Posted on January 13, 2010February 7, 2024 by Dale Phillips Letter: Hardingfele Letter: Hardingfele by Loretta Kelley Originally published in American Lutherie #8, 1986 Dear Editor: In connection with Hardingfele: People who are interested in this instrument might want to become members of the Hardanger Fiddle Association of America (126 S. Thayer Avenue, Sparta, WI 54656) Members receive a quarterly newsletter containing not only informative articles, but sources for instruments and supplies. The book on making this instrument is “Vi Byggjer Hardingfeler”, by Sverre Sandvik, published by Tiden Norsk Forlag, Oslo, 1983, ISBN 82-10-02357-8 (in Norwegian). Irving Sloan writes about making a hardingfele in “Making Musical Instruments”, Dutton, 1978, ISBN 0-87690-293-X. He is interesting, although his guess that the f-holes are bent instead of carved is wrong, and some of his other assertions are just assertions. Some additions to Mr. Peters’ articles: neither of my fiddles have purfling, and I’m not sure I’ve ever seen one with purfling, except converted violins. The traditional carving on the top is usually described as a dragon or perhaps a lion. And many hardingfeles have five sympathetic strings instead of four.
Posted on January 13, 2010February 7, 2024 by Dale Phillips Violin Q & A: Violin Cleaner Recipe Violin Q & A: Violin Cleaner Recipe by George Manno Originally published in American Lutherie #11, 1987 and Big Red Book of American Lutherie Volume One, 2000 Do you know the recipe for making the old Sacconi special violin cleaner and polish? I have tried just about everything but can’t come up with the right recipe. No, I’m sorry I don’t. You may want to break this down into a smaller recipe, but here’s a formula for a very good cleaner. 2 qts. alcohol (denatured) 2 qts. turpentine (artist grade) 1 qt. distilled Water 1 pt. raw linseed oil 1 pt. pure lemon oil
Posted on January 13, 2010February 7, 2024 by Dale Phillips Questions: Full Sized Violin Molds Questions: Full Sized Violin Molds by Henry Strobel Originally published in American Lutherie #58, 1999 Pat Montenegro from St. Angelo, TX asks: Where can I get full-size violin molds? Henry Strobel of Aumsville, OR responds: Most people make them rather than purchase them ready made. My books on violin making should be of help. (For more information on Henry Strobel’s books see reviews in AL#39.)
Posted on January 13, 2010February 7, 2024 by Dale Phillips Violin Q & A: Lightfast Colors Violin Q & A: Lightfast Colors by George Manno Originally published in American Lutherie #11, 1987 and Big Red Book of American Lutherie Volume One, 2000 I’ve been using water colors for touchups and repairs in the last five years, but some of the colors are starting to fade out on the older repairs. I use Pelikan transparent watercolors #725. What else can I try? I have used many different types of color over the years with varying degrees of success. As you are finding, knowing how a color will fade is as important as color matching at the time of touchup. The only colors I use now are analine dyes I purchase from Horn & Son String Instruments, Inc. (2570 Superior Ave, Cleveland, OH 44114). They have powdered colors for spirit and oil and I find them to be extremely true. With yellow, red, and brown, you can match just about anything. In the last five years I’ve had no problems whatsoever. A word of caution: Fluorescent lighting tends to fade any color. Be advised that analine dyes are carcinogenic.
Posted on January 13, 2010February 7, 2024 by Dale Phillips Violin Q & A: Fiddle Fakes by Tetto Gallo Violin Q & A: Fiddle Fakes by Tetto Gallo by George Manno Originally published in American Lutherie #11, 1987 and Big Red Book of American Lutherie Volume One, 2000 We have inherited what we believe to be an old Italian violin. Inside the instrument is a paper label that reads “LORENZO BUONARROTI-ROMA-1883.” We have taken the violin and shown it to a few dealers, but none of them have ever heard of this maker. The dealers all agree that it is of Italian origin, but that’s all they would tell us. There is a very good chance that the instrument you have inherited, labeled “BUONARROTI,” is the work of Tetto Gallo (1901–1976) of Cedar Lake, Indiana. From the late ’30s up until 1953 Gallo imported many violins in the white (unvarnished) from Italy. He would antique these instruments (make them look older than they were) by using acids and dyes. He then varnished them either with a golden brown or a red brown thin oil varnish. Knowing that he could not fool an expert if he labeled the instruments with a well-known maker’s name, Gallo used names he made up. The name Buonarroti was the surname of the famous sixteenth century Italian artist, Michaelangelo. The instrument you have should be signed, “T. GALLO/year” on the underside of the top. The next time you show your instrument to a dealer have him/her take a look inside with a mirror.
