Pierre Tourte was the father of the great Parisian bow maker Francois Tourte (1747-1835). It was Francois who worked assiduously to improve the techniques of bow making and explore the nature of the many rare tropical hardwoods being imported into Paris from the French holdings of the West Indies and
Michel Corrette (10 April 1707 – 21 January 1795) was a French musician and author of many musical method books. the violin, cello, bass, flute, recorder, bassoon, harpsichord, harp, mandolin, and voice. They carried titles such as l’Art de se perfectionner sur le violon (The Art of Achieving Perfection in
The Cramer bow is distinctive because of its ‘battle axe’ head profile. It came into use in the court orchestras of Mannheim, Munich and Dresden after 1760, where it became synonymous with the dynamic Mannheim style of orchestration and performance. It supplanted the Italian model of Tartini, whose design was
This bow represents the sequel to the “clip-in-frog” early bow. The ratchet with its hoop allows the tension of the bow hair to be finely adjusted as the weather becomes more humid, and also prevents the bow frog from coming out or being lost if the hair becomes too damp.
Dipper Restorations is preparing for the upcoming trip to Boston for the Boston Early Music Festival (BEMF) having finished the restoration of a number of original Baroque violins which will be new to the marketplace. Please visit us at Booth 17 in the ballroom of Courtyard Marriott Boston Downtown. Please
Announcing the launch of the our new Dipper Restorations website We are excited to announce the launch of Dipper Restorations newly designed website. Dipper Restorations is the Early music players prime source for historical instruments in their authentic original condition. Andrew Dipper is a maker of reproduction historical bows of
Dipper Restorations, being museum restoration specialists, sometimes has the opportunity to work with the collection of the National Music Museum on the campus of The University of South Dakota. One of the benefits of this became apparent in a commission we recently received to build a viola d’amore
I started building the instrument in 2001, but because of the restoration demands of the workshop it was not finished until 2008. The wood for the instrument came from three sources. For the belly I chose a very old piece of Baltic spruce that came from England. It was once
The first question I had to ask concerning these paper patterns was regarding their authenticity. Were they actual material from the Stradivari shop, or were they additions to the collection from later makers such as Bergonzi, Guadagnini or Ceruti?
In 1976 as part of my work translating Simone Sacconi’s book, The “Secrets” of Stradivari into English I was asked to review the holdings of the Ala Ponzone collection of Stradivarian material in Cremona. This collection consists of
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