Brian Lisus
, Sudafrica
My interest and passion for string instruments was initiated by my godfather Joe Sack at an early age in South Africa. Joe living next door to me and being a fine cellist and music critic of the well known Rand Daily Mail, I was privileged to listen to him play in chamber music concerts at his home. I used to come to those evening soirées as a five year old in my pajamas and listen to wonderful visiting soloists that came out to South Africa in the 1960's.
Joe was very knowledgeable about fine old instruments and enthralled me with his playing, sharing his insights as to the different tonal characteristics of each cello that he played on. The photo below was taken on a visit to Joe a couple of weeks before he passed away at age 93. On the right of it is a video of a special cello that I made dedicated to Joe commissioned by Linda and Laurence Rosenberg - daughter and son in law of Joe.
I began my training in 1976 at the Newark School of Violin Making in England. It was a wonderful experience where the seed of inquiry was planted. Being in the same class as some of today's leading authorities on string instruments (Roger Hargrave, John Dilworth, Julie Reed Yeboah, Joseph Thrift and Anne Houssay) the atmosphere was one of intense passion for the wonders of violin making.
My Career: After leaving Newark I chose to specialize entirely on the making of new instruments and have been fortunate enough to have sold my instruments all over the world. (USA, Canada, England, Germany, Taiwan, South Korea, Chile, New Zealand, Singapore, Namibia and South Africa.) The most rewarding part of my career has been all the wonderful friends I have made. Nearly all my commissioned instruments have involved the musician, sharing in the whole process, choosing a name, personal set-up preferences, etc. I sometimes feel as if they are right there in the workshop (even if our only correspondence has been at the other end of the world via e-mail), as every instrument somehow turns out to have the exact quality of sound they desire. This is still a great mystery to me, as working more by feel than science one can not analyze this logically.
My Model: The model I am using developed more by circumstance than choice. On returning from Europe I found all my moulds and templates were missing from my box of tools. (Someone had obviously taken a liking to them thinking it might be a good idea to make a violin). So my only option was to draw my outlines from scratch. My earlier models resembled Brescian instruments and slowly over the years have come closer to the Cremonese school.
I keep changing the finer details as my insight advances. This is all done with tonal qualities in mind. I do keep detailed records of all the instruments I have made: arching heights, thickness, weights, etc. So as I look back over the years I might like the lower register on a violin made 15 years ago and compare it with one of similar qualities made 5 years ago, to see if there are any corresponding measurements and apply the correlation to my current instrument. This has all been possible as I have maintained the same "system" for making all my instruments.
For the final finishing I make modifications specifically for each piece of wood, taking into consideration the density and tonal characteristics. I find it very difficult to sell an instrument that I myself am not totally happy with. (Not comparing to other instruments but in the framework of my own capabilities.)
Below is a video of the making of a scroll by my previous assistant Sharon Peddie. Now that I live in America I do everything myself.
Materials: I import all my wood from Europe using only the best quality available. I do have a fair stock of some beautiful pieces. I make my own purfling from "Stinkwood" an indigenous tree found along the east coast of South Africa. I would like to believe this gives the instruments an African touch. I use high quality ebony fittings from France (Bois d'Harmonie) which include their famous tailpieces with carbon fiber fine tuners.
Varnish: I have taken many hours off from my regular workshop time to further my research, realizing that to get close to Cremonese instruments is only possible using 17th century materials
This led me on a wonderful adventure: constructing a primitive distilling plant, making traditional Indian Yellow (collecting urine from cows fed on mango leaves), contacting Kirstenbosh Botanical Gardens about " Weld" and going into the mountains in search of this plant, stopping on the highway at night to pick an aloe leaf.
After all this research I am now using a varnish made entirely from authentic materials using a wonderful primer which I import for my friend Koen Padding in Holland . For the actual varnish, this I cook myself which is made from Walnut oil, Strasbourg turpentine with small amounts of Mastic and Sandarac. For color, I prefer on my latest instruments several different madder lakes all being hand ground into the varnish on a slab of glass.
My varnish has a soft 'waxy' appearance, which is not over polished and has a lovely texture - I achieve this by leaving the surface without extensive rubbing down.
Decoration: I sometimes add drawings to the backs of my instruments. These are done by talented artist Caryl Blomkamp. These drawings give each instrument a unique look with its own intrinsic identity. They have been so well received all around the world! Musicians can choose his or her individual style of drawing, although we will only do that drawing if we think it is appropriate and will enhance the beauty of the instrument.
Sound adjustments: I always get so excited when finishing an instrument I can hardly contain myself! It is akin to meeting someone new for the first time, gradually unraveling the veil of form to their essence.
I spend many hours adjusting my instruments trying different soundpost positions which is so absorbing. First to that of brilliance, then to that of warmth and finally marrying them up together whilst still maintaining an ease of playing.
I myself am an amateur cellist so have a fair understanding of string player's needs, however, for final adjustments I always collaborate with leading players. See video clips below.
fonte: sito personaleservizi
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