When it comes to work ethics, things get serious! It’s not all about business, let’s explain our thoughts before we continue…
“Historically informed” reconstruction of musical instruments
Federico Löwenberger‘s attitude, was the one of the researcher, other than just a craftsman’s. Our policy on period instruments is, first of all, to offer the clients a reconstruction of the instruments as more possible faithful to the originals we choose and propose.
This means that we, as far as it is possible, put our effort to build the instruments “as they were meant to be build” by the old Masters, basing our work on the study of the originals preserved in museums, on the clues left by treatises, by the reference repertoire, the researches on the gut strings (don’t forget that we are talking about cordophones!), and last – but not least – the iconography.
The Viol’s scenario is multicolored, non-standardizable by default, and very “repertoire sensitive”. We consider mandatory to put our knowledge and expertise at the service of the musicians, professionals or amateurs, helping them to find the instrument they dream about, if possible without too much changing the spirit and the purpose of the originals we offer.
We are also very well aware of the needs of the modern musicians, who are often looking for high performing musical instruments, and we are always ready to give them our advice and drive them to find solutions to al their needs. Diversity and complexity, if you can handle the good way, can widen the offer to better meet your needs.
Please respect the evidence that the Viol is not a 7 strings Cello, it’s a different instrument, born and used for different purposes. Itself the Viol developed in a more than 200 years lifespan, early viols share with late baroque viols more or less the name and the string number, some differences between instruments can be small, but their meaning can be deep so their influence on the sound and behavior.