This quantitatively Laubach limited series presents master violin inspired by ancient classical instruments by prominent Italian violin masters: Nicolo Amati, Antonio Stradivari, Giuseppe Guarneri, Nicolo Gagliano, Carlo Bergonzi, Carlo Tononi, Giovanni Guadagnini, Francesco Ruggeri antiqued
other models are available on request with antiqued finishing. Attention to detail is outstanding.
Laubach limited edition series violin 268V replica are professional-level instruments for serious players. If you are a rapidly advancing student who has begun to seek a new instrument, your search will most certainly focus on that which will have the sophistication of subtlety, power and reserve to meet the demands of an increasingly challenging repertoire. Handcrafted from choice, highly figured, well-seasoned European very old at least 30 years old maple and spruce, these violins and violas are meticulously finished with amazing artistry to give the appearance of an "old master" instrument. The sound is exquisite, with depth of tone, focus, color and brilliance.
Due to their exceptional tone and appearance, Laubach limited edition series violin 268V replica are becoming popular alternatives to higher-priced old Italian instruments. Young advancing players, as well as teachers and performers, are beginning to see the advantages of a newly made instrument which embodies so many characteristics of a seasoned, older instrument, and at an extremely affordable price!
You will be amazed when you see and hear how beautiful these instruments are!
Laubach has developed innovative formulas of their own after many years of research and testing on historical musical instruments. These excellent varnishes expertly combine outstanding acoustical properties with an exceptional aesthetic appeal. Master violins are created using only the most beautifully flamed, highest quality maple and spruce. In answer to the many requests by musicians for historical reproduction instruments, Laubach’s violins are hand made instruments in the style of Stradivari, Guarneri, Rugeri and several other old masters.
The tradition of violin making in Germany is as old as the instrument itself. German instrument makers have long been known for their ability to produce affordable artistic reproductions of the works of the great masters. Their unmatched artistry of workmanship and tone production is reflected in the tremendous appreciation in value that everyone has seen in their instruments over the past decades. This appreciation in value is due to the overwhelming acceptance by the players, teachers, and dealers who handle them that they represent the best value for the money.
An investment in a Laubach violin is a proven investment in quality.
Each of these commissioned works were made as historical reproductions of the masters’ originals which were studied extensively in the workshop.
Our instruments have a distinctive tone, an expansive range, and are owned and played by soloists, orchestral musicians, and performing ensembles. With classical methods and materials we work in the Italian tradition, inspired by the instruments of Venice, Brescia, Cremona, and Milan.
Consideration is given to the individual musician, whether expanding the tonal potential of their current instrument, fulfilling a commission or assisting in the selection of an instrument or bow by a wide range of makers from our collection
Laubach limited edition series violin - a perfect master violin, in old style with Guarneri patem. The master violin is made out from deeply flamed matured bosnian maple ribs, neck and one-piece back, tyrolean spruce in beautiful alcohol - oil hand-brushed varnish of shaded red-brown color on top of golden ground with nice transparency, good master workmanship in excellent old view.
Laubach violin model 268V exhibits clear and powerful & responsive - mature sound.
Excellent master instrument for soloist.
You can see the beautiful maple grain in the wood on the back and sides. Note the symmetry in the grain as it goes around the sides and back of the violin. It continues as a full and beautiful tiger grain in the neck and scroll of the violin. There are several other special features in the finish of this master violin. There is the black outline of the scroll and on the edges on the side of the violin at the F hole area. The perfluing is straight with nice and has consistent bee stings in the corners. Not only is there value in the presentation of this violin, there is value in its construction. The spruce on the top adds to the resonance and fullness of the sound.
It shows quality wood and workmanship. This is reflected in the high quality sound that this master violin produces when played by a skilled violinist.
When an violin maker refers to a model they are referring to the work of a old master maker that they use as the basis for their own work. A violin maker might use a pattern from a historic instrument and adapt some of the "mannerisms" of its style or might opt for a full copy making it as identical to the original as possible. The reasons for using the work of a violin master maker as a model are both visual and acoustic as the sound inherent in an instrument is related in part to the way it looks. However, exactly reproducing an instrument is not a simple task. This is not something i have attempted. I start with a pattern taken from a historic instrument and adapt it somewhat while maintaining a sense of the original violin. By examining photos and drinking in the details on the occasions that I have been able to see the original instruments I keep reforming my conceptions of what I want to make.
In my own work on violins I have focused on the violins of Guiseppe Guarneri del Gesu as a basis for instrument construction. His instruments appeal to me and have been proven to be a successful acoustic model. I like the creative and adaptive process that was part of Guarneri's method of working. There is a sense of variation around a central theme in his work. Using a basic pattern he was able to explore subtle changes in size and arching in an ongoing search for the violin sound he was after. I have been making a guarneri del Gesu violin model of 353mm in length.
Making a copy of a specific instrument is an exercise in observation, trying to discern what goals the maker had in mind and what working methods he may have used to get there. Looking at Del Gesu's work, you get a strong sense of efficiency and economy of effort. Tricks like extending the corners well beyond the rib ends allowed him to avoid the troublesome tight bends in C-bout ribs. Looking at the variety of line in his instruments, I suspect that he made minimum use of templates, but rather worked from a few layout points and then relied on his eye and the shapes that his tools naturally made to guide him.
I like the Del Gesu model for its compact body size, the darker tone, the clarity and responsiveness of these instruments.
The Guarneri family is a contemporary of the Amati family and Antonius Stradivarius. The tradition of violin making spans 3 generations with the best coming last. It started with Andreas Guarneri.
Andreas Guarneri (1626 - 1698).
Was an apprentice in the workshop of Nicolo Amati from 1641 to 1646 and returned to make violins for Amati from 1650 to 1654. The quality of his violins was not as sophisticated as his grandson's but he was prolific and produced 250 violins. He also produced 2 sons..
Pietro Giovanni Guarneri (1655 - 1720).
Worked in his father's workshop from around 1670 until 1677. By 1683 he had set up in another town called Mantua and worked as a musician and as a luthier. When he did work making violins, he made very nice violins but he did not make very many due to commitment with his other career.
Giuseppe Giovanni Battista Guarneri (1666 - 1739 or 1740).
Joined his father's business in Cremona, inheriting it in 1698. He is among the great violin makers, although he struggled to compete with Stradivari and his work though excellent was overshadowed by other family members. He also was father to two sons.
Pietro Guarneri (April 14, 1695 - April 7, 1762).
Apprenticed in the family business. Like in the Amati family there seemed a rift in this generation. He left Cremona for good in 1718, eventually settling in Venice. Here he blended the Cremonese techniques of his father with Venetian. Examples of his work are rare and value is disputed..
Bartolomeo Giuseppe Guarneri (del Gesù) (1698-1744).
Joseph Guarnerius del Gesu is the final and most famous member of this violin making family. His master violins, are considered at least as if not more desirable than Stradivarius' violins. Approximately 150 of his violins are known to exist..
He borrowed the best of his contemporary's techniques. The outline of his violins, with slight modifications, is founded on instruments of Antonio Stradivari. Modeling of the back and table are noticeably flattened, seemingly inspired by Maggini. The F holes are of Stradivari form but are usually elongated, more open, and less refined. The carefully applied oil varnish is soft in quality and of light texture, with the color varying between pale orange and orange-brown with, occasionally, a reddish tint..
If you wish to explore the history of the Guarneri Family more I suggest that you buy this book. It has good reviews and comprehensively covers the topic of the Guarneri Family.
Violin Laubach LIMITED EDITION - 268V ANTIQUE MODEL GUARNERI DEL GESÙ shows an exquisite level of workmanship. The sound is powerful and carries well with punchy modern old Italian character.
Laubach create magnificant modelled instruments after the principles of Great Italian violin maker Ruggeri and Guarneri. This Laubach master violin is a Guarneri model with a powerful, dark tone.
Perfect for the aspiring soloist, this violin is patterned after the Ex-Henry Wall Del Gesu. The dramatic sound and deep brown - gold -orange luster will inspire reverence from your very first performance.
This violin was inspired by an early Joseph Guarneri del Gesu of slightly diminutive dimensions. It is very comfortable to hold and play with no loss in tonal color or volume of sound. The varnish has been lightly "antiqued".
This violin, completed in February of 2018, is constructed with a one-piece back. As with many of my violins, it is inspired by the late-period violins of Joseph Guarneri del Gesu. With its broad widths and square lower bout, this instrument has a deep, robust voice with a responsive lower register and an open 'e string.
In December, 2019 I completed a violin in modern set-up modeled after Antonio Stradivari. This is an instrument that exhibits a sound rich in overtones, allowing the musician to draw from an extensive pallet of tonal colors. It carries very well in the hall. You can see several detailed photos of this violin by clicking on the photo on the left.
This 'petite' model has been an exceptional one for musicians who demand the comfort of an instrument with incrementally shorter string length, a more rounded shoulder, a slim neck and diminutive edges. This particular violin has been sold. If you have questions about this model please feel free to contact me in my Laubach workshop.