Kit Review: Musicmaker’s Irish Bouzouki

by John Calkin

Originally published in American Lutherie #71, 2002



Sometime in the 1970s an Irish musician introduced a Greek bouzouki to his band’s lineup, and the seed for a new instrument was planted. As interest spread, the inherent problems with the Greek instrument were addressed by the luthiers who were called upon to make the bouzouki more palatable to contemporary players who were undaunted by a long tradition with the beast. The staved bowl back gave way to a flat back, and the scale length shrank to proportions more manageable for lead work.

Still, the light demand for the Irish bouzouki has not tempted the larger instrument companies to gear up for production, with the result that no industry standard has been set. Both flattop and carved-top examples are found, and dimensions and shape vary widely according to the whims of luthiers and the needs of musicians. Even the name of the new hybrid has escaped standardization, and Irish bouzoukis might also be called citterns, octave mandolins, or mandocellos. Some luthiers build variations on the theme and change the names in an attempt to avoid confusion, calling a 4-course instrument a bouzouki and a 5-course instrument a cittern. So far, you can build it as you please and call it what you want. The musicians who want them don’t seem to be all that confused by the matter.