Instruments
Viola Da Gambas
Instruments
Michael Batell viola da gambas are concert instruments designed for the demands of professional performing and recording musicians, students at conservatory level, and serious amateurs and collectors.
Each instrument is constructed individually according to a considered study of the characteristics of its specific historic model and how those are best suited for the individual client’s preference in terms of sound, playability and budget. I have a large archive of reference material accumulated over the span of my career, including important books, photos from various collections, and blueprints of specific historic instruments obtained not only from museums’ archives but also developed from my own examinations, measurements and documentation of various historic instruments.
While some instruments are occasionally available for sale, any can be ordered by commission. They are all based on historic models in terms of architecture and construction, but can be constructed with a choice of woods and decorative appointments, string scales and spacing as well as neck profiles to suit individual musicians’ preferences.
The historic models I follow are too many to list here, but the following are some examples. Please contact me for lead times and prices.
Examples
2019 7-string Bass Viola Da Gamba
After Guillaume Barbey ca. 1710
- Soundboard: Spruce - 2 matched pieces
- Back, Side and Neck: Maple
- Fingerboard & Tailpiece: Santos Palisander veneer on Maple
- Weight: 1,650g
- String length: 70cm
By commission: from 9,000 EUR incl. Case & VAT
The historic model for this instrument is a David Rubio copy of an original by Guillaume Barbey, ca. 1710, which I measured and documented during during a visit to Catharina Meints around 1980. My version shown here is a faithful copy in terms of architecture (pattern, dimensions, types of woods) as well as in the characteristic weight of construction, although my instrument exhibits somewhat simplified decorative elements for sake of cost. The instrument is powerfull, resonant, well balanced and easy of response.
[Historic documentation: Michael Batell, Berlin]
Video:
Jonathan Dunford (in consort) playing Thomas Tomkins "Pavan"
Gallery/workshop visits are welcome, please call or email for appointment.
2022 Division (bass) Viola Da Gamba
After Barak Norman, 1692
- Soundboard: Spruce - 3 pieces
- Back, Side and Neck: Maple
- Fingerboard: Santos Palisander
- Weight: 1,550g
- String length: 68cm
9,000 EUR incl. Case & VAT
The historic model for this instrument is a 1692 division viol by Barak Norman in the Royal College of Music collection, London. It was restored for the College by Dietrich Kessler in the 1960's. The original was of very light construction and required structural as well as cosmetic restoration. However, the neck is original, as well as the sound-post plate and most other essential elements of construction, which were important considerations in my decision to use this instrument as a model. My version shown here is a faithful copy in terms of architecture (pattern, dimensions, types of woods) as well as in the characteristic lightness of construction, although my instrument employs several different construction methods which give it greater structural integrity than the original. Decorative elements are also simplified somewhat from the original for the sake of cost. The instrument is powerfull, resonant, well balanced and easy of response.
Historic documentation: Royal College of Music, London
Video:
Gallery/workshop visits are welcome, please call or email for appointment.
2022 Treble (discant) Viola Da Gamba
After John Hoskins, 1609
- Soundboard: Cedar
- Back, Side and Neck: Maple
- Fingerboard: Santos Palisander
- Weight: 620g
- String length: 40cm
5,000 EUR incl. Case & VAT
The historic model for this treble viol is the only surviving example by John Hoskin, and is owned by the National Music Museum, University of South Dakota. It was cut down to be repurposed as a viola at some point in its history and restored as a treble viol by John Pringle, who raised the height of the sides back to their original configuration and made a new neck and head for the instrument. My version is designed exactly after the original in terms of architecture (pattern, dimensions, neck angle) and string length.
Historic documentation: National Music Museum, University of South Dakota
Video:
Gallery/workshop visits are welcome, please call or email for appointment.
