Wood, Varnish Blended for Music以木料和清漆混合成的音樂

Milwaukee Journal Sentinel 1951.10.1
米爾瓦基哨兵報 1951年10月1日



Chunks of spruce and maple are transformed into violins sought by artists throughout the world in a little workshop on Pickerel Lake northeast of Antigo. During the summer months of the past 27 years, Carl Becker Sr. of Chicago has been making violins of an original design, based upon the Stradivarius theory evolved in 1715. At the left, Carl Sr. is carving the scroll for a new violin. At the right, Becker’s son, Carl Jr., arches a violin top. The top is carved from spruce, the back from maple, all 20 or 30 year seasoned woods imported when possible from Mittenwald, Germany.

在Antigo東北部的Pickerel湖區附近的一個受到全世界音樂藝術家關注尋覓的小工作室裡，正在將雲杉板材和楓木製作成小提琴。在過去 27 年的每個夏季，芝加哥的老卡爾・貝克（Carl Becker Sr.）一直以1715年發展出的Stradivarius的小提琴原始設計的製琴理論作為依據。在(照片)左邊的老卡爾正在為一把新小提琴雕刻琴頭。在(照片)右邊，卡爾貝克的兒子小卡爾（Carl Jr.）正在建造小提琴面板。面板由雲杉製作而成，背板由楓木製作，所有自然乾燥 20 或 30 年的木材都盡可能地從德國Mittenwald進口。




Carl Jr. and his father inspect the wood inlay on a violin which has had its base varnish coat. All the fine detail and the glowing patina of a Becker violin is achieved by hours of painstaking craftsmanship with tiny chisels, planers and scrapers.

小卡爾和他的父親檢視了一把已塗有底漆的小提琴上的木鑲嵌邊。貝克提琴的所有精緻細節和閃閃發光的古銅色都是經由使用小鑿子、刨子和刮刀進行數多小時的艱難工藝而成就的。