MY HISTORICAL BOWS
A bow for every era
Research and interpretation…
In my opinion, to fully leverage the interpretative techniques of each era and truly enjoy them, it is essential to have an appropriate bow. Interpreting Fontana, Castello, or Frescobaldi is not the same as interpreting Bach, Biber, or Schmelzer, let alone Vivaldi, Ortiz, or Marais. The concept of a ‘one-size-fits-all’ bow, so prevalent in today’s historical bow world, did not convince me. This led me to delve into the research of the different types of bows that could have been used in each period. Surviving examples from those times are scarce, so I sought inspiration in various contemporary treatises (Simpson, Gandssi, Pretorius, and, above all, in paintings of the time depicting the instruments and bows existing in those periods.
How do I create these historical bows?
For bows dating back to the early 17th century, I use hard European woods such as yew, beechwood, maple, and some fruitwoods. Although tropical wood was already known by the early 1600s, it is highly likely that bow makers still utilized local woods, which were easier to obtain and more cost-effective. At times, I enjoy adding a touch of color to these bows by incorporating some exotic woods to craft the nuts.
For bows from the mid-17th century onwards, I employ tropical woods such as snake wood, ironwood, bloodwood, or pernambuco, which are known to have been used during that era.
The true art is appreciated in my workshop…
Every antique bow tells a story through its design, materials, and manufacturing techniques. After years of study and honing my craft, I use carefully selected woods such as pernambuco, ebony, or rosewood.