Testimonials for the instruments of Frank "Dallaquercia" Eickmeyer

David Wu

Henning Kraggerud

Lars Magnus Steinum

"After more than a year of trying violins, I knew I'd come to the right place when I tried Frank Eickmeyer's violins. They produce a wonderful sound, even though they are modern instruments, and they are beautifully handcrafted. My violin "Wille" has a very personal, soloistic sound, and has been complimented numerous times. It has a unique, resonant sound filled with overtones. "Wille" has warmth in the deeper strings as well as a fantastic clarity and sonority in the treble. The value of his work greatly exceeds the price, and I definitely give Mr. Eickmeyer all my best recommendations."

Lars Magnus Steinum, Trondheim (Norway)

Morten Carlsen

Ragnhild E. Wesenberg

Eivind Dølerud

"I have since 1999 been the happy owner of different "Dalla Quercia" instruments with a warm and rich sound. His instruments have inspired me as a musician and a teacher. From the instrument that you use several hours each day you want a lot of qualities. Until this day I have always trusted my "Dallaquercia" violin, and it has never disappointed me.."

Eivind Dølerud, Ulnes, Norway

Oscar Piastrelloni

"Ho avuto l'occasione di suonare per qualche tempo il violoncello denominato "Cane Malu" realizzato da Frank Eickmeyer...suono prorompente ma plasmabile al tempo stesso, una reale personalità timbrica distinta in ogni corda e senza gli usuali difetti caratteristici dei violoncelli: tutto questo in uno strumento con poche ore al suo attivo! Dopo questa esperienza non ho potuto fare a meno che commissionargli una copia del mio noto Raffaele Fiorini del 1894!"

Oscar Piastrelloni

"Ho ricevuto in questi giorni la tanto attesa copia del mio amatissimo e apprezzatissimo violoncello Fiorini del 1894: questa era stata richiesta soprattutto per avere un secondo strumento da poter suonare sia per i concerti che per l'orchestra con le stesse misure dell'originale per non provare disagio nel passaggio dall'uno all'altro. L'obiettivo è stato centrato perfettamente in quanto non trovo differenze di assetto poiché tutte le misure dell'originale sono state rispettate millimetricamente. Di più ho dovuto avvisare alcuni colleghi che avevo in mano una copia in quanto credevano che si trattasse dell'originale! La somiglianza è quasi imbarazzante e il suono, timbricamente molto vicino a quello dell'originale, parte da una base assolutamente promettente!
Un caloroso ringraziamento a Frank per il suo lavoro molto accurato."

Oscar Piastrelloni

Pierpaolo Pais

La prima volta che ho visto il violoncello “Cane Malu” mi ha impressionato per la sua bellissima fattura e la perfezione di ogni dettaglio... ho avuto subito l’impressione che fosse un gran violoncello. Dopo averlo suonato, ho capito che non si trattava di un violoncello qualsiasi…
Mi hanno colpito la profondità dei bassi e la concretezza del suono, unita ad un timbro meraviglioso e un suono con grande personalità, equilibrato e sempre piacevole su ogni tessitura. Raramente ho visto un violoncello nuovo, suonato pochissime ore, già così maturo e con margini di miglioramento così ampi. Certamente un investimento importante, con la sicurezza di avere in mano un violoncello di valore assoluto. Inoltre l’esperienza e la professionalità di Frank sono una ulteriore garanzia.

Pierpaolo Pais

             

Elisabeth Cawood, Watlington, Inghilterra

(Henley Symphony Orchestra and keen chamber musician)

I adore playing my Dalla Quercia viola. The tone is the envy of many of my colleagues in Henley Symphony Orchestra. As a keen amateur violinist who has always yearned to play some of the fabulous middle parts in chamber music, I am now a viola convert as I love the rich and crisp sound I can make from my Dalla Quercia viola. Not only does it sound beautiful, it is a very fine looking instrument - voluptous body, elegant neck (tailored especially for my thin fingers), beautiful colour, and it feels so comfortable to play. Frank tells me the front piece of wood is made out of reclaimed spruce from a 17th century portico in Bologna, one of my old haunts when I was a student there, so how can an instrument be more personal? This instrument was commissioned by my husband as a surprise 40th birthday present. I still can't believe how lucky I am. There is nothing like a Dalla Quercia instrument (and a mid life crisis) to inspire one to learn a new clef!
Elisabeth Cawood

Ingvild Finset Spilling

I play a Dalla Quercia viola from 2011 and I'm very satisfied with the instrument. It has a rich sound, which still frequently unveils new sonorities. The viola is also beautiful to look at, and shows good craftsmanship from Frank. Frank has offered good service, and I hope many musicians will have the pleasure to plays one of his instruments.

Ingvild Finset Spilling | Oslo

Fabio Mureddu

I recently performed Dvorak's concerto with a cello made by Frank Eickmeyer in 2010 belonging to Oscar Piastrelloni, copy of a Raffaele Fiorini.

There aren't many instruments which - at such a "young" age - can guarantee the quality and quantity of sound necessary to fill a large concert hall playing alongside a symphony orchestra. Many colleagues and concertgoers thought it wasn't a copy, but the authentic, prestigious Fiorini cello. It is, therefore, a perfectly made copy. And not just that: it has its own strong character, a full, distinctive voice, which draws and holds the listener's attention, thanks to a range of nuances which the artist can offer with satisfaction.

All other cellos made by Frank which I've had the pleasure to try are equally well made and versatile, and I believe they are perfect companions for any occasion: in the orchestra, for chamber music, or for the solo repertoire.

Fabio Mureddu | solo and chamber performer | guest first cello in several symphony orchestras

Prof. Ulrich Gröner

"Es war spannend, den Prozess der Entstehung meiner Montagnana-Kopie bei und mit Frank Eickmeyer zu verfolgen. Das Ergebnis ist irritierend nahe am Original, der Ton kräftig, wunderbar ausgeglichen und tragfähig, die Ansprache wunderbar. Kurz zusammengefasst: ein Instrument für jede Situation und jedes Podium! Die letzten Schritte der Arbeit am Instrument in Bosa (Sardinien) zu sehen war herrlich und entspannend zugleich! Und das alles zu einem sehr fairen Preis. Meine Empfehlung!"

Prof. Ulrich Gröner | Zürcher Hochschule der Künste | www.zhdk.ch

Florian Milesi

J'ai connu Frank à Marseille, mais je vis à aujourd'hui Paris où je viens de finir mes études. Depuis quelques années, le moment d'acquérir un "vrai" violon se rapprochait. Bien qu'amateur, le violon représente énormément pour moi et je voulais pouvoir enfin m'épanouir avec mon instrument, notamment au sein de l'Académie de Musique de Paris.

N'ayant été convaincu par aucun des violons anciens essayés rue de Rome, temple de la lutherie parisienne, j'ai pris le parti d'un violon neuf. Je me suis alors naturellement tourné vers Frank dont je connaissais le talent grandissant. Sa troisième interprétation du "Carrodus" de Guarneri fut un véritable coup de coeur.

J'y ai retrouvé le timbre rond et chaud de ses instruments, et la grande finesse des leurs aigus: ils sont riches en harmoniques, et ne cèdent rien en puissance. J'ai vraiment redécouvert les doubles-cordes chez Bach, et pris un plaisir nouveau à travailler les concertos romantiques et leurs acrobaties sur la chanterelle. Depuis un an le son mûrit, la corde de ré devient incroyablement ronde, et je me demande avec gourmandise où cela va bien s'arrêter!

Mais le coup de coeur immédiat est survenu dès que j'ai eu le violon entre les mains. C'est tout simplement le plus beau violon que j'ai vu jusqu'à présent! Son vernis, brun clair tirant sur le miel orangé selon la lumière, est une réussite absolue. La volute est toujours d'une grande sensualité, tout comme le parfum de propolis qui se dégage toujours du vernis. La patine est appliquée avec légèreté, ce qui met en valeur l'incroyable dos en une pièce très finement flammé: les soirs d'orchestre, j'ai l'impression d'avoir le Sahara posé sur les genoux!

Les instruments Dalla Quercia sont de grande qualité, et leur son comparé aux autres vaut amplement leur prix. Mais la comparaison s'arrête là: ne cherchez pas, vous ne retrouverez pas d'instruments aussi magnifiques!

Florian Milesi | Paris

I know Frank from Marseille, but I now live in Paris where I've just finished my studies. For several years now, the moment for me to acquire a "true" violin has got closer and closer. Although I am not a professional, the violin is something extremely important to me: I wanted to enjoy playing without any bound but my skill, notably since I joined the Académie de Musique de Paris.

Having been unable to find a great old violin in my budget around Rome Street, the parisian temple of music, I chose to go for a new violin. I naturally asked Frank, whom I knew the growing talent. His third interpretation of Guarneri's "Carrodus" truely was love at first sight.

I recognized the warm and round tone of his instruments, and the fineness of their high tones: they are very rich in overtones and don't lack power. I really rediscovered double-strings in Bach's music, and I got a totally new pleasure in working on romantic concertos and their acrobatics on the E-string. For one year now, its personal sound keeps maturing, the D-string gets incredibly round, and I wonder with delight when and where it may stops.

But "love at first sight" did happen when I saw the violin. It simply is the most beautiful violin I have ever seen! Its varnish, from clear brown to orange honey, is an absolute success. The scroll expresses a great sensuality, as well as the scent of propolis still exuded by the varnish. The patina effect is light, so as to enhance the magnificence of very finely flamed one-piece back: on rehearsal nights, it looks like I have the Saharian dunes set on my knees!

Dalla Quercia instruments definitely are of high quality, and their sound largely worth their price compared to others. But the comparison stops there: don't search any longer, you won't find any instrument as beautiful as his!

Florian Milesi | Paris

Martin Jaekle | The asymmetric Cello | video clip

A series of coincidences led me to an asymmetric cello, which could be suitable for my 7 year old daughter. I already had experienced how difficult it is to get a 1/16 Cello with a reasonable sound, especially in the low frequencies. The informations about building string instruments sounded promising on the website of Frank Eickmeyer (www.dallaquercia.it), so I sent my first email to Frank. After a couple emails back and forth we found out where we could meet for the first time - in Sardegna, an island in the Mediterranean Sea!

He spends half of the year there to build cellos, whereas we already had booked our summer vacation for Sardegna. Frank simply wrote "just come to my place whenever you like". During the ride across the island we had kind of an adventurous feeling, not knowing what was ahead of us. All we had seen was a picture of the asymmetric cello, which looked "unusual".

That changed immediately upon arrival - we received a very warm welcome, Frank showed us his atelier under the roof, explained many details and special tricks, allowed the kids to plane a piece of wood for his next cello. He also told us the story behind this asymmetric cello - originally he built it for his son, spending 3 years from the first thought to the final instrument. Unfortunately for Frank, his son preferred the piano, fortunately for us this unique instrument was available. We were convinced, and wanted to have it, however the instrument was in Germany, where Frank spent the other half of the year.

A couple months later we visited Frank in his German atelier, already knowing that we needed time for the individual adjustment due to the pecularities of this instrument: the most obvious of all is the asymmetry - the section of the body of the cello for the left hand has the size of a regular 1/8 Cello, whereas the sizes of the other sections increase up to the size of a 3/4 cello, which makes the whole instrument sound better than a 1/2 cello. Secondly, the f-holes are shaped to favor the low frequencies. Thirdly and uniquely is the interchangeable neck: 3 sizes are available - corresponding to a 1/8, 1/4, 1/2 cello.

After finding the right size for my daughter, the next step was adjusting the position of the bridge so that the distances for the left hand are exactly alike on a normal cello. Finally the maestro moved the sound post to get an optimal sound. Of course there were different sets of strings available, to be picked according to the personal preference.

And now the first notes on the new cello - my daughter immediately fell in love with this unique cello - it was easy to play, it sounded great, it was simply astonishing. She tried the same melody on her "old" 1/8 cello - it didn't work anymore. She has kept playing enthusiastically with the asymmetric cello, won a competition, and had quite a few performances with overwhelming results.

Here is an example: This instrument could serve her for several years (which is much better than getting used to a new, bigger instrument every 12 - 18 months); however, Frank already has a new plan: build a bigger asymmetric instrument 1/2 - 4/4, with the sound of common cello. I am confident that this instrument will be ready in time to provide even more pleasure.

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