OUR instruments

“Why should a musician play a large viola with technical challenges of playability?
Obviously for the sound!

Many viola performers that I have known over the course of my career have very much appreciated the gorgeous sound of the tenor big viola, but at the same time they denounced their regret of not being able to play it, because of its long string length.
Analyzing the sizes of famous ancient violas and their ratios, I did realize that it was possible to come up with a solution by slightly shortening the neck and by moving the bridge upwards.
That was perfect! Because the vibrating string was now comparable to a 43 viola. A bit longer, but playable. In doing so, however, the bridge was no longer perfectly in the center. So I had to work on the model by moving the F’s and C’s to avoid hitting them with the bow.
This however would have led to a design and shape imbalance. Therefore I had to think, not only of the sound qualities, but also of a model that was balanced and elegant, whilst not looking like a large frying pan.
Well, I can say I succeeded, but it took several months of work, second thoughts, drawings upon drawings, deletions, remakes and still some rethinking. I understood that it was a great challenge and that I would go against those classic ratios canons and measures for which I would surely attract the criticism of fellow violin makers. I did not care, as long as it worked!

The challenge was inspiring and gave me new energy to keep doing these experiments with joy, trusting in God above all, who has always accompanied me in this path. Yes, because, even by doing the most beautiful job in the world, if you keep doing things in a repetitive manner, you risk to fall into boredom, missing the pleasure and curiosity.

AND NOW THE LAST STEP: EXPERIMENTATION

The sound was immediately powerful and warm, technically easier than expected to play and with no wolf note problems. After six months of testing, the instrument turned out to be even more powerful, with a warm and deep sound, rich in harmonics and with a good sound projection in the concert hall. 

I made instruments with different types of wood: flamed poplar, cherry and maple flamed. 
All of them have given good results. The poplar has the warm sound of an ancient instrument. Cherry has a sweet sound, slightly brighter and cleaner than poplar. The maple, on the other hand, combines the characteristics of both woods. 

In all of them I found a powerful, deep sound, with impressive harmonics too. Anyone who has tried these violas has found them surprisingly easy to play and experienced no intonation problems. I myself was very surprised, because it almost looked like the instrument itself helped the musician to find a perfect intonation. Of course, as I had expected, the criticisms of fellow colleagues for not complying to the canonical proportions arrived, while at the same time they recognized the qualities of this type of instrument. I think that beyond the conventions, the last word has to spoken by the musicians who play it. 

Through experimentation I have shown that the instrument keep its quality even with different types of wood, has no intonation issues and an incredible amount of harmonics.
From a design and artistic point of view, it appears elegant and well proportioned.

Who wants to criticize, please go ahead. In the end it’s the musicians who are playing these instruments that are more than happy to confirm their great success amongst their colleagues and in concert halls.

As I have said, God has accompanied me on this path and that is why in the end the result was not good, but excellent.
‘What shall we say then about these things? If God is for us, who will be againstus? (Letter to Romans 8:31)” 

Alessandro Ciciliati, FERRARA, June 7th 2019