A Bosnian Lute called Sargija

Started a new project this week in my workshop: Making of Sargija.

The šargija is a long necked lute used in the folk music of Bosnia, Croatia, Albania and Serbia.

It originated in Bosnia during the Era when it was under the rule of the Ottoman Empire from 1463 - 1878.

The instrument looks similar to the Turkish saz, with a one- piece- body, traditionally carved out of a trunk from hard wood like maple, cherry or walnut- tree.  The construction of the instrument, its over- all size, body depth, is not standardized as it is in the Violin- Making tradition, what makes it very interesting for me to build it. Also the number of the used strings could vary from four to six or even seven strings.

Carving out the body of the Sargija from a block of cherry- wood. ©robert.grieshofer

The šargija sound is linked to the Bosnian root music (Wikipedia- article: izvorna bosanska muzika) and is usually played in small ensembles with one or two violins, flutes and different types of percussion instruments. Often the Sargija- player is shouting traditional folk songs, called "ganga".

This music is original only to rural Bosnia.

My project of making a Sargija is monitored by my friend Ilja, a Bosnian emigrant, living in Austria for many years now. The construction of the instrument and its use is totally unknown territory for me, so the assistance of Ilja would be a great deal! He is introduced in the process of making a Sargija and he knows how to play it as well. With his support it would be possible for me to understand the function and use of the Sargija.

I look forward to post some more photos of the progress in the making of my Sargija soon. You are welcome, everybody, to follow my news if you like to, by visiting my blog from time to time, or do subscribe to my RSS- feed.

Stradivari - Myth and the Finacial Crisis

The announced exhibition "Stradivarius Myth & Music" planned to take place in March 2010 in Germany has been postponed. The organizers explain on the "Wallraff-Richartz-Museum-website":

Dear lovers of Stradivarius,... ...The continuing financial crisis forces us to postpone this unique project. This decision has only been taken after long and careful consideration. Everyone involved feels very sad about this. But we have seen that the subject of Stradivarius arouses interest worldwide, and we are hoping for better times, so that we can implement the project at a later date, maybe as early as 2011.

When I read those well-considered words today, a fascinating scene awoke in my mind:

Hundreds of Stradivari-fans all over the world sitting in their homes; shattered by this bad news that the announced Stradivari- exhibition is canceled;  weeping; and they are angry about this thing called financial crisis, that is even powerful enough to break the Myth of Stradivari! A really horrible scene!  - Now, the great Myth of Stradivari found an enemy that is strong enough to fight against it at last? Will the Myth of Stradivarius be defeated?

So, when you are a "lover of Stradivarius", and you longed to visit this "unique" event don't be "sad". There is hope: Perhaps it is possible to visit the exhibition in 2011. And for all those who already bought their tickets: Your tickets will be refunded!

new workshop equipment

Violin 3/4 No 24

My newest creation, an undersized 3/4 violin, is strung, varnished and left my workshop two days ago. It will be played by a young student from the regional string orchestra.

I built the violin in white last year using a model created by me two years ago. I didn't finished it last year, because there has been no demand on undersized violins at that moment. When I got a request for it this summer I started to continue the work and finished it last week.

violin 3/4 #24 top ©robert.grieshofer

violin 3/4 #24 back ©robert.grieshofer

The top of the violin is made of a rare species of spruce called 'Haselfichte' in german. The 'Haselfichte' is identifiable by small irregular waves as a result of a growing anomaly of the wood, which can be seen in the right upper bout and beside the tailpiece of the violin. It is widely known in the violin making world, because many famous violinmakers especially the cremonese ones used this type of wood for their instruments.
The 'old look' of the violin was desired from the customers. It was achieved by using simple varnishing and painting techniques.

violin 3/4 #24 scroll ©robert.grieshofer

Scratchy Violin Sound Mystery

Today a young violinist came into my workshop and pleased me to help him get rid of a 'noisy' problem on his currently violin-sound. After showing me the violin he gave a short demonstration of its sound and the mentioned problem. I diagnosed the noise as a really disturbing scratchy bowing resonance.
After testing the violin with different bows from my studio I presented him a few suggestions what could be done to solve the problem.
Then I made some simple regulations in the presence of my customer: A few regulations on fine-tuners, tailpiece and string adjuster were required. Changing the strings on the bass-side and the substitution of the used bow-resin were most of all successful!

When the work was done the violinist was astonished about the fact that the problem was gone! It was a real pleasure when he left my workshop with a well sounding violin in its case and a happy smile on his face. It was nice too, that it was easy to help this time. For I know that such affairs could become very tricky riddles when the problem is hard to find.

Handwerks Führungen

23. September 2009; 

Führung: "Hand.Werk.Führung"

Im Rahmen der Salzkammergut- Hand.Werk.Führung, einer Handwerks- & Ortsführung ist es möglich hinter die Kulissen selten gewordener Handwerksbetriebe zu schauen: Geigenbauer, Buchbinder, Fleischhauer, Seifensieder, Schuhmacher... geben einen persönlichen Einblick in den Werkalltag ihre Handwerksbetriebe.

Mehr Infos und Termine bei Fremdenführerin 

Mag. Barbara Kern: www.barbarakern.at

Tourismusinformation: Hand.Werk.Führung unter: 

www.dachstein-salzkammergut.at 

First Week in Luthier School

First week of teaching in luthier school is over now. It was dominated by getting involved into the schools internal regulations, preparations for the beginning school-year and administrative procedure. It seems that everyday school life will be a great contrast to my usual work as luthier in my own workshop, where I am going to proceed in varnishing the two violins, that were made in my workshop this summer.
It's a totally different world to put it correctly!

Nevertheless my students seem to have good intentions and I am confident of a fruitful cooperation with them and also with the other luthier teachers.