stand_ART
Cello or bass viol stand with bow holder
Unfortunately we had to stop production!
Shipping & information
I will gladly ship bows for a trial period of up to two weeks.
Customer satisfaction is my highest priority when it comes to ordering. A down payment of about 1/3 of the purchase price enables speedy processing of the order. Payment of the balance is due when the customer is satisfied. If the purchased goods should unexpectedly not meet with the customer’s full satisfaction, the down payment can be reimbursed bar a handling fee of € 100. Ordering and payments are subject to personal agreement.
Customer wishes
In the photo gallery you will find selected bows from different epochs. These are models I have made for viewing purposes and which I can make again for you as required. Here, of course, it is possible to modify designs to meet your requirements as well as make replicas of existing bows or other historical models.
Shipping
We normally send bows by DHL or post in appropriate packaging that protects the contents against damage. However, it might happen that the contents are damaged on delivery. In this case, I would kindly ask to be informed immediately of the damage and for the damage to be reported to the shipper concerned.
Returns
The party sending the return shall be responsible for correct packing and insurance and for the state of the goods, i.e. the original packaging or equivalent must be used. The insured value must be at least the same as the purchase price of the goods. Before a return is made, I would kindly request agreement by telephone to avoid any problems in delivery of the package.
Violin making
At regular intervals, we build both baroque and modern instruments based on historical originals. Each instrument is crafted to the customer's bespoken requirements and in close cooperation with the customer.
Historical bow models
Our new web page showing the historical bows made by Hagen Schiffler can be found here:
Competence & service on site
Violin maker Schiffler in the “Alter Bauhof”
Many a visitor wonders at the sky of violins in our workshop and with every word of explanation we realise ourselves how grateful we are for the haven we have here.
Whereas elsewhere the bustle of business and the growing monotony of machine-driven days have long been established, here every instrument and each customer expects and receives due attention and care.
Of course, we are busy too and we also have a computer for contemporary communication, but it is the handicraft and the associated proximity to the object being created that remains in the forefront.
Hagen Schiffler-Lustig – master violin maker
Since 1997, after 20 years of active “modern” violin playing, I have focused my attention on baroque violin playing, initially under the instruction and guidance of Eva Maria Röll in Munich and later Silvia Schweinberger in Salzburg. The change to playing without chin rest and shoulder pad put the experience gained as ambitious orchestra and quartet musician to a hard test, but which I do not regret to this day. Thanks to turning to early music and old methods of playing I was able to greatly extend my musical horizon, both in the literature and in the perception of music and diversified forms of expression.
Even Viktoria Mullowa, a renowned first-class violinist of the Russian School, in an interview for “the Strad” magazine in 2009, told of her totally different approach to the works of Johann Sebastian Bach and of the homogeneity of instrument, baroque bow and player. I can only agree with her.
Parallel to my continued training in playing the baroque violin (at a high amateur level on various courses in Trossingen, Neuburg, Zell an der Pram, Magguzano), I concentrated my violin making more, though not exclusively, on historical instruments and bows.
I completed my violin making studies in 1996 by graduating with a diploma in Violin Instrument Making and Repair from the Violin Making School at the then Newark and Sherwood College, Newark-on-Trent in the English Midlands. My apprenticeship with Hartmut Münzberg in Lower Bavaria (1996–98) permitted me to prepare for the German apprenticeship certification exam in Mittenwald (1997) and kept me very busy with violas da gamba and baroque violins as well as reconverting and restoring. I passed my master craftsman examination in Innsbruck, Austria, in 2001.
In 1998, I was drawn to the “Blue Danube” and moved to Vienna where I learnt essential routines in handling "modern" instruments at a high level with Othmar Lang, the violin maker of the Vienna Philharmonic. I am still thankful today for many a fond memory of working directly with the orchestra and their instruments. Where else could a violin maker have such immediate access to important instruments, world-famous concert halls and opera houses?
My interest in historical instruments and bows gave me no peace and so in 1998, under the guidance of Hans Salger in Bremen, I came to baroque bow making, which I then continued to discover and refine for myself.
In 2002 I ventured to go independent. As a compromise between various origins in Germany and Austria, we chose to settle in the small border town of Laufen an der Salzach. We feel very much at home there; the proximity and easy access to Salzburg as well as the almost unsurpassable recreational advantages of the region make life bearable.
Over the past ten years, playing baroque music has turned my active music making into something much more than a mere pastime. Engagements in ensembles like the Collegium Musicum Stuttgart, Allegria Musicale Biel, Salzburg Barock, Muffat Consort Niederalteich and Polyhymnia Wien as well as the work with my own Laufen Baroque Ensemble confront me time and again with challenges and above all lead to direct communication with the instruments and bows I have created.
In this way I learn how and why a bow and instrument perform optimally and sound best, and how I can best approach the ideal concept.
Contact
Hagen Schiffler
Violin maker
83410 Laufen an der Salzach
GermanyPhone: +49 8682 955 199
Mobile: +43 699 12 60 55 44
E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.
Team
Sonja Mittermaier
Unsere Gesellin Sonja Mittermaier ist seit September 2010 zuständig für die Bereiche Reparaturen und Service. Sie bringt dabei auch ihr Fachwissen im Zitherbau und in der Holzschnitzerei mit ein.
Rosmarie Mangelberger
Seit Anfang 2009 verwaltet Rosmarie Mangelberger unsere Mietinstrumente und den Verkaufsraum, auch für die Buchhaltung und die Rechnungsstellung ist sie zuständig. Ihre Qualifikation als Programmiererin ist ebenso bei der Erstellung der Webinhalte sowie der Verwaltung der Kundendatei sehr gefragt.
An der Organisation unseres Barockmusikkurses und des Sonnwendfestes mit der Offenen Bühne im Alten Bauhof hat sie großen Anteil.
Sie erreichen Frau Mangelberger bzw. unser Büro direkt unter
This email address is being protected from spambots. You need JavaScript enabled to view it.
References
Jesper Ulfenstedt
Jesper Ulfenstedt, double bass in the orchestra of the Komische Oper, Berlin, had us make his "dream bow". Function, weight, length, balance, shape and colour were the criteria which were defined together and implemented in the finest detail during the bow's creation.
It was exciting working with the demanding professional and also with a new material: "service tree" wood, which was used for the bow stick. It is a particularly strong, local hardwood from the rose family.
Jesper Ulfenstedt rehearsing with Konrad Junghänel:
Stefan Holmberg, Sweden
I have studied classical guitar and viola da gamba in the 1980s at Kapellsberg Music School in northern part of Sweden. But after the studying I didn't find the way to be a musician.
For a couples of years now I have found the joy again to practice and to be a musician in my spare time.
The instrument I play is a copy of a French viol from 1684 by the famous builder Colichon, luthier Johan Hedvall in Boras, Sweden's only professional luthier. Because I like film, humor and French baroque music I asked Johan to do a head on the gamba depicting the French filmmaker Jacques Tati. I also have a cute pardessus de viole from Johan, but it is difficult to find a place for 'her' because I usually play ensemble with two violinist. The bows a I use is built with excellent craftsmanship by Hagen Schiffler. 
I live in Karlskrona and work as a Meteorology assistant in nearby airfield and I have a degree in digital media. Making this videos is a inspiration for me to practice viol and experimenting with the camera and video programs.
Videolink 1 Videolink 2 Videochanal youtube
Ensemble: barockmusik.nu
Matthias Michael Beckmann
Matthias Michael Beckmann ranks as a pioneer of the cello: playing a unique 5-stringed cello with a descant E string and a range of five octaves, he is the first musician to perform the entire cello repertoire from Bach to Gulda on a 5-stringed instrument.
www.matthias-michael-beckmann.com
Chun-Shiang Chou
Milan Sagat, Bass player
Vienna Philharmonic Orchestra
Einar Schoyen, Oslo
Filharmoniske Orkester, Norway
The bow has arrived, and I have it here already... It is incredibly beautiful, and it is extremely good; - I actually can`t stop playing with it! …Thank you for the wonderful work.
dolce risonanza, Vienna
Florian Wieninger
baroque musician
www.dolcerisonanza.at
For this latest CD project (2012/13) two early baroque violins after Amati and all bows are from our workshop!
Concerto Melante, Berlin
Raimar Orlovsky
www.melante.de
Hille Perl
Susanne Scholz
Salzburg Barock
Jochen Grüner
baroque musician
www.salzburg-barock.com
Spirit of Musicke
Gabriele Ruhland
www.spirit-of-musicke.com
Il concerto spirituoso, Biel
Andreas Heiniger, Barockgeiger
Esterházy Ensemble
Michael Brüssing
www.violadagamba.co.at
Legal notice
Hagen Schiffler
Violin maker
83410 Laufen an der Salzach
GermanyPhone: +49 8682 955 199
Mobile: +43 699 12 60 55 44
E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.
www.barockbogen.de
www.geigenbau-schiffler.de
Tax number: 105 / 267 / 40411
UID number: DE 813328306
Publisher and responsible for the content
Hagen Schiffler
Design and programming
Bernhard Jobst (visionmedia) in cooperation with Marek Krzemień
Disclaimer (German)
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Sofern innerhalb des Internetangebotes die Möglichkeit zur Eingabe persönlicher oder geschäftlicher Daten (E-Mail-Adressen, Namen, Anschriften) besteht, so erfolgt die Preisgabe dieser Daten seitens des Nutzers auf ausdrücklich freiwilliger Basis. Die Inanspruchnahme und Bezahlung aller angebotenen Dienste ist – soweit technisch möglich und zumutbar – auch ohne Angabe solcher Daten bzw. unter Angabe anonymisierter Daten oder eines Pseudonyms gestattet. Die Nutzung der im Rahmen des Impressums oder vergleichbarer Angaben veröffentlichten Kontaktdaten wie Postanschriften, Telefon- und Faxnummern sowie E-Mail-Adressen durch Dritte zur Übersendung von nicht ausdrücklich angeforderten Informationen ist nicht gestattet. Rechtliche Schritte gegen die Versender von sogenannten Spam-Mails bei Verstößen gegen dieses Verbot sind ausdrücklich vorbehalten.
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Links
Musikalische Sammlungen
→ Joëlle Morton
At this website you can have a look at old treatises and images, get info about shopping for an instrument or bow, or see what books and articles have been written about large stringed instruments.
Interessante Einrichtungen
Die Grenzregion Rupertigau / Flachgau, also Oberbayern und Österreich, hat vieles zu bieten. Hier ein paar uns freundschaftlich verbundene Menschen und Einrichtungen.
→ Lokwelt
Faszination Bahn auf 17 Gleisen. Genießen Sie den liebevoll restaurierten Rundlokschuppen und lassen Sie sich in andere Zeitepochen versetzen.
→ Kinderkino BGL
Das Kinderkino – ein Projekt des Amtes für Kinder, Jugend und Familien – besteht als lebendiger Filmtreffpunkt für Kinder im Landkreis BGL seit Februar 1995.
From the tree to the instrument
Selected types of wood that are felled and seasoned by skilled specialists find new life in our workshop. Just as centuries ago, each step is performed by hand. The only machines used to help are a band saw and drilling machine.
I procure the spruce wood from traditional lumber regions around Mittenwald, Germany. Bosnian and domestic maple, cherry, yew and pear complete the harmonious whole. I use ebony, boxwood, snakewood and plum for the hand-turned pegs among other things.
Bass bows
The bass bows shown are based on models from different centuries and regions. Their use can vary (different types of grip – German, French, underhand).
Early baroque bass bow
Adaptation in larch wood of an original snakewood model, 17th century, Italy
2VK_F_ITA
Baroque double-bass bow
This double-bass bow is based on a violin bow exhibited in the Kunsthistorisches Museum in Vienna. It is made of snakewood like the original. The frog and button of this bow are made of buffalo horn.
2VK_B_VLO
Baroque double-bass bow
Original model made of plum wood with clip-in frog in the Kunsthistorisches Museum in Vienna. Replica made of sorb tree and ziricote; stick length shortened to 73cm, hair length approx. 56cm
2VK_B_KHM
Clip-in frog bow made of plum wood
Based on an original model in the Kunsthistorisches Museum in Vienna.
Weight: approx. 130g; very good playing properties with German grip as well as with viola grip
2VK_S_STF
Classic double-bass bow
Based on a model in the Germanisches Nationalmuseum in Nuremberg. Replica made of snakewood, ebony and mammoth ivory; overhand bowing style (French)
2VK_K_GNN
Rehairing & repairs
One of our daily tasks is to service bows. Rehairing is of course at the top of the list here, but we also perform less common work like head repairs, screw hole rebushing and major restorations.
Restoration of a classic bow
Here is an example of restoration work we have done on a beautiful English cello bow. Large parts were broken off at the tip and the frog, which we replaced in many hours of painstaking detail work. Finally the bend was corrected and the bow rehaired.
It now once again plays wonderfully and is a joy to its owner.
Cello bows
Baroque cello bow after Carlo Tononi
The original of this bow is in the Ashmolean Museum in Oxford and has a clip-in frog instead of the integrated screw here. The fluting gives stability and lightness at the same time – giving the bow very good playing properties.
2VC_B_TON
Late baroque model
Classic bow
Snake wood (original pernambuco wood), frog and button of mammoth ivory.
2VC_K_EDR
Classic model from the Beethoven era
After original model: stick of ironwood, button and screw of mammoth ivory.
This very exclusive model is a genuine feast for the eyes. The shape of the frog infers an English origin. Unfortunately no brand stamp is to be found on the original.
2VC_K_BHO
Gut strings
The workshop: a place of creativity and the art of living
Workshop report 2010/11: YouTube
Viol bows
Some of the bows listed here are also to be found under the Violin, Viola and Cello views, because these models have also proven to be well suited for various types of viol.
However, there are specific viol bows whose outstanding playing properties are demonstrated to the full on the “queen of string instruments”.
Marais bow
French bass viol bow as described by Christopher Simpson (1665), screw frog, frog and button of mammoth ivory.
Weight: approx. 80 g, total length incl. button: approx. 80 cm
2VG_B_MAR
Instrument appraisal
Die Geige von Großmutters Dachboden …
… das Cello aus Opas Jugendjahren, die Kindergeige der Nachbarn oder die Geige aus dem Internet.
Was fang ich damit an? Was muß ich investieren, um ein spielbares Instrument daraus zu machen. Wieviel ist Opas bestes Stück wohl wert? Wie bewahre ich das Erbstück am besten auf? Wie kann ich versuchen das Instrument zu verkaufen?
Die Liste dieser oft gestellten Fragen lässt sich um einige erweitern. Gerne gebe ich Ihnen im Rahmen meiner Möglichkeiten und meines Wissensstands Anwort auf Ihre Fragen. Nach Absprache sind diese Auskünfte eventuell in geringem Maß kostenpflichtig.
Für Besuche in meiner Werkstatt in Laufen bitte ich um Terminvereinbarung – ich freue mich auf Ihren Besuch!
Courses
Impressions of the Course 2014
Instrument rental
Haben Sie Lust „neue Saiten“ an Ihnen zu entdecken?
Wollen Ihre Kinder Ihnen „einen Streich spielen“?
Von Kinderinstrumenten zu Erwachseneninstrumenten, von der 1/16-Geige für die „Minis“ zum 4/4-Cello für die Großen als auch im Bereich Viola da Gamba und Kontrabass haben wir viel zu bieten!
Wir haben ein stetig wachsendes Sortiment von Mietinstrumenten, das sich einer hohen Auslastung erfreut. Wichtig für einen guten Start in die Streicherkarriere, ist gutes „Handwerkzeug“ – hergerichtet und spielfertig gemacht vom Fachmann.
Natürlich kann man im Internet vielerorts Instrumente kaufen, die zunächst billig erscheinen. Leider sind die Mehrzahl dieser Angebote von zweifelhafter Qualität und vor allem sind die Instrumente oft nahezu unspielbar eingerichtet.
In den Feinheiten wie Steghöhe und Stegkurve, Saitenwahl, Wirbelanpassung / Feinstimmer, Bogenauswahl und der optimalen Klangeinstellung liegt der Unterschied zu den von uns zur Verfügung gestellten Streichinstrumenten.
Wir stehen Ihnen hilfsbereit vor Ort zur Seite und wünschen Ihnen, dass Sie nicht irgendwem im Netz ins Netz gehen.
Mietpreise
- Kindergeigen € 14,50 – € 20,00
- Kindercelli € 25,00 – € 30,00
- Kinderbässe € 25,00 — € 50,00
- Erwachseneninstrumente € 30,00 – € 50,00
- Instrumente der Viola la Gamba-Familie auf Anfrage € 25,00 – € 50,00
Die Preise verstehen sich pro Monat und Set (Etui/Hülle, Instrument und Bogen). Zu Mietbeginn muss eine Kaution in Höhe von € 50,00 bzw. € 100,00 hinterlegt werden.
Unsere Instrumente sind nicht versichert. Wir empfehlen jedem Kunden eine Instrumentenversicherung.
Weitere Informationen erhalten Sie gerne in unserer Werkstatt.
Repairs & conversions
Repairs - more than just corrective maintenance
A violin maker is like a good dentist.
A matured relationship grown on mutual trust gives both the customer and the violin maker the potential to bring out the best of the instrument and sustain its value. Continuous care, service and necessary repairs constitute a harmonious whole when the violin maker knows the wishes and needs of the musician and likewise the capabilities of the instrument. Each instrument is different and as such a tiny world unto itself.
Reconversions
For me, to discover the sound worlds of historical performance practice and therefore also the instruments and their specific features means setting out on an enriching and exciting journey.
Many compositions make a lot more sense when played on instruments from the music's original era. The music is easier to play, the tone colours are different and the different neck shape, for example, gives an ergonomic reason for playing without a chin rest.
By using a matching bow as well, we can attempt to approach the “original sound”.
Viola da gamba
I have been interested in building violas da gamba or viols since 1993. With each new order, we build custom instruments that are richly ornamented and have a full, warm sound.
Some examples:
Treble
Treble viol after Gregorius Wenger
This treble viol is based on a viola d'amore body by Gregorius Ferdinand Wenger, Augsburg ca. 1712.
Typical for the Augsburg origin are the viol-shaped outline, the flame-shaped sound holes and the continuous margin instead of a normal purfling.
I carved the small angel's head after an old model.
Alto
Alto viol inspired by Henry Jaye, Southwark
Only very few historical alto viols have survived, so we viol makers often have to sit together with the customer to create the best model for a new instrument.
We took the inspiration for our alto viol after Henry Jaye from several different viols made by this 17th century English master.
The result has an attractive, balanced tone and harmonious appearance.
Alto viol after Prague model (g´-G)
For years I have had the privilege of borrowing and playing an alto viol from a private collection. The outstanding quality of sound of this Prague instrument of an anonymous master, its beautiful shape and ideal size inspired me to build a replica. The colour also matches the original.
Bass
Bass viol after Henrik Jakobs
Bass viol after Henrik Jakobs, Amsterdam
This model, which I make with great pleasure, has very good sound properties and thanks to its quite large body it is ideal for 7 strings.
Bass viol after Henrik Jakobs, Amsterdam
Another version of this beautiful model, this time with a Moor's head, snakewood pegs and a different rosette.
Impressive individuality.
Bass viol after Bertrand
Modelled on an instrument of ca. 1704
Double bass
G double-bass viol
based on the "Delmas" model by Maggini about 1610
This wonderful double bass was created in close cooperation with our customer. The aim was to develop an elegant and well-functioning G double-bass viol model with G-C-F-A-D-G tuning which is not an exact copy of known originals. In this way the outline of the Delmas double bass was reinvented - reduced true to scale and idealised with compasses.
In building this instrument without a template we gave ourselves a lot of freedom to create slight intended asymmetries in the outline.
The peg box and scroll come from another Maggini double bass viol, which gives a new optical and functional entity with the body.
The varnish takes up the original very dark brown colour and the type of varnishing gives the instrument a slightly antique look.
Special features include the gut strings from Pure Cordes and custom pegs from Pegheds with wood heads which we manufactured individually.
Overall, this is where the desire for historically informed accuracy meets pragmatic innovations which nevertheless complement each other in elegant functionality. The result is a bass instrument that is easy to tune and easy to play, about which both we and the customer are very happy.
Viennese double bass model
after Joseph Stadlmann
Taking various original models as a basis this double bass in Viennese tuning (F-A-D-F#-A) picks up the most distinctive characteristics of the Viennese bass building tradition. The slim, viol-shaped body with its generous lower bout comes with the typical F-holes (instead of C-holes). The rib height is customised at approx. 25cm and helps give a full, sonorous depth. The mechanics are based on the original; the peg box has the typical wings and is crowned by an almost diminutive scroll. The chestnut brown colour changes its tone depending on the light. Both the endpin and the pegs are of course hand-turned in our workshop.
Double bass / double bass viol after Stephan Posch, Vienna 1723
This double bass in Viennese style with gut strings and frets completes our range of historical string instruments at the low end of the scale. The strings are 106cm long and tuned F'-A-D-f#-a.
This typical Vienna model has a viola shape, i.e. with a flat back, and thus counts as a viol instrument. However, it can still be played in a standard baroque orchestra. The Viennese tuning makes it ideal for solo double bass works of famous Viennese composers of the 18th century (Sperger, ...).
Violin bows
Original models, iconographic pictures and my own experience in bow making and playing the violin are the sources I draw from when making my bows. I usually make bows to order.
English bow, late 18th / early 19th century
Early baroque model
Violin bow by an original English model
Baroque bow
Salzburg clip-in frog bow
Classic model after William Forster
Bowed instruments
The instruments shown here give an overview of our creativity over the past decade.:
Violin
Early baroque violin after Amati
This replica of a violin in early baroque style is based on a violin made by Amati in ca. 1600.
Since the original was converted into a “modern violin”, specific details had to be reconstructed.
Baroque violin after Jakob Stainer
Absam 1680
Probably the most famous Tyrolean violin maker and founder of the “German School”, Jakob Stainer built the original for this baroque violin replica.
Modern violin after Guadagnini
Giovanni Battista Guadagnini, Turin 177.
We were permitted take measurements from the original of this instrument in Salzburg and its outstanding sound properties are simply captivating.
Fitted with the new Perfection Pegs, the instrument has a completely new tuning feel. These pegs enable the use of a lighter tailpiece which makes for optimum sound adjustment
Viola
Baroque viola after Gasparo da Salò
Original in the Ashmolean Museum, Oxford
Custom-made - scaled in the corpus size and string length (to match the modern instrument of the customer). Fingerboard and tailpiece are modelled after the original.
Baroque viola after Anthony Posch
This beautiful model is perfect for building replica instruments in baroque style, as shown here.
Cello
Baroque cello after Anthony Posch
In 2005, we built a baroque quintet in my workshop and this cello is its bass instrument. The long F-holes, the South German arching, the slightly masculine outline and the golden yellow varnish are typical features of Posch instruments from Vienna. This model combines features from the South German violin making style with the progressive Viennese violin making trend of the 18th century and is a link to the Viennese Classical era and its violin making tradition as represented by Ferdinand Geißenhof, for example.
Double bass
Viennese double bass model
after Joseph Stadlmann
Taking various original models as a basis this double bass in Viennese tuning (F-A-D-F#-A) picks up the most distinctive characteristics of the Viennese bass building tradition. The slim, viol-shaped body with its generous lower bout comes with the typical F-holes (instead of C-holes). The rib height is customised at approx. 25cm and helps give a full, sonorous depth. The mechanics are based on the original; the peg box has the typical wings and is crowned by an almost diminutive scroll. The chestnut brown colour changes its tone depending on the light. Both the endpin and the pegs are of course hand-turned in our workshop.
Double bass / double bass viol after Stephan Posch, Vienna 1723
This double bass in Viennese style with gut strings and frets completes our range of historical string instruments at the low end of the scale. The strings are 106cm long and tuned F'-A-D-f#-a.
This typical Vienna model has a viola shape, i.e. with a flat back, and thus counts as a viol instrument. However, it can still be played in a standard baroque orchestra. The Viennese tuning makes it ideal for solo double bass works of famous Viennese composers of the 18th century (Sperger, ...).
Perfection pegs
PEGHEDS™ – practical and attractive patented pegs
We have started to make to order and do conversions and would love to show you a selection of the available peg models and options. Unfortunately, this is not yet possible, because cooperation with the suppliers from the USA is still in its early stages.
We are currently working on instructions for measuring your instruments for precise ordering. The important dimensions are the peg diameter and the peg box width.
Orders can be placed immediately – we look forward to your This email address is being protected from spambots. You need JavaScript enabled to view it. for Wittner fine tuning pegs or Perfection Pegs.
