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Volume I
The Introduction
The introduction will contain approximately 200 pages of text, enriched with supporting images, maps, and iconography, designed to guide readers in exploring the origins of the double bass, which emerged in Brescia, Italy, in the mid-to-late 1500s. In this volume, we will examine the musical necessity for a large bass instrument such as the double bass and its role within ensembles at a time when a revolution in stringed instrument making was happening towards the end of the Sixteenth Century.
There is a considerable discussion about the early terminology used to describe these early instruments, including the double bass, other bass instruments and the violone. Much of the existing information is inaccurate and lacks a foundation in well-documented archival research. Our aim is to take readers on a journey that uncovers the very beginnings of the double bass and traces its evolution into the instrument we recognise today.
Volume II & III
The Makers
The two volumes dedicated to Italian double bass makers will have over 1,000 pages, featuring approximately 100 makers. After five years of meticulous archival research, we have compiled profiles of important makers known for their contributions to the double bass. This extensive collection will showcase more than 200 double basses in large format, accompanied by photographs of violins, violas, and cellos to help readers better understand these instruments.
Throughout our research, we were surprised to discover the amount of inaccurately documented information regarding many of these makers. Our goal is to highlight the contributions of those who may not be well-known in the violin world but are important for double basses. Additionally, we aim to rectify the considerable misattribution that persists within the double bass community by providing a comprehensive reference book that details the authentic works of the esteemed Italian double bass makers.
The Makers Include
Amati, Antoniazzi, Arienti, Bajoni, Baldantoni, Bandini, Bargelli, Bedocchi, Bellarosa, Bellosio, Bergonzi, Berte, Bertolotti 'da Salò', Betti, Bissolotti, Bodio, Bracci, Busan, Calcagno, Carcassi, Carletti, Casalini, Casini, Castellani, Castelli, Cavalli, Cavallini, Cavani, Ceruti, Chiericato, Corain, Corbucci, Corsi, Cristofori, De Micheli, Del Piana, Digiuni, Dionelli, Dodi, Dollenz, Farina, Farotto, Ferrarotti, Gagliano, Goffriller, Gotti, Grancino, Guadagnini, Lacchini, Landolfi, Leonori, Lori, Lorio, Loveri, Maggini, Mandelli, Marchetti, Marcolongo, Marconcini, Marcucci, Marsigliese, Martini, Meneghesso, Minotti, Montagnana, Muncher, Muschietti, Noiriel, Pallotta, Panormo, Pareschi, Passetti, Pedrazzini, Pedrinelli, Piattellini, Postacchini, Pressenda, Raffo, Rastelli, Rivolta, Rocca, Rogeri, Ronchini, Rossi, Ruggeri, Santagiuliana, Scrollavezza, Serafin, Sgarbi, Signorini, Spalletti, Storioni, Tarantino, Testore, Ugar, Ventepane.
The Photography
The Italian Double Bass features approximately 1,400 images spread across three volumes, making high-quality photography essential. The authors have gathered numerous pictures of instruments all across the world over the years, collecting a significant portion of these images from universities, museums, and conservatories throughout Italy.
The photography production process has been a vital part of creating The Italian Double Bass. Even with modern digital photography, meticulous colour retouching has been crucial to ensure that each instrument's colour accurately reflects the original. The final result will allow researchers, museum curators, auctioneers, luthiers, and appraisers to conduct off-the-page comparisons of different instruments, aiding them in future studies.
The Authors
Thomas Martin & George Martin
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