Extract from the book in pdf-formatCopies made by Peter Westerlund
| Balestieri, viola The copy is to the right/under |
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| Pietro Guarneri Venedig, violin The copy is to the left/over |
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| Violin made by an unknown master The copy is to the right |
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| Gragnani, violin The copy is to the left/under |
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| Balestieri, viola The copy is to the right |
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| Guarnerius del Gesu ca 1730 "ex Robberechts", violin The original is in the middle |
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| Andrea Guarneri, cello The copy is to the left |
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| Maggini, violin The copy is to the right |
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A word about copies
Copying has become an exciting and fascinating type of the making of new instruments. Perhaps are good copies the reason that new instruments now have the chance to be tested against the ancient masterpieces and then found to be more tonally appealing than the often stereotypical perception that the ancient instruments are always superior
Unfortunately, interest in copying has done that a few too many instruments are patinated in order to make them more easily sold. Here is my firm view that many instruments lack the character of the maker or is a reliable copy of an old master, but is only one scratched, washed off instrument of low quality. You should also not forget that a copy is a study of old masters instruments by a maker who, with his label and / or brand identifies the instrument as his. A copy made by an unknown maker lacks in my eyes almost every interest.
When a customer orders a patinated instruments she / he does it usually to meet the strange feeling, we more or less have that an old recorded instruments are easier to absorb. Perhaps we see the beauty of the wear that in itself tells a story. Perhaps it tickles our minds when we see something we know is new but still fools us into believing that it is old.
Sometimes customers can order a copy of an instrument which the person has borrowed over a period of time. For some reason, you may be deprived of his favorite instruments, but you want a replacement instrument as close as possible, appearance and tonally. These reflections provide various forms of patina techniques.
Various forms of patina
1) A copy in mint condition with no patina (might not be included here).
2) A copy of an almost untouched instrument that has few scratches and a lot of varnish intact (my favorite!).
3) A copy that gives the impression of having been played much as a precious instrument, and consequently much worn.
4) An exact copy of a particular instrument (that requires me to have access to the instrument one time, preferably 1-2 months).
