela tried his bow for baroque viola and it worked fantastically on the Violoncello da Spalla! One more resource for da spalla players!3 to 5 October: meet us at Canto Mundi, Gennevilliers Paris!Follow us on our YouTube Channel or on our Substack Notes where we will try (for the first time) to keep you updated with a daily video vlog! The program is very intense, including concerts, lectures and ballets, but during the exhibition time we’ll be chained to our table to welcome da spalla enthusiasts and other curious musicians. So, you’ll get to live a festival from an exhibitor point of view! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

We recorded this video ten days ago and left for our holiday by the sea. The editing took a long time because 1. My head instantly went into holiday mode, and 2. The videos were blurry because the camera was set on manual focus! 🫣😫 So I had to add some images with the instruments’ details, because we’re not at home, so we couldn’t just remake the whole thing! Ultimately, it took 3 hours and 41 minutes of editing, and we hope the result is at least a bit entertaining. Watch till the end; we have inserted the links to all our suppliers!We have one other confession: that video is now terribly outdated, because one of the instruments has been sold in the meantime! The one with the modern setup found his home with Martin Timphus, violist in the Bamberger Symphoniker Orchestra.Martin also plays the viola d’amore, and is now looking forward to enjoying even more music as a continuist!Before going to Mondomusica Cremona, we will have to revisit the setup of the remaining instruments to bring a more modern configuration. Then, for Paris Canto Mundi, on the following weekend, we will change everything for super baroque!It will be a super exciting month. We can’t wait to meet all the fabulous musicians in these two shows! Come and meet us!If you need tickets for Cremona, write us a message with your name, email address, and the quantity of tickets required, and we will send them to you!Read the interview to Antonino here:Are you a luthier interested in making a Violoncello da Spalla?I documented the whole process in the archive of this newsletter, sharing measures and templates. You can check the index and some of the posts at this link. If you subscribe to a paid plan, you have instant access to all the posts and to a private chat where you can ask me any question. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Finally! We have a top quality Italian case for the Violoncello da Spalla, made by Bogaro & Clemente! And it’s also very affordable, I don’t know the exact price of this one, that has a beautiful graphic and finish, but it will be around half the price of an a-case. The huge advantages of this case are very stable lockers and how handlers, a gasket to make it waterproof, and the lid that closes perfectly, you can open and close it with one hand. It is beautiful, cares for in all details, really a luxury Italian case.For more informations write to [email protected] from our workshop:This week we met with Chuck Hering, the men who invented Pegheds, the best geared pegs on the market. During a wonderful dinner we got to know each other better and he shared with us parts of his story. We had a very pleasant time together.Between the current offer of geared pegs on the market, we chose Pegheds not only because they are the first and only original ones, but also because they have strong steel gears that are designed to last the life of the instrument. In case something goes wrong, they have lifelong guarantee. They have beautiful wooden handles and they work really smoothly. I particularly like the fact that their design allows to have the brake working softer or a bit harder by gently pushing or pulling it while twisting, exactly like normal pegs. They have a beautiful feeling of smoothly working pegs, that is what they are, and not some plastic artifact or cheat. I really love them, and I will install them in my next modern instrument that will be completed by the end of the month, and presented in the next Cremona Mondomusica trade show, at the end of September. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Sorry, I played a bit with silly app sound effects. 😅I didn’t do that fancy thing, hammering a red-hot nail into the neck, and I will tell you why.My nails are hand-forged by Adelheid Snell, a Dutch lady blacksmith. I am grateful for including a piece of art by someone else in my instrument.It’s a bit difficult to write in a foreign language about someone you never met in person and still convey the emotions of your virtual acquaintance, so to avoid the risk of a dull, affected tone, I decided to veer towards a dry list of the things about this person that made me want to relate with her. I contacted her on Instagram, hoping she would want to be part of my projects.At the time, I was making an instrument for the first Women Luthiers exhibition, which was to be held in Atlanta, Washington and Burlington. When my eyes fell on the profile of a blacksmith woman on Instagram, I got excited and got in touch with her. Her Instagram profile is @judastojudith * She respects nature and deeply admires it, both in little details and in huge manifestations* Forging her tools gives her a feeling of deep connection with nature and the gods* She can see the word in the beauty of a piece of birch bark, enough to pick it up, bring it home and take and share pictures. I love doing the same with bark covered with colourful lichens in the autumn* She is sensitive about colours and uses them to convey her feelings* You can tell that she loves research, values preservation of old things, and knows early techniques and designs.She immediately understood what I was asking her; she had already made a few nails in the past for a viola da gamba maker. I couldn’t wait to get my custom handmade nails, and my expectations were surpassed when they also arrived in a lovely wooden and personalised box filled with straw. The nails were packed in oiled paper to ensure they won’t rust. They were very accurately made.Adelheid’s suggestion was to drill a hole into the block and the neck, of a measure not exceeding the measure of the square section of the nail, and a length about half a cm less than the nail. Then, “gently” hammer the nail in. She says handforged nails make a much stronger bond than factory nails, because of their shape and tiny irregularities.I also liked the idea of avoiding rust in my instrument, which would better preserve it for the future and reduce the pain for someone who eventually had to repair it and remove the nail.So, I decided to trust her and follow her instructions. Following the moment's inspiration, I used 1 to 3 nails in my instruments and never had trouble. To be safe, I purposely nailed them in different directions.What’s around that thing of warming the nail until it’s red hot before hammering it in the neck? Apart from the fascination of the smoke coming out, the sound of the burnt wood, the smell of the burnt wood, and the hope to get a shadow of the burn from the outer side of the neck, like we can see in some old instruments… There is a mechanical purpose. The idea starts from the fact that a handforged nail is almost pure iron. Don’t do that with a modern nail, or you will only end up burning the wood and have a larger hole that will not keep the nail in place. Pure iron is relatively soft, and when hot, it will follow the vein of the wood it’s been hammered into. So it will bend, maybe the wood will crack a bit, and the red iron will follow that crack also in the shape and fill it. When it's hot, it’s bigger and longer; when it gets cold again, it will shrink, fixing the bond. Then, it will rust, and the rust, forming like little flakes or hairs running into the wood, will grip the nail to the wood even more. Someone wanting to take it out will have a hard time.I know; it is fascinating. And I will probably do it next time. Because my Adelheid’s nails are almost finished, I think I will spare them by using only one of them with this technique.What did they do in the past?In old necks, you can find everything: hot nails, cold nails, one nail, three nails, and even no nail at all, just glue.No question is too stupid to be asked; please ask if there’s anything unclear.Feel free to interact, send comments, and ask questions. The beauty of a newsletter on Substack is that the online version can be corrected and updated, so if you feel we missed something or weren’t clear enough, or even if you find a typo or an incorrect technical term (we are not native English speakers), we will be very grateful for your advice and corrections! Thank you!As always, I am opening a thread for your questions in the private chat. See you there!Featured video of the weekBeautiful quantz trio sonata, featuring Kaga Yutaka at the continuo on the Violoncello da Spalla! Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

At this point, closing the soundbox is in sight. This is when I need a checklist the most because the excitement grows, and I tend to forget some passages. For example, my most common mistake is forgetting to erase pencil marks and going over them with sealer or glue so that I can fix them as permanent.I used to write a to-do list on the bench every time, but this year, I decided to create a real checklist useful for the future and share it with you. Next time, we will discuss nails and how to nail the neck. Stay tuned!No question is too stupid to be asked, please ask if there’s anything not clear.Feel free to interact, send comments, and ask questions. The beauty of a newsletter on Substack is that the online version can be corrected and updated, so if you feel we missed something or weren’t clear enough, or even if you simply find a typo or an incorrect technical term (we are not native English speakers), we will be very grateful for your advice and corrections! Thank you!As always, I am opening a thread for your questions in the private chat. See you there!P.S. Are you curious about the primer and sealer we use on our instruments? The short answer can be found at this link. However, the more interesting detail is that we are part of a luthier mastermind group hosted by Sofia Vettori and Ted Skreko on Skool. That group is a space for discussing all things related to violin making. It's a safe and enjoyable environment to be in. There’s a chat feature where members can share things or ask questions and receive prompt feedback and detailed answers. Additionally, there are weekly Zoom calls to discuss more in-depth topics. During these calls, every couple of months they invite special guests to cover specialized topics such as tools for setup, fittings, alternative materials, and strings. These guests are the top professionals in the world!Another exciting aspect of the Zoom calls is that they hold a monthly raffle where members can win valuable prizes. For instance, the last two prizes were a book by Scrollavezza and Zanre, and a Lie Nielsen 101 block plane.By the way, I share drafts of this newsletter about making the Violoncello da Spalla in the group, so all the information you receive here when you are a paying subscriber is also included there, along with the possibility to ask me anything and the support and assistance of Sofia, Ted, and the group.It’s a fantastic group to be part of. I'm including the link here. Note that this is an affiliate link; if you choose to join the group, please make sure you do so through this link. By subscribing, you can save the money you would otherwise spend here, and I will be compensated for my losses through the affiliate commission I receive.Featured video of the week: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Nicolas Chédeville, 1737, sonata IV da “Il Pastor Fido, sonate del sig. Antonio Vivaldi op. 13” 😉Yesterday, we played it in Bolzano, and the above recording, taken with a bare iPad, is live and unedited. We plan to record the whole sonata better this summer because we really like it—the continuo part is sparkly!Two weeks ago, we had the enormous pleasure of receiving the visit of Ton Fabres from Catalonia, who came to pick up his new Violoncello da Spalla made by Alessandro.Ton is such a nice and kind soul. He presented us with old books on early music and art, and his friends cooked for us Fideuá, a typical meal from Catalonia. It's a paella made with seafood and pasta instead of rice. It was delicious, and we had a great time together!But this happened at the end of the weekend we spent in his company! This story is more than that!When he arrived, he introduced to us his two da spallas and told us about his musical path. He has been a recorder teacher all his life and is now retired. During the pandemic, he heard his neighbour playing the cello, fell in love with this instrument, bought himself a Chinese cello da spalla, and started practising. A few months ago, he felt ready for an upgrade and decided to make himself this beautiful present of a top-quality Violoncello da Spalla.To make the most of it, he rented a campervan with some friends and came to pick it up personally, enjoying a holiday in northern Italy. By coincidence, they came on the weekend of the Verschneider Ritt: this is a big medieval game with horses that is organised in our village every year. Many teams from all over Tyrol come to take the challenge, and good food is served all day on-site. We were happy we could also offer him this special experience, it was a weekend of real sharing of culture, passions and traditions.The games take place very close to the small church of St. George, where there is a wooden altar from 1609 on which are painted two angels, one of them playing a very big viola, resembling a Violoncello da Spalla 😬. St. George is also the patron of Barcelona, so Ton’s small cello is now named Jorge.Ton is passionate about early music. In 1978, he attended the famous early music courses in Urbino! He researched the Violoncello da Spalla and is enthusiastic about its use in Catalonia in the 18th century.He plays it da gamba, like a normal cello. He mainly plays songs from his land, accompanying his wife Carmen, who has a beautiful voice. He is an amateur player on the cello and quite a novice on it. He immediately sensed how easier it was to play on our instrument compared to his previous two. Before going away, he told us he was so happy because he felt he had left behind some technical problems that were preventing him from fully enjoying his playing.He practised hard to solve them in these years, and finally he thought of buying a professionally made instrument with a good setup. So he got in touch, and meeting his new cello piccolo, he had the confirmation that he can enjoy a beautiful sound and playing is easier and more joyful! When the instrument is made with care and attention to playability the hours of practising are far more effective, and maybe one could discover that it’s not even necessary to practice for hours!Now Alessandro’s Violoncello da Spalla has found his home between the mountains and the wonderful sea of Catalonia, and we’re grateful to have met such a nice man as Ton and having spent a weekend with him and his friends!With this instrument I left behind many little technical problems and now I really enjoy playing!Now our end-of-school-year things are over and we’re finally committed to making full time. So in the next issue expect more making instructions for the paying subscribers, maybe even on a tighter schedule than usual. Thanks for your patience and thanks for being here and following our work! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

When we recorded this video, it was intended as a promo video for the BVMA makers day to show and explain the three different setups we brought there: one modern, with Thomastick/Warchal strings and pegheds, one baroque, with three plain gut strings and only two would basses (Aquila VN and Boussoir), and this “one fits all” instrument. It has the modern silk set by Eliakim Boussoir, which is totally made with historical natural materials, not synthetics, following a historical process from the end of the 19th century. This set offers the colours, complexity and grip of historical strings but with thin gauges and the whole five strings overspun with metal wire. As expected, at the show, this instrument was considered by many the “sweet spot” (words by Nick Wright, thank you Nick!).We are fond of this instrument, made by Alessandro, because we think the neck is particularly comfortable, so we took it as reference for the later instruments. We also particularly like the varnish, which is our usual ground, a few coats of oil varnish and our usual finish with spirit varnish.Because this instrument was sold a few days before our trip to London, we didn’t rush in publishing this video, and we are publishing it now as our farewell to it. It will go to Catalonia at the beginning of May, we will write more later about its future!Would you like to order a Violoncello da Spalla like this? It’s just a click away! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

A very short snippet of what you can try on Sunday if you are in London! See you there!! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

We told you to expect a different schedule in February! Here is a short video to show you our last updates before London’s Makers Day. Tomorrow we will start our trip on the road, headed north! The exciting news are: new original Pegheds custom made for our Violoncello da Spalla, and an incredibly gorgeous edition of Bach’s suites, watch the video to see! It’s a sort of a proof-copy that I received as a wonderful and unexpected present from Chick Herin, inventor of Pegheds. Thank you Chuck!! It’s wonderful.Follow us on Notes on the Substack app to get some postcards from our trip to London! And expect more news from us soon!Ps: if you are a luthier and you want to make a Violoncello da Spalla, and you are still thinking if subscribing to our “How it’s made” Newsletter… don’t think too much, because the price is going up on the 10th of Feb! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Link to the new gut strings from Aquila Corde Armoniche: their code is VN, and those I used in this video are gauges 116, 165, 220. Basses are, as usual, Eliakim Boussoir’s gut core basses.Link to the London Makers DayWe will bring there the instrument I play in the video with its gorgeous baroque set up, and another one with a full modern setup, Thomastick+Warchal, hopefully equipped with original pegheds geared peg, for the maximum comfortable possible in tuning those steel first and second string. If you find it hard planning an holiday to visit us in the Italian alps, maybe a weekend in London would suit you better? Looking forward to meeting you there!…are you a luthier, and you would like to make a Violoncello da Spalla? We are sharing our templates, measures and process in the section “How it’s made” of this newsletter. It’s behind a paywall, but if you are interested act soon and secure your monthly price, because the price for new subscribers will increase every month! The price will go up on the 10th of Feb, as a special offer for the Makers Day attendees! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

I recently received a call from my friend Claudio Amighetti, expert dealer and restorer in Cremona, because he has received an unusual instrument for sale and he was eager to have our opinion. I drove there to see it and try it as a Violoncello da Spalla. It is now strung with D’addario Helicore and tuned GDAE, but I also brought with me a tailpiece and some strings to try it ain the normal cello tuning.This instrument has an intriguing history. It was made by Adelino Galeazzi, in Ascoli Piceno, Marche, around 1850.Adelino Galeazzi was the grandson of Francesco Galeazzi, the great violinist, teacher and conductor, author of “Elementi teorico-pratici di musica, con un saggio sopra l'arte di suonare il violino” (Roma 1791-96). This treatise contains relevant suggestions on strings: how to choose them, maintain them, and also make your own overspoon strings as well as 3 recipes of rosins. Francesco Galeazzi also made at least one violin. His son Eugenio was a violinist, teacher and luthier and also translated some treatises on Lutherie from French and German.Eugenio’s son Adelino was educated by his father in violin playing and teaching, and also violin-making. He pursued all of these careers, so he was not a full time luthier, but he came from a family of prominent musicians and luthiers, with a wide education for the time and place.This instrument is an early work of Adelino Galeazzi, it has no purflings and doesn’t employ high quality wood. The top is spruce, the back maple, the ribs walnut. (Together with it came also a violin with walnut back and ribs, obviously made in the same period).What was this instrument in Adelino’s intentions, we cannot know. It’s too big for a tenor viola. A Violoncello da Spalla would be unusual in that place and time. However, it plays very well as a Violoncello da Spalla. Maybe it was, as the Violoncello da Spalla is today, the perfect companion of a violin teacher, used to accompany students, teach chorus, accompany dances at parties. But these are only hypotheses, we really have no precise ideas. It has a certificate by Florian Leonhard as a tenor viola.It’s measures are: body 48 cm, string length 45 cm, ribs 6 cm. It instantly reminded me of the instrument used by Sigiswald Kuijken as a spalla. It has wear signs as if it was played da braccio.It is settled with 4 strings and the neck and pegbox are a bit too narrow to imagine it with 5 strings. Being all completely original (and in very good conditions), it would be a pity to modify it. At the moment it is tuned GDAE but I also gave it a try CGDA.It has an original transitional neck, glued on the ribs and nailed, and no corner blocks. It also comes with its wooden case!This instrument is for sale and available for try in Cremona. If you are interested please write us privately for more details.News from da Spalla worldIf you are a luthier and you are interested in making a Violoncello da Spalla, the 2025 is your lucky year! We are publishing our making notes in payed issues of this newsletter. Measure, templates, techniques. The price will go up each time we will add content, so if you are interested, subscribe now! At this link you can see the what’s already out. The Japanese version of Daniela’s book on violin gut strings and how they changed through the centuries is now available also on Amazon! At this link.Updates from our workshopThanks for being with us and reading this newsletter. We wish you a happy 2025! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Well, it's actually my dream. I dream of making an instrument for a cathedral. A small “Handbassel”, or Violoncello da Spalla, that hangs there on the musicians' balconade, next to the organ, ready for anyone who wants to accompany at the bass. Just as it happened to the small five strings Wagner for many years, as its wear signs tell us.Besides the Wagner, there are other original instruments to draw inspiration from, like the Hammig from 1747 or the Goldberg, father of J. S. Bach’s friend. Truly remarkable handbassel! Their wear signs are speaking even more clearly than those of the Wagner, for sure those they were played only in da spalla position.We have seen and studied them, and we are able to offer replicas of them.The faces of our customers around the world sparkle with enthusiasm and love for music. Let’s spread the word together!Do you have any ideas on how to help us achieve this dream? Write to us or come visit us!Further readings: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

This week, we played the Sonata “L’inconnue” by Michel de la Barre in concert; here is the video of our complete live performance.Daniela’s Violoncello da Spalla is made by herself in 2022 and equipped with Tomoki Sumiya pure gut trebles and Eliakim Boussoir’s overspun gut basses.We played in a beautiful hall in Bolzano called the Josephsaal. It was made in 1908 in the style of a hall of the crafts and trades guilds. There are medieval-style frescoes and baroque-style wood-carved stalls all around. In particular, the woodwork is very typical of South Tyrol, and the style has remained the same since the 17th century. If you come here, in Val Gardena, you can still buy statues and handmade carved furniture following the old tradition. Alessandro’s grandmother was the chief of a centuries-old trading company in Ortisei, trading wooden statues worldwide and designing church altars, organ balconade, and furniture. Sadly, the next generation, that of Alessandro’s mother, decided to dismiss the company.Updates from our workshopOur three new instruments, Daniela’s two da Spalla Violoncellos and Alessandro’s big cello are varnished! This year, very unusually, we had a rainy and cold spring, so there were not many opportunities to take pictures and videos in the sun. I decided to go a bit darker than usual with these two to contrast with the golden fingerboards and tailpieces made in Sonowood maple.If you like to try these instruments, get in touch with us now if you are in Europe, or with Brobst Violin Shop if you are in the US.Next week we’ll be on holiday, so you may not receive any newsletter on the 10th of June. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

During the past week we had rain every day, which is quite unusual here for may. It was not a good weather for varnishing: we do not have a UV light box, as in the mountain UV rays are stronger we like to use the natural ones when we need them. Plus, we both felt we wanted to understand more the character of these two new da spalla cellos instead of rushing them through varnishing.So here we offer you our practicing session (not a performance yet!): Michelle de La Barre, played with the number 2 which is strung with Boussoir’s gut basses and Aquila’s pure gut trebles. J. S. Bach, played with the number 1, that has a more modern character and is strung with Boussoir’s modern set. At the end of the video there’s a little description of the two instruments, but if you follow us on our socials you’ll soon start to see their daily progress towards their final look. If you want to try one of them and you are in US, get in touch with Brobst violin shop and tell them which one you prefer! If you are in Europe, you can get in touch with us directly and maybe plan a visit for the summer! In this video Alessandro is playing a transverse flute Rottemburg made by Rudolph Tutz and a modern Gosse flute with an headjoint by Andrea Dainese. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

I so much wanted to share with you the beauty of this place where we live, that I hope you will not bother too much my difficult language and you’ll enjoy the view!Updates from our workshopThe first of the two da spalla cellos I made this year is playing! It is loud and rough, as an instrument in white should be, it will be more rounded and elegant after it’s varnished. This is the 10th Violoncello da Spalla Alessandro and I made. It is strung with Eliakim Boussoir’s modern set. What do you think about it?Featured video of the weekIn the Facebook post at this link you can hear Alberto Vitolo, owner of one of the instruments made by Alessandro, in concert (live recording). This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

I’m receiving more and more questions about gut strings, so I thought I should share this video with a talk that I gave two years ago for the Women in Lutherie Conference,You may like to dig into the Women in Lutherie YouTube channel, there are many interesting talks on various topics lutherie-related.Other links related to this video podcast:Where to buy Giulia Bolcato’s new cd: Barbara Strozzi Opera Ottava: you hear it in the background of the nails unboxing. And yes, there is a crotchet close to me, because I hit my toe into something and now it’s badly hurting. Nothing is broken but I cannot walk well, and from this the choice of the song in the background: “Ferma il piè” (stop your foot).Adelheid Snel is the blacksmith that makes the wonderful nails I use for my instruments’ necks. She’s in the Netherlands and made these copies of 17th century nails for me!Featured video of the week:There’s this new clip on Sergey Malov’s Instagram account. It’s Swan’s Song played with harp and Violoncello da Spalla, it’s simply beautiful!…and by the way… did you notice anything familiar? If you are receiving this newsletter you know our cartoon character, and you probably noticed that her hairstyle is inspired to Daniela’s… well now also Sergey Malov is following the same haisrstyle! Are we building a trend? 🤣👍 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

A brief story on how we came to record that video almost two years ago.We are extremely grateful to organist Stephan Kofler, who enthusiastically welcomed and joined our project and put us in touch with soprano Giulia Bolcato.Giulia recently launched her cd “Barbara Strozzi Opera Ottava”. If you like what you hear in the background of our speaking and driving, consider buying it, it is on all the main platforms. You can also listen to it for free, however, we think supporting an artist with an actual purchase is still important.We could make such a beautiful video thanks to our special friend and movie maker Lorenzo Vignando, alias Ukulollo.He is a songwriter, a full-time ukulele player and an incredibly positive and generous person. His work is very special, and I would describe it as poetic.He often dedicates his time and enthusiasm to supporting the work of other artists.Further readingsUpdates from our workshopFeatured video of the weekHere is the original “Bete” video: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

As promised in the podcast, here is the link to the viola pomposa by Giuseppe Ornati, probably the one used for the Francesca da Rimini. It is noticeable that on the accompanying PDF document, it is not clear if the author is Giuseppe Ornati or Leandro Bisiach, and the vibrating length mentioned is 69 cm, exactly like a cello.In the printed catalogue we see two different instruments (same body shape and same measures), one made by Bisiach and the other commissioned by Bisiach to Ornati, but made by Ornati.Here is the video of one of the originals controviolino in Florence, played by the cellist Antonio Mosca. (No, I have no idea why there are those two pegs. They not seem to be there on the Museum’s catalogue pages)Edit: Thanks to the prompt of our close followers Lewis Jones and Klaus I researched further and add this correction: this is not a De Zorzi original but one made on his model with the added two resonance strings. More details in the comments!Updates from our workshopHere we are! We had ten intense days in the workshop, in which Alessandro proceeded with the back of his normal-sized cello, and Daniela made the ribs and settled the necks on them. We also enjoyed the landscape and the company of our two dogs, Arturo and Oliver. Even if working hard, we didn’t renounce our hour of walk with them every day! We need that walk also to clear our minds, breathe fresh air and keep slightly fit! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

Hallo! This is the first episode of the Violoncello da Spalla podcast, broadcasted from Italy by Daniela Gaidano and Alessandro Visintini. We are two Italian luthiers specialized in Violoncello da Spalla. How does it come that we make Violoncello da Spalla? It came from a totally unexpected passion. Violoncello da Spalla brings together our love for violin making, the excitement of research and the pleasure of meeting top-level artists. Do we make also violins, violas and “normal” cellos? Yes, we do, but this is a podcast about Violoncello da Spalla, so this is what we’ll be talking about.Will this be a serie or an only episode? We’re not sure yet. Please leave us comments and tell us if you prefer to read our newsletter or to listen to it. Our idea is to use this space mainly to share music played with our instruments.While recording this podcast, I’m already preparing the dinner for New Year’s Eve. I soaked the lentils into fresh water and started to slowly cook the pig trotter on the wood-burning stove. We will have the usual round of appetizers (usual for a festive meal), which are olives, marinated salmon, pickles like artichokes, onions and mushrooms, and salami. Then I will try to cook a Scottish recipe:  the “Cullen skink”, a soup with milk, smoked fish, potatoes and turnips. But I’ll do it with Italian ingredients. If that goes wrong or someone won’t like it, I will also prepare our traditional Italian meal: the already mentioned trotter, which is a leg of a pig stuffed with pork sausage, that has to be cooked for 3 hours today and another one tomorrow, and it’s served with lentils and mashed potatoes.End of the year, it’s time to look back and express our gratitude for what, after all, has been a sparkly year. During carnival school break, we went on a road trip to Leipzig museum to see the Arcangioli Violoncello da Spalla and the Klinger small cello and meet with director Veit Heller, then to Lübeck to measure again the original Violoncello da Spalla by Johann Wagner and compare it with the one that we made 3 years ago. From there, we went to Markneukirchen Musical Instruments Museum, where they have no less than 6 (maybe more) original cellos da spalla or pomposas. We had a great time there with director Kim Grote and Mario, discussing the use of viola pomposa after Bach’s time.Arriving home, we received the visit of Alberto Vitolo, a violinist from Naples now living in Rome, who purchased Alessandro’s Violoncello da Spalla. He is now totally in love with it because it perfectly blends his passion for research with performing opportunities. He is passionate about the technique of this instrument and its possibilities, playing repertoire not only from the Baroque era but also romantic pages.Then we went to London, to get in touch with the British Violin Making Association. It was our first trip to London, so we had a nice holiday too.In the spring, we met with our friend Eric Aceto, a Violoncello da Spalla maker from the state of New York, from the Finger Lakes, but of Italian origins. His surname, in Italian pronounced Aceto, means vinegar. It was a short but intense meeting, we went hunting for wood in Cremona, and we shared tips and tricks and anecdotes.In May we had great luck: we could rent a flat only 80 meters from our home, and move there our workshop! So finally we had a big space, with a lot of light, a breathtaking view, with our benches and all our tools and woods! This is in Meltina, a small town in South Tyrol, in Italian Alto Adige. It is half an hour's drive from Bolzano, which now has an airport with regular flights to London Stansted, Berlin, Hamburg, Copenhagen and other European destinations.In June, we left for a three-week road trip to the UK. We first went to Surrey to a set-up course hosted by the British Violin Making Association, and then we drove up to Scotland to the lower highlands. We fell in love with the place. We loved the landscapes, the people,  and the food! This is why tomorrow I’ll try to cook the Cullen skink!During this trip, we met Wenhan Yang, currently the viola leader of the BBC Ulster Orchestra in Belfast, and he decided to buy my Violoncello da Spalla. He already gave recitals with Bach’s suites in Beijing, and he has a wonderful project with his wife, who is a soprano singer. You heard him playing at the beginning of this podcast. I’m so excited to be part of this project with my instrument because I particularly love this music!In August, we kept a whole month free to move in and organize the new workshop, but unfortunately, my mom broke a heel, and later, I also had a surgery. We both recovered well, but all in all, it was two months off from work. And, after that, we took a short but much-needed holiday at the seaside in Sardinia. It is a wonderful place. We were still swimming on the 29th of October!Then, back at work!I now have two Violoncello da Spalla on the bench, and Alessandro is making a normal-sized cello.Alessandro and I also give judo and Karate classes here in Meltina, he’s a judo teacher and I’m a karate teacher. At the end of this year, he brilliantly passed his examination for black belt fifth Dan, which is almost the higher level you can get with an exam here in Italy. I’m so proud of him!As a final thanks note, let me mention two groups which are really game changers in our industry: women in Lutherie, which is an organization supporting women at bench. They have a Facebook group where one can ask for suggestions of any kind, not only working tips, or simply share and be there in a positive environment. The second is a smaller community by now, but also very nice and engaging: it is raised by Sofia Vettori, the renowned Italian violin maker, and is a place where we meet every week and we can talk of anything Lutherie. These kinds of supportive projects are important when one is doing a job like this, which could easily become very lonely. Instead, being part of an engaging community makes it a joy!The end of the year is also the time for plans: we do not make precise plans because we try to keep doors open for coming opportunities. However, in 2024, we will probably have a short trip to the US involving some Violoncello da Spalla presentations and maybe a longer trip to Japan to give a few gut-strings lectures (and maybe a short holiday attached). We also always have in mind to go to Brussels to meet some wonderful da Spalla people and to Saxony and the north of Germany for some more research.Our Substack Newsletter will probably see a change in timing because I need more time for making and deliver a quality newsletter requires time. It takes me almost one full day to write one, because it involves research and drawing, and editing… so I think I will move it to one every ten days.Our days now are filled with excitement for the many projects on the go involving not only our Violoncello da Spalla but also serious research, and bringing as a result musical performances of a high artistic level.We already shared in our newsletter the beginning of the journey of Alberto and that of Kim Min, who bought my Violoncello da Spalla in 2022, and I can’t wait to share that of Wenhan. But there are others cooking, even if I cannot share names and details now.We feel blessed to be able to meet artists like this through our job. Alessandro and I are both former professional musicians, and one could think it’s sad to leave that musicianship behind. Instead, the hours that we daily employed practising are now into making, and our da spalla cellos are allowing beautiful musical projects to take shape.The people we meet through our job and our researches, people animated by such sincere enthusiasm and love for music and research, are gifting us with daily motivation and excitement.So thank you, for allowing us to be part of your artistic lives and for sharing your enthusiasm with us, we wish you all a great, florid new year. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe

We know it took a long time, but we couldn’t afford a full time effort as also ur instruments need to get done! Anyway now the updated edition of our book on Violoncello da Spalla is available on Amazon!The sales page still says 6 March 2022, that is the first date of the first edition. But when it says 87 pages you know it’s the new one.What’s new inside? The chapters on surviving instruments and on treatises are wider, and the history one was updated with what we understood from our trip to Markneukirchen last March. There are now 3 appendices with the charts of Bsch’s Cantatas involving the Violoncello da Spalla, the treatises all at hand in illustrated versions, and suggested readings. If you are a luthier, this book is a comprehensive summary of what you need to promote your instrument. If you are player, it contains a great starting point for your adventure, and all the answers to the “whaaaat?” faces you will encounter.It’s not a technical reading, it’s quite fun actually, but it issues many technical aspects.So, here again the link button to the sales page on Amazon:Featured video of the weekIs Violoncello da Spalla a baroque instrument? Yes, but not only. Like music, it is quite universal, you could do anything with it. One other year is almost passed, and the world is indeed going worse… the words written one year ago by Sergey in the comments of this video are as actual as ever. Make music not war! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit violoncellodaspalla.substack.com/subscribe