Podcasts about luthiers

Team Omo answers listener submitted questions

Jerry interviews violin makers Michael Doran and Ryan Soltis about making new models and personal models. Special Guests: Michael Doran and Ryan Soltis .

Katherine and Joshua talk bows with bow maker Richard Morency. Special Guest: Richard Morency .

Guest host Becka Hannigan talks with Rozie DeLoach-Zimmerman and Anya Burgess about applications to make running your violin shop easier. Special Guests: Anya Burgess and Rozie Deloach .

Omo meets the Violin Chronicles! Special Guest: Linda Lespets .

Katherine and Brandon talk with Bow Maker Darrell Hanks about his process for creating a bow tailored to the players needs. Special Guest: Darrell Hanks .

Brandon and Jerry talk with Bruce Babbitt about studying instruments and bows of the Music Region of Germany, publishing books, and being a "pollinator" of violins. Special Guest: Bruce Babbitt .

Katherine Kidwell and editor Joshua Litton go over community submitted responses of what got listeners into the trade, and what keeps them there.

Rozie and Brandon talk to Philip Kass about his involvment with the VSA over the years. Also covered is the 50th anniversary of the VSA, and the upcoming convention. Special Guest: Philip J. Kass .

Rozie and Liz talk with Jerry Lynn and Jerry Pasewicz about what it takes to put on a workshop. Special Guests: Jerry Lynn and Jerry Pasewicz.

“The American Violin” is a 2016 publication by the American Federation of Violin and Bow Makers (which we may refer to as AFVBM or “The Federation”). This book was a monumental culmination of efforts by many folks in The Federation and the general violin trade. It very eloquently tells the story of American violin making- when and where it started, how it spread, and to whom it served. Guest John Montgomery joins Jerry and Brandon to tell this story. Special Guest: John Montgomery.

What happens when you put ten luthiers from nine countries in a box? Learn more about the ViolinABox, it's makers, and it's journey: https://violinabox.org/ Support Lutheirs Sans Frontiers: https://lsfusa.org/ Listen to more of Kat Glaze: https://www.instagram.com/katandthefiddle/ Special Guest: Andrew Carruthers.

Our merry band of adventurers are delving deeper into Jimmie’s Hell, and must be close to the centre now. Can they persuade the talking tree to release the town from the curse, or will they be doomed to infirmity for ever. What’s that rustling noise? Cult 518 – Cypher System – Old Gods Of Appalachia […]

So to break a curse you have to descend into a place called Jimmie’s Hell. Probably not the place our bunch of people expected to find themselves but here they are. Delving deep into a place infused with the power of the Green, to treat with a sentient tree… Cult 515 – Cypher System – […]

A magical fiddle has aged everyone terribly and at the urging of the local Granny the mismatched bunch of heroes must seek out the cause, and hopefully nullify the curse. But where is the Luthier? Cult 513 – Cypher System – Old Gods Of Appalachia – The Luthiers Folly – Session 2 Please let us […]

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

Deep in 1920’s Appalachia a darkness is rising, magic is seeping out of the ground with dangerous and unpredictable results. In the mining town of Stonega the arrival of a stranger spells trouble for all who live there. But first? A Party! Cult 510 – Cypher System – Old Gods Of Appalachia – The Luthiers […]

Elizabeth and Katherine are joined by guest Kristin Siegfried Ballenger to discuss creativity and getting the job done. Special Guest: Kristin Sigfried Ballenger .

Katherine and Elizabeth talk to Korinthia Kline and Robyn Sullivan about navigating personal mistakes in dealing with the public. Special Guests: Korinthia Klein and Robyn Sullivan .

Jerry and Rozie are joined by fellow Omo founder Chris Jacoby to talk about 5 years of Omo. Later, Gerard KilBride joins Brandon Godman to talk about bridges. Special Guests: Christopher Jacoby and Gerard KilBride .

Brian, Blake, and Richard are back for episode 496 of the Chasing Tone Podcast!Richard has created a monster and has recorded 7 podcast episodes in 7 days and issues a formal apology before professing immense respect and love for Chibson and their body of work. Some gushing may occur. This leads on to a discussion about the new Schecter Machine Gun Kelly signature guitar and Brian refuses to believe it - and much to Richard's chagrin he also refuses to put his money where his mouth is. This leads on to a question about the most controversial guitar shape ever and the guys have an idea.Have you ever tried a G&L guitar? The guys chat about them after a recommendation was made and they have reactions and Brian's head glows red when he realises he dropped the ball on some significant developments. Blake impersonates Tiny Tim.  Conversation inevitably turns to January's industry shindig, NAMM, and once again our British friend feels like Norman No-mates as he won't be going. EVER!A 52 Blackguard Tele has been spotted in the next Gardiner Houlgate auction in the UK and Brian does some live "math" whilst the guys speculate about the price and conclude they need it. Brian is thinking about either buying or building a new amplifier and Richard tries to convince him to buy a Rivera as well while Blake is GASing for a Victory Kraken.  Brian is concerned for Richard as he invents a new cocktail and Blake tells us a disgusting story about diet cola and we invoke the spirits of Max and Travis. PSA - Do not listen to the credit roll on this episode unless you want to hear terrible things.  The Martinsville Mouse, Spicy plus signs, Jeopardy, Thorpy FX, Too Jazzy?...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Brian's new online courses are here:http://www.guitarpedalcourse.comAwesome Merch and DIY mods:https://modyourownpedal.com/collections/booksFind us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.comSupport the show

Katherine Kidwell gets real with Rozie and Jerry about taking direction of her own learning.

Editor at large Jason Peoples puts Rozie and Jerry on the hotseat to talk about focus along with Omo host alum, and now guest, Christopher Jacoby. Special Guests: Christopher Jacoby , Jerry Lynn, and Rozie Deloach .

Rozie sits down to talk with Brooklyn based violin maker Samuel Zygmuntowicz. Special Guest: Samuel Zygmuntowicz .

Brandon and Katherine talk to Grand Rapids, MI based restorer and maker Matthew Noykos about all things bridges. Special Guest: Matthew Noykos.

Rozie and Jerry discuss the importants of museums. We find out about the National Music Museum and it's reopening. For our Coda, we catch up with Ben Hebbert and get some words of wisdom. Special Guests: Andrew Dipper, Benjamin Hebbert, and Claire Givens.

Rozie and Jason record live from the Oberlin Restoration Workshop with too many guests to list!

Brandon and Rozie talk about the riveting world of insurance.

The Amati Brothers were working and living in a time of musical innovation and discovery. Join me as I discover what influences Monteverdi, music and even fashion had on the instruments the brothers were making. intertwines the stories of the illustrious Amati brothers, renowned violin makers, with the musical genius of Claudio Monteverdi, one of the greatest composers of the Baroque era. Join us on a captivating journey as we explore the parallel worlds of instrument craftsmanship and musical composition during this remarkable period. Musicians and Luthiers of the renaissance such as the Amati Brothers had to continue their craft amidst famine, plague and war making these instruments musicians play today objects even more remarkable than we could have previously imagined. We continue to look at the life of Girolamo Amati the father of the very talented Luthier Nicolo Amati who would in turn change the course of violin making in Italy for ever. In this episode I speak to Dr Emily Brayshaw fashion historian and Benjamin Hebbert Oxford based Violin expert.

Jason and Jerry talk to Shannon Rogers of Shannon's Lumber Industry Update about tone wood. Liz gives her reaction to the interview. Special Guest: Shannon Rogers .

Jerry and Liz talk with Joe Grubaugh and Sigrun Seifert on their career in instrument restoration and their time at the Weisshaar shop. Special Guest: Grubaugh & Seifert .

durée : 00:25:12 - Brigitte Lesne, chanteuse et directrice des ensembles Alla Francesca et Discantus (3/5) - par : Christophe Dilys - Manuscrits du XIIe siècle, enluminures, Tristan et Yseut, Ecole de Notre Dame, notations mystérieuses et médiévales : la chanteuse et harpiste Brigitte Lesne s'est donnée pour mission de nous faire entendre des choses inouïes depuis le Moyen-Âge. Portrait de la chanteuse au micro de Christophe Dilys - réalisé par : Gilles Blanchard

In this episode of DIY Guitar Making, we are talking chisels and handplanes!First I talk about what it means for a tool to be sharp and how that relates to purchasing the right type of chisels for your shop. We also talk about tool steel and how quality translates into better edge retention.Lastly, I discuss the various handplanes a beginner guitar maker would want to collect.To find the "DIY Guitar Making" podcasts AND videos all in one place visit:www.diyguitarmaking.comFor information on the Hands-on Guitar Building Workshops and online guitar building courses visit:www.ericschaeferguitars.comTo find the "DIY Guitar Making" podcasts AND videos all in one place visit:www.diyguitarmaking.comFor information on the Hands-on Guitar Building Workshops and online guitar building courses visit:www.ericschaeferguitars.com

Meredith Coloma is a luthier, entrepreneur, singer/songwriter/musician with enough touring, writing, and experience bonafides on her resume to be extremely intimidating - but complements that with a friendliness and sense of building community that made her an absolute joy to talk to. In this episode we talk about her path to becoming a luthier and starting Coloma Guitars, her current struggles to manage the success as a one-woman shop, and her plans to grow beyond that. I hope you enjoy this episode as much as I did!Find Meredith/Coloma Guitars on:Instagram: https://www.instagram.com/colomaguitars/Internet: https://colomaguitars.com/IndieGoGo: https://www.indiegogo.com/projects/the-freya-coloma-guitars#/Support the show at: https://www.patreon.com/40wattpodcast/​Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Amazon Affiliate link: https://www.amazon.com/40wattSubscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends.Support the show

Rozie and Brandon talk with Yung Chin regarding the latest CITES developments. Special Guest: Yung Chin.

Guests: Marlén Rodriguez-Wolfe Hosts: Stuart Yoshida, Doug Brown While the snows falls on Los Angeles and solar flares pummel the earth, we find our warm and safe spot for wellness with the CEO of the Ukulele Kids Club, Marlén, and learn about the history, programs, and Big Hairy Audacious Goal of the UKC for 2023. PLUS, hear about how you can help kids in Ukraine, AND the return of Casa Bonita in Denver, Colorado! Links: - The Ukulele Kids Club: https://theukc.org/ - Corey Bergman Music Heals - TEDx CoconutGrove: https://youtu.be/4IgyDjFAxdg - UKC Academy: https://theukc.org/ukcacademy/ - James Hill's UkeTropolis: https://www.uketropolis.com/ - Peace Like a Ukulele: https://www.uketropolis.com/peace - Portland Ukulele Anarchy: https://www.facebook.com/groups/pdxukulelewednesdays - Denver Ukulele Community: https://den-uke.com/ - Berklee music therapy: https://college.berklee.edu/music-therapy - Querétaro, Mexico: https://goo.gl/maps/gBojHmb661WcPPUo8 - Casa Bonita, Denver: https://www.casabonitadenver.com - Shoot Ogawa: https://en.wikipedia.org/wiki/Shoot_Ogawa - Paul Rudd Magic: https://www.youtube.com/watch?v=CCXCU3tYxJg - UKC Emmy: https://theukc.org/2022-mid-america-emmy-winner/#:~:text=Oct%2031%202022&text=Louis%2C%20MO%5D%20%E2%80%93%20A%20video,medical%20short%20form%20content%20category. - Luthiers for A Cause: https://www.luthiersforacause.org/ - Masters of Hawaiian Music: https://swallowhillmusic.org/masters-of-hawaiian-music/

Rozie and Jerry talk with Bill Scott regarding his role with the Weisshaar book Special Guest: Bill Scott.

Join me as I delve into the world of Gasparo Da Salo once again and discover what  guns, Monetverdi and a war in France have to do with his business. I speak to Violin maker and expert John Dilworth, fashion historian Emily Brayshaw about the influence clothes and style on players of Violins, Violas and cellos and finally Fillipo Fasser a contemporary violin maker in Brescia, explains the importance of the master Luthiers of his city. Music you have heard in this episode is by Bach Violin partita No 2, Telemann Sonata in D maj for viola da gamba – Daniel Yeadon, Unfamiliar faces – All good folks, Budapest – Christian Larssen, Bloom by Roo Walker, Brandenburg Concerto No 4 – Kevin Macleod, Frost waltz- Kevin Macleod, Getting to the bottom of it – Fernweh Goldfish

Anna, aka Mud Butt, is the founder of Trail Dames Incorporated, a hiking club for women of a curvy nature. Between running her families violin shop (Huthmaker Fine Violins), working in Trail Dames, and teaching new skills around the world with Luthiers without Borders, she is always looking for ways to experience the magic of the outdoors and the beauty of the trail. Connect with Anna, aka Mud Butt, at info@traildames.com You can find the Trail Dames at: Our website: https://www.traildames.com The Summit: https://www.traildamessummit.com The Trail Dames Foundation: https://www.tdcharitablefoundation.org Instagram: https://www.instagram.com/traildames/ Facebook: https://www.facebook.com/groups/traildames/ Hiking Radio Network: https://hikingradionetwork.com/ Hiking Radio Network on Instagram: https://www.instagram.com/hikingradionetwork/ Music provided for this Podcast by The Burns Sisters "Dance Upon This Earth" https://www.theburnssisters.com‌

En janvier 2021, nous étions toujours en mode verrouillage dans le monde entier, il n'y a donc pas eu de Winter NAMM cette année-là. J'ai donc décidé de réaliser une interview en direct avec plusieurs des meilleurs et des plus originaux luthiers d'Europe : Voici ce qu'ils ont dit spontanément à la fin de l'entretien. L'article Teuffel, Ruokangas, Spalt, Sergio et Tausch : ce que les meilleurs luthiers ont à vous dire sur La Chaîne Guitare est apparu en premier sur La Chaîne Guitare.

Rozie and Elizabeth discuss the importance of Weisshaarr book. Rozie interviews Margaret Shipman on it's creation. The book can be found at https://www.weisshaarrepairbook.com Special Guest: Margaret Shipman.

Michael Doran is back on Omo to talk about all things sharpening. Special Guest: Michael Doran.

In this episode of DIY Guitar Making, we are talking handsaws!First I cover the difference between western saws and japanese saws.Then I discuss razor saws, dovetail saws, carcass saws, coping saws, jeweler's saws, and more.To find the "DIY Guitar Making" podcasts AND videos all in one place visit:www.diyguitarmaking.comFor information on the Hands-on Guitar Building Workshops and online guitar building courses visit:www.ericschaeferguitars.com

For his entire life, Max Krimmel has dedicated himself to two paths: Making and music. Though Max stopped building guitars in 1983, he went on to craft dulcimers and marimbas and create turned alabaster pieces, some of which are on display in the Smithsonian.  For episode 71 of the podcast, I sit down with Max in his Nederland, Colorado studio to hear his thoughts on being an independent guitar maker in the '60s and 1970s. We talk about his very last guitar, Kasha bracing, and the transition he made to making other instruments and crafts. http://maxkrimmel.com Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Acoustic Coffee Company and Dream Guitars. Luthiers for a Cause: https://www.luthiersforacause.org

It's time to dive deep into Pernambuco! This is a deeply consequential topic for stringed instrument musicians, music shop owners, and makers alike. What is the future of this endangered wood for bow making? Will it be legal to buy or sell just a few short weeks from now? Will Brazil, with the right leadership, be able to protect this dwindling resource? Join us, as we untease this thorny subject. For more information regarding the current situation, please check out allianceusa.org

Brandon talks all things VSA with Anya Burgess and Chris Ulbricht. Items for the VSA scholarship auction can be brought to the convention and dropped off in the vendor room on Monday, November 14th, or shipped to Howard Core by November 1st. Ship to: Hans Anderson/Howard Core Inc. 23371 Mulholland Dr 271 Woodland Hills, CA 91364 Special Guests: Anya Burgess, Chris Ulbricht , and Elizabeth Perry .

Rozie talks about her recent trip to Vienna, and the Viennese tradition of instrument making with Ben and Jerry (not the icecream guys.) Special Guest: Benjamin Hebbert.

Even the cheapest guitars are made in part from trees which are becoming increasingly rare. Chris Gibson's curiosity about these timbers led him on a worldwide journey to understand the guitar's past and future (R)

The Reverend and the Reprobate sit down with the geniuses behind  @Bluesman Vintage Guitars  John Scott and David Karns. The guys get in-depth about what makes the difference between a good guitar and a great guitar, who owns the alphabet, and whether or not Lucas looks like a dime store version of Zakk Wylde. In Controlled Rowdiness the Rev and Rep hear the saddest guitar story of all time, whether or not a person can be humble and a guitarist, and what the heck neck paste is. More from Bluesman Vintage: THE FREAKIN WEBSITE: https://www.bluesmanvintage.com/ Instagram: https://www.instagram.com/bluesmanvintage/ YouTube: https://www.youtube.com/c/BluesmanVintageGuitars Rev and Rep Linktr.ee (all the show links can be found below) https://linktr.ee/revreppodcast