A Strad Inspired Violin - Log 10/23/2009

Friday, October 23, 2009

A Recital to Honor Dr. Samuel Wasson Siurua

Yesterday, Donna Lively Clark, Ruth Colbert, Dr. Lee H. Jones, Susy Smith Watt and I presented a recital in the lobby of the Robin Run Village apartment tower. The performance was honoring our much beloved and admired friend, music mentor and (for three of us) childhood instrumental teacher.

The program shown to the left details the billing which lasted approximately an hour. It began with an adaptation of the Jean Sibelius, Finlandia Hymn. This particular piece was chosen to recognize and celebrate Dr. Siurua's Finnish family ancestry. The program concluded with a flawless performance of Piazzolla's Tango Etude No. 4 and Bach's Sarabande from Suite No. 1 played on unaccompanied viola by Donna Lively Clark.

To the left is Dr. Siurua with Donna Lively Clark, his very accomplished former pupil on viola.

Here Donna is shown in the center performing the Tango Etude. To the left side is Dr. Siurua and standing behind slightly to the left of the piano in front of the door is Dr. Lee H. Jones. Susy Watt is looking on seated directly behind the piano. Susy and Lee performed a lovely Cambini duet on bassoon and cello.

After the recital friends and guests gathered in the Main Street Lounge for refreshments.

Among those attending the recital and/or reception in addition to the performers were Neil S. Handley, Diantha Degraw, Beth Lawrence, Betty and Daniel Tiebert, Joie Kipka, Dr. Robert Rudesill, Randy Russell, Ruth Lively Barker, Ann Crider, John Colbert, Catherine Norman, Bill (Liam) and Becky Smith, Charles Hewitt, Dotti Gerner, Dr. Sue Cardwell and Pat Thorlston.

Dr. Siurua had missed the Athenaeum Pops Orchestra concert at Robin Run the previous Friday where two lifetime recognition certificates were awarded to him for his work in music education and performance in the Indianapolis Philharmonic Orchestra. Therefore, Dr. Lee H. Jones did the honors presenting them to him in person before his gathered friends.

A Strad Inspired Violin - Log 10/21/2009

Wednesday, October 21, 2009

Images After Refinements to the Top and Back

Ben called me to let me know he had finished the spruce top with both F holes complete. Further he had not been completely satisfied with the maple back arching and had therefore made refinements to it prior to starting on the its interior carving and gradation.

To the left is the completed top with both bass and treble side F holes finished.

In this photo the gorgeous flamed maple grain is now revealed much as it will appear in the finished violin.

This photo more clearly shows the finished top arching from the treble side.

A Strad Inspired Violin - Log 10/15/2009

Thursday, October 15, 2009


Carving the Inside of the Spruce Top to Graduate the Thickness
And Cutting the F Holes




To the right is shown the drill press with dowel stop used in drilling the pilot holes for carving the inside of the top and back of the violin. The press is set with a guage to 4mm.


In this photo carving of the top has begun using a finger plane and pilot holes guiding the graduation process are visible.


Here further progress has been made in planing the inside down to the 4 mm thickness. Ultimately the top thickness will vary from approximately 2.4 mm to 3.5 mm depending on the location and flexibility of the particular piece of wood being used.


Here you can see significant carving has been done.


Ben checks the graduation with calipers before going further.

The top is seen to the left with the F Holes drawn with a template as shown in a previous update. Now that cutting must begin further measurements will be done.

To the left is a modern hole cutting tool which at least in theory is believed to be like that used by Cremonese luthiers. Shown are the 9.5 mm diameter blade for the bottom eyes and the 6.5 mm blade for the two upper eyes.

Here Ben is using a circle template to aid in locating the center point of each eye.

The small depression Ben is pressing into the wood at the center point is the guide for the hole cutter tool.

Here the initial cut begins normally first from the outside of the top and then from the inside to ensure a clean cut with no splintering. When cut cleanly from both sides the circular pellet comes loose fairly easily.

Here Ben shows the angle at which the holes are drilled which is not perpendicular to the horizontal plane. The hole being cut is the upper treble side hole which is usually cut slightly higher than the bass one. The two upper eyes are cut symmetrically with the center line, 42 mm apart.

To the left is an original Stradavari template for the eyes of the F holes.

The Cremonese templates for the F holes had only the curved part as shown to the left because the curves and eyes were cut separately.

Here the top is pictured with all four eyes cut.

Ben has inserted the fret or coping saw and has made the initial cut starting at the lower eye cutting the inside line first to ensure maximum support on the wing and crucial areas.

This method minimizes vibration and allows for a cleaner cut.

Here an F Hole initial cut is complete but further refinement will be needed.