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Quartet of Hope

VIOLIN MAKER

Brian Lisus

The QUARTET OF HOPE is the work of South African-born violinmaker Brian Lisus, based in Ojai near Los Angeles and was commissioned by the ROME Foundation Göttingen. The instrument ensemble was conceptually modelled for each other as string quartet throughout its entire making from 2021-2023, starting with model variation, wood selection, arching and thickness grading of the top and back profiles, F-hole cutting, varnishing, cutting of bridge, string selection as well as intense set-up fine-tuning. All the materials, tools and “ingredients” used in the instruments have already been available between 1650 and 1740 in northern Italy. Brian Lisus created his models over decades of obsessive, meditative detailed work and insights of instruments of the Italian golden period. On the outside, the instruments are based on features by Stradivari and Montagnana, but have elements of Guarneri del Gesu and Goffriller in their thickness profiles.

Brian Lisus trained at the renowned Newark Violin Making School, UK. He is a vilolin maker who does not advertise, only works on commission and does not sell through distributors. He builds exclusively on his own. His practice is devoid of modern physical measuring methods, as their reference-based nature hinders his intuition and creativity. He says that he studied many historical instruments during and after his training. The varnish formula based on refined walnut oil and Strasburg turpentine was developed as a reverse engineering project in collaboration with his classmates, some of the most eminent violinmakers of his generation, and is surprisingly close to the original Cremonese models of the golden period. Brian has done significant work on the colouring. He is transparent about his working methods – and recipes. When he published the varnish, Strasburg turpentine sold out internationally within a few hours. He has published an autobiographical, allegorical-introspective work with fascinating details about violin making under the title “The Morning Light never passes us by”.

Brian Lisus is the creator of another quartet, the Quartet of Peace, named after the Nobel Peace Prize winners of South Africa.

The QUARTET OF HOPE is the work of South African-born violinmaker Brian Lisus, based in Ojai near Los Angeles and was commissioned by the ROME Foundation Göttingen. The instrument ensemble was conceptually modelled for each other as string quartet throughout its entire making from 2021-2023, starting with model variation, wood selection, arching and thickness grading of the top and back profiles, F-hole cutting, varnishing, cutting of bridge, string selection as well as intense set-up fine-tuning. All the materials, tools and “ingredients” used in the instruments have already been available between 1650 and 1740 in northern Italy. Brian Lisus created his models over decades of obsessive, meditative detailed work and insights of instruments of the Italian golden period. On the outside, the instruments are based on features by Stradivari and Montagnana, but have elements of Guarneri del Gesu and Goffriller in their thickness profiles.

Brian Lisus trained at the renowned Newark Violin Making School, UK. He is a vilolin maker who does not advertise, only works on commission and does not sell through distributors. He builds exclusively on his own. His practice is devoid of modern physical measuring methods, as their reference-based nature hinders his intuition and creativity. He says that he studied many historical instruments during and after his training. The varnish formula based on refined walnut oil and Strasburg turpentine was developed as a reverse engineering project in collaboration with his classmates, some of the most eminent violinmakers of his generation, and is surprisingly close to the original Cremonese models of the golden period. Brian has done significant work on the colouring. He is transparent about his working methods – and recipes. When he published the varnish, Strasburg turpentine sold out internationally within a few hours. He has published an autobiographical, allegorical-introspective work with fascinating details about violin making under the title “The Morning Light never passes us by”.

Brian Lisus is the creator of another quartet, the Quartet of Peace, named after the Nobel Peace Prize winners of South Africa.

Instrumente

The QUARTET OF HOPE bears the names of Manfred Eigen and his musical friends Max Perutz, Max Planck, and Paul Sacher. The instruments combine the personalities of the namesakes with virtues in music:

Spark, Perseverance, Sagacity, and Hope uniformly stand for challenges in the last phase of life. The labels show quotation fragments from Canto XXXIII of the Paradiso from Dante’s Commedia, companions on the spiritual path, and artistic door openers for reciprocity with a strong reference to contents in hospice and palliative medicine.

Tonewoods: All woods are air-dried for at least 20 years. The Manfred Eigen and Max Perutz violins are made from northern Italian mountain spruce, Bosnian mountain maple, and ebony. The Max Planck viola and the Paul Sacher cello are made of Northern Italian hazel spruce (“bear claw”), Bosnian mountain maple, and ebony.

Varnish: The base consists of selenite / Marienglas inside and outside, with direct application of the colored varnish made of boiled 1/3 spruce resin, 2/3 Strasbourg turpentine, dissolved in thickened walnut oil, and “Mastic Resin”. The matching color pigments and lakes consist mainly of cochineal.

The bridges and stringing of the quartet are highly individualized. The Paul Sacher cello has a modified French bridge.

The QUARTET OF HOPE bears the names of Manfred Eigen and his musical friends Max Perutz, Max Planck, and Paul Sacher. The instruments combine the personalities of the namesakes with virtues in music:

Spark, Perseverance, Sagacity, and Hope uniformly stand for challenges in the last phase of life. The labels show quotation fragments from Canto XXXIII of the Paradiso from Dante’s Commedia, companions on the spiritual path, and artistic door openers for reciprocity with a strong reference to contents in hospice and palliative medicine.

Tonewoods: All woods are air-dried for at least 20 years. The Manfred Eigen and Max Perutz violins are made from northern Italian mountain spruce, Bosnian mountain maple, and ebony. The Max Planck viola and the Paul Sacher cello are made of Northern Italian hazel spruce (“bear claw”), Bosnian mountain maple, and ebony.

Varnish: The base consists of selenite / Marienglas inside and outside, with direct application of the colored varnish made of boiled 1/3 spruce resin, 2/3 Strasbourg turpentine, dissolved in thickened walnut oil, and “Mastic Resin”. The matching color pigments and lakes consist mainly of cochineal.

The bridges and stringing of the quartet are highly individualized. The Paul Sacher cello has a modified French bridge.

1st violine

Manfred Eigen

“Spark”

Body length 354.5 mm

Northern Italian mountain spruce and medium flamed Bosnian mountain maple

2nd violine

Max Perutz

“Perseverance”

Body length 355.5 mm

Northern Italian mountain spruce and finely flamed Bosnian mountain maple

Viola

Max Planck

“Sagacity”

Body length 412 mm

Northern Italian hazel spruce and finely flamed Bosnian mountain maple

Violoncello

Paul Sacher

“Hope”

Body length 747 mm

Northern Italian hazel spruce and finely flamed Bosnian mountain maple

Diese Instrumente von Brian Lisus sind wunderschön gebaut, sehr fein gearbeitet und wirken im Gesamteindruck einfach stimmig. Als das Quartett spielte, entstand ein sehr homogener, trotzdem durchsichtiger Klang mit einer sehr ansprechenden Farbmischung, eine warme, etwas gedackte Klangfarbe, die gleichzeitig substanzreich und mit guten Obertönen sehr tragfähig zu sein schien. Ich bin gespannt darauf, diese feinen Instrumente auf ihrem Weg zu begleiten.“

Tim Vogler über das QUARTET OF HOPE

“I have recently studied the quartet made by Brian Lisus, for the Music Of Hope project. As might be expected of this talented maker, each instrument has been crafted to perfection. Moreover, they were also conceived as a quartet, and as such they are already a resounding success. From wood selection, to model choice, from varnishing to fittings, they complement each other perfectly. They will be a great asset to any group of players privileged to play upon them and a pleasure for those fortunate enough to hear them.”

Roger Hargrave über das QUARTET OF HOPE

“It was my pleasure to try out two violins and the viola from the ‘Quartet of Hope’ quartet, crafted by violinmaker Brian Lisus.
The Manfred Eigen violin responded instantly; a clear, silvery sound that spoke effortlessly, but without any lack of warmth. It showed a great deal of power without ever sounding overly-strident. Its playability made the ‘prima donna’ content associated with the first violin repertoire feel easy!
The Max Perutz violin appeared a little shy in the beginning, but once we got to know each other, the deep, sonorous lower register and sweet, singing upper register became addictive. I can imagine it being the perfect partner to the first violin.
The Max Planck viola was a joy to play; not only because of its manageable dimensions, but also the evenness throughout the register and clarity over all four strings. All of the instruments I tried displayed a very fine attention to detail and setup — when they sound like this already, I can’t wait to hear them in five years’ time!
I tested the instruments in Die Glocke, Bremen, and it was clear that they projected well in the large hall.”

Jeffrey Armstrong, Deutsche Kammerphilharmonie Bremen

„Ich hatte die Ehre, die erste Cellistin zu sein, die das Cello „HOPE“ des QUARTET OF HOPE spielen durfte. Ich war sofort von seinem warmen, süßen Klang beeindruckt und liebte es, seine Klangschichten und -farben zu erkunden. Das QUARTET OF HOPE Cello hat eine goldene, leuchtende Qualität, die wirklich singen kann. Es ist reich und gleichzeitig tief und rein im Klang. Ich bin gespannt, wie sich diese Qualität und die Projektion im Laufe der Zeit entwickeln werden, wenn andere Cellisten das Privileg bekommen, darauf zu spielen und die vielen Möglichkeiten des Instruments für ihre künstlerische Entwicklung nutzen können. Ich bin überzeugt, dass es seinem Namen alle Ehre machen und mit seinem fantastischen Klang Konzertbesuchern Freude und Hospiz- und Krankenhauspatienten Hoffnung bringen wird – Mission von MUSIC OF HOPE der ROME Stiftung.“

Angela Rose Padula

© connect Healthcare