Clara's Voice - Part 1
Clara is Made
(by Ann Bray)
Introduction
The magnificent sound of a full symphony orchestra is the sum of the combined voices of its many individual instruments (string, wind, brass and percussion). And although to bring out the potential of any instrument depends greatly on the skill of the musician, the voice that you hear is still that of the instrument itself.
This is the story of one of the MetSO voices – a violin (“Clara”), the Aussie that made her, and the Aussies that have played her and kept her voice singing over the last 20 years. It is rare indeed that an instrument can be traced right back to its original tree – but in researching this story I was astounded to find that in this case it can!
Part 1 – Clara is made
Sycamore Maple (stock photo)
Our story begins many, many years ago on an English estate, not far from the ancient forest of Sherwood. As with many English estates the planting and nurturing of great trees was a feature of their charm and general management. European maples had been introduced to England in the middle ages, and were very popular additions to enhance the grandeur of many of the English manors. They grew into magnificent specimens that regularly lived for hundreds of years.
One such Central European maple (species Acer pseudoplatanus) was planted on an English estate not far from the village of Newark-on-Trent. Also known as the English Sycamore, Acer pseudoplantus is the “type” species of the maple genus. Maple wood is traditionally used in the making of most parts of a violin, i.e. the back, sides/ribs, neck, scroll and bridge. (Spruce for the top, bass bar and the tiny but important sound post; Ebony for the finger board and pegs)
Many years passed, and as with many great estates in modern times, it was sold and repurposed, in this case Newark library. Our particular tree had grown to a great age (130 years old), and so enormous that, unfortunately it had been deemed to be dangerous and was slated to be cut down.
Newark College
Newark and Sherwood College
Newark-on-trent
Photo courtesy of Bernard McLean
Enter the first of our Aussies:
Bernard McLean, a young violinist and luthier from Bendigo who was studying near-by at the famous Newark School of Violin Making (Founded in 1972 by Yehudi Menuhin and Maurice Bouette). The hard working Bernard, who made his first violin at just 14, was at Newark on a Queen Elizabeth II Trust scholarship, presented to him by the Australian Governor General himself at Kirribilli house.
However, even with this generous support, to pursue his dreams, Bernard needed to take on extra jobs to help afford his tuition. He made beautifully hand crafted wooden toys, worked in the wood cutting industry (like his father before him), and could drive a truck. As with many country lads he was an enterprising jack-of-all-trades.
Soon after coming to Newark, Bernard had made the acquaintance of Mr Steve Wright and family of Elston Saw Mills, who taught him a great deal about selecting, cutting and seasoning of woods suitable for making musical instruments.
Bernard was there the day our particular tree was cut down. He even drove the truck (as the scheduled driver had been taken suddenly ill). As a young luthier he understood the significance of such an aged maple.
Bernard knew what he was looking at - he bought the whole tree!
“Once Mr Wright had collected the tree we began work straight away. He was able to cut it into enough wedges for 10 cellos, 80 violas, and about 40 violins for me” – excerpt from Bernard’s 1996 display at Newark Library: which included of course his violin (Clara) and the vast array of hand tools he had also made from the wood. (Bernard continues to make many of his hand tools from the wood of this tree!)
The split log from the actual tree - showing the highly prized “figure” in the wood - photo courtesy of Bernard McLean
Bernard’s studies progressed, and the wood cured and dried. As a Newark student he had open access to Southebys of London, where he could study their Stradivarius (“Strad”) and Guarneri violins. At this time Scottish luthier Paul Bowers was teaching at Newark. Paul specialises in design principles and workshop practices from the 17th and 18th century Italian violin makers, and is considered to be one of Britain’s finest contemporary violin makers.
When the maple from our tree was ready, Bernard set about making a copy of a 1707 “Strad”, under the auspices of Paul Bowers. (Nigel Kennedy himself had played a 1707 “Strad” in the early part of his career)
The violin now known as “Clara” was born. She was designed to be “soft under the ear”, but still able to project due to her “heavy” back.
I am told by Bernard her varnish, one of the secrets of all luthiers, was a “brew” which included liquid raw amber, linseed oil, and gum mastic from Greece to give it elasticity. Not being happy with the result of his “brew” the first time, Bernard removed all the varnish and started over. Clara has a warm orange-red colour, over a yellow base (1707 “Strad” the “Rivaz, Baron Gutmann” is described as having an orange-red varnish). Clara’s voice was first heard on the concert stage at Newark.
Clara
Bernard’s violin
A recent image of the finished violin - here in Perth.
After many years of hard work Bernard graduated from Newark, with his diploma being signed by two of the greats of the violin world: Yehudi Menuhin and Charles Beare. Bernard worked overseas as a luthier for a number of years, but eventually the call of home brought him back. His family having moved during his absence, home was now Geraldton, Western Australia.
He had already sold one of his violins in London and another in Ireland, but having been told “never to sell your 1st violin” – Clara came to Australia.
End of Part 1.
Many thanks to Australian Luthier Bernard McLean for his kind participation, and his wonderful enthusiasm over reconnecting with Clara’s ongoing story.
The photos below (courtesy of Bernard McLean) are of :
a) Bernard Mclean and Steve Wright at the Elston Sawmill near Newark-on-Trent, cutting the violin backs;
b) Bernard at the Elston Sawmill sharpening the the huge blade;
c) Bernard’s Dad Frank Mclean and his swing saw back in the Victorian bush (B&W); and
d) Tools Bernard recently made from the same wood. Copies of 17th Century Boat Building Tools
