Southern California Association of Violin Makers

Bulletin
Volume 42, Number 3, March 2006

Gregg Alf presented us with a superb workshop on February 24th and 25th. It was very generously hosted by Dr. William Sloane and his wife in their home in Hollywood, not far from the Greek theater. Gregg presented a great quantity of information on varnish, and varnishing techniques. Mr. Clayton Haslop was present on Sunday to play violins made by Gregg, by SCAVM members, and even some by classical Ceremonies masters.

The Gregg Alf Workshop –
On the next few pages I will try and give a sense of what the workshop was like. Present at the workshop were a world renowned violin maker, a top notch performer, a knowledgeable collector, and a handful of classic Italian instruments. And so far, I’m only talking about the audience! The weather was as a good as it gets, and we even had great Italian food. So it’s no surprise that your editor is dumbstruck.

            The day started off with Gregg giving a talk about varnish. He started from the physics behind the light waves, and worked from there through his procedure for preparing the wood applying varnish. And then…We gathered around the work table, for a demonstration of Gregg’s ground sealer.

Gregg’s Ground Sealer Recipe
I tbsp Tripoli (Kremer 99930)
5-10 ml Short Oil Varnish *
1 drop Cobalt drier (Less is better)

Mix with a small motar and pestle. Adjust until the consistency of toothpaste.

Apply two coats carefully with a rag, to establish a slightly golden color, and sufficient sealing of the wood pores. Be careful not to use too much though, that could obscure the grain.

Also, pigments such as cochineal or madder lake can be mixed in with the Tripoli using a plate and muller.

*Varnish is said to be “short oil” if it has less than 50% oil in the mixture. As the varnish gets “shorter” it gets thicker and less runny. For Gregg’s ground sealer it should be pretty thick stuff.

            We decided to order in form an Italian restaurant in the neighborhood. I t was really good food. Visible at the lunch table were Dr. Sloane, Jade Schultz and his wife Jackie, Craig Townsend, Joe Ambrosini, Tony Rizzo, Bob and Diane Gravlin, Steve and Sylvia Tinling, and George Boron.
            After lunch, it was time to get down to cooking. Gregg made a batch of emulsified wax polish that he developed together with a museum conservator…

            That brings us to the end of Saturday. What a great day it was. We had a wonderful lecture on varnish, thought provoking discussions, fine Italian food, beautiful weather, and a wonderful location to gather and take it all in.

            On Sunday, Gregg spoke about the Amiata Summit, which is an international workshop focused on innovation in violin making. Gregg Founded and served as artistic director for the Amiata Summit. It was a gathering of violin makers, players, and other artists from around the world for an extended session geared at sharing ideas and information to further the art of violin making. It took place in Italy, where they were all housed and worked together in a historic castle, the Castello di Potentino. For more info on the Amiata Summit

            After the slide show about the Amiata Summit, Clayton Haslop came to play some fiddles for us. Mr. Haslop’s biography includes solos and concertmaster positions for the motion picture industry, touring with distinguished chamber ensembles, and joining the faculty if Pomona College and Santa Monica college. He has also recorded on well know classical record labels.

            On hand were two instruments by Stradivari, they were the 1714 “Leonora Jackson”, and the 1734 “Artot Alard”. Also there were the 1742 “Sloane” del Gesu, two by Testore, and Mr. Haslop’s 1782 Storioni. Mr. Haslop also played instruments made by SCAVM members.

            It was really something to see “Alard” Stradivarius, and a modern replica of it that was just amazing. This was the last in a series of replicas made by Gregg Alf & Joseph Curtin in collaboration. It appeared that even Mr. Alf had trouble deciding which was the duplicate. They matched in color, blemishes, and even the grain of the wood. It is probable that most people have to see Gregg’s label to be sure which is the original and which is the copy.

            I apologize for what I have left out. There were so many wonderful instruments, but the lighting left me with relatively few nice pictures. Plus, It was way too enjoyable just to sit and listen…

            The “Artot Alard” Stradivarius and its Curtin/Alf alter ego were a special treat. I’m still not sure which was which. Not only the sound was surprisingly similar as well.

            A huge thank you goes out to Gregg, Clayton, and to Dr. Sloane for opening his house to us and sharing not only his love of violins, but his home, garden, and instruments as well.

            And that was pretty much it. Two days of violins and violin making in a remarkable setting. The presentations were enjoyable, and overflowing with great material. The people were friendly, fun, and interested in making the best of violins. The weather was great, and the food was delicious. The fiddles were as good as they come, whether they were made recently, or 250 years ago. This kind of event can definitely claim world class stature.  

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