Biography:
Gauthier LOUPPE, of Belgian nationality, was born in Luxembourg on May 12, 1959.
Married to Marie-Antoinette Burnotte; they have tree children: Elise, Clara, Mathias.
He come from a family where the art to carve wood is a tradition. From his youth upwards he learned how to handle tools.
He was trained in the great tradition of the Italian stringed-instrument trade at Cremona, the International School of Stringed-instrument trade (I.P.P.I.A.L.L.) from 1979 to 1983.
His principal Master was Giorgio SCOLARI. He also worked for Master Mario GADDA of Mantua.
His work consists in restoring, building, purchasing and selling string quartet instruments (violins – violas – violoncellos).
He built many traditional string quartet instruments, as well as special instruments such as:
1982 an inlaid cither.
1983 a viola di gamba.
1985 a Renaissance lute.
1995 the “Contemporary violin”, a personal creation.
1999 the violin “Vent de Liberté”, a personal creation.
2000 the violin “Dopo la tempesta”, a personal creation.
2000 the violin “Saphir”, a personal creation.
2000 the violin “Structure”, a personal creation.
2001 the violin “Ouroboros”, a personal creation.
2002 the violin “Quintessence”, a personal creation.
2002 the violin “Serpentaire”, a personal creation.
2002 the violin “Florilège”, a personal creation.
2002 the violin “Résurgence”, a personal creation.
2001 to 2004 the “Phénix” quartet, a personal creation.
2005 the
viola “Pentacle”, a personal creation.
Publications:
Book: “Quelle forme nouvelle pour le violon?” , Les Amis de la Musique, SPA 1995.
Many articles : in the review “la Lutherie et l’Archèterie Française” of the “Groupe des Luthiers et Archetiers d’Art de France” G.L.A.A.F.
CD. : « The Millennium Violin « Vent de Liberté » at René GAILLY , in 2000.
Rewards :
1982 Prize winner of the W.STAUFFER Foundation for artistic promotion, for the realization of the inlaid cither.
1995 Silver medal with special mention of the “Académie Internationale de Lutèce” in Paris for the realization of the “Contemporary violoin”.
1995 First Price allotted by the “Commission d’Encouragement des Métiers d’Art” of the Nord/Pas-de-Calais Area in France, at the time of the 7th “Carrefour International” .
1996 Prize winner of the Dr. JAUMIN Foundation, for Sciences, Arts and Letters, in Wallonia.
1996 He was awarded Citizen of honor of Martelange.
2001 Walloon prize Winner of the SPES Foundation.
Teaching:
Invited to Quebec by the National School of the Stringed-instrument trade, to give a course of lectures on his research and his work, both artistic and scientific, to professional violin makers.
Lectures:
Gauthier LOUPPE gives many lectures in various circumstances.
- The U.S.A. : At the “7th American Cello Congress” which was held in Phoenix in 2003.
- Canada-Quebec: During a training Gauthier LOUPPE gave at the “Ecole Nationale de Lutherie” of Quebec.
- France: At the time of the thirtieth anniversary of the “Ecole Internationale de Lutherie” of Mirecourt, with the G.L.A.A.F. (Groupement des Luthiers et Archetiers d’Art de France) and the A.L.A.D.F.I. (Association des Luthiers et Archetiers pour le Développement de la Facture Instrumentale).
- Belgium: To the M.I.M. Musical Instrument Museum in Brussels and to the Museum of Radiology in Brussels, for Services Clubs such as : the Rotary, Lion’s Club, Kiwanis, 51, and other circles. On the occasion of exhibitions and rewards granted to him, in a great many Belgian towns, such as Ostend, Arlon, Liège, Mons, …….
Press Articles:
Many articles were written in connection with Gauthier LOUPPE in: “Le Soir”, “La Libre Belgique”, “La Meuse”, “L’Express’, ‘Le Monde de la Musique”, ‘Time Magazine”, ….
Reports and Films :
1997 Film by Mr. BADIN “ Le luthier de Marenne”.
1998 « Mémoire au Pays de Liège » portait by the R.T.C. television of Liege.
1999 Participation in the documentary « Le Violon Moderne » carried out by the Centre Régional d’Enseignement et de Documentation de l’Académie de Versailles, France.
Current and prospective events :
Folder come out, illustrated by Dominique BROCA, phone: 0032(0)497.18.77.69
Violin maker Gauthier LOUPPE has been listed in :
“Deux siècles de signatures d’artistes en Belgique”, by Paul PIRON with the edition Art in Belgium, 2003.
“Dictionnaire biographique des Artistes plasticiens belges des XIX e et XX e siècles » by Paul PIRON with the editions Art in Belgium 2003
Various musicians and composers are interested in the work of Gauthier LOUPPE ;
In particular Jenny SPANOGHE, Jan VAN LANDEGHEM, Claude LEDOUX, Maestro LUPPI,….
Compact disc “The Millennium Violin” Vent de Liberté (Wind of freedom) n° CD87165 was published by René GAILLY in 2000.
Remember to visit the site:
http://fontys.nl/bc/vs/spanoghe.htm
Recent events:
Invitation to the seventh American Cello Congress, Phoenix, 2003, where Gauthier LOUPPE gave a lecture to present the design and the realization of the cello belonging to his Phenix quartet.
Remember to visit the site:
Contract with “Luthiers sans Frontières”for an assignment in Cuba, in 2003.
Exhibition of some of Gauthier LOUPPE’s works with the illustrator Palix.
Remember to visit the site: http://www.palix.be
Although a violin maker creates a serviceable object, contrary to a sculptor or a painter who express themselves through pure art, stringed-instrument making is an art, not merely a craft.
When creating an instrument, the violin-maker can express his personality in the sculpture of the scroll, the placement of the purflings, the volume of the arching, the finishing of the edges, the cut of the F-holes, ….
The town of Cremona, Italy.
Every instrument is a unique creation. Even realized by the same violin-maker, two instruments will never be identical and will not produce the same tone colour. The main purpose of the creation is sound. The work and the difficulty is not to achieve an object out of a piece of wood, but to work it skilfully so as to obtain sound out of it. Not just any sound: it has to be warm and powerful, conveying emotion and feeling, making the listener vibrate.
The Renaissance brought about a revolution. The changes were important:
The first violin appeared in the first half of the XVIth Century and found its heyday during the Baroque period with the great Italian masters, such as Amati, Guarneri and of course, Stradivari. And there, the evolution of the shape of the violin came to a stand-still.
Since then, the instruments evolved according to the musical needs of instrumentalists and composers. Great musical changes upset the world at the beginning of the XIXth century: virtuosity, power, technical requirements increased. Violin makers had to try and find innovations to adapt the violin to the new musical demands. The main transformations were lengthening the bass bar and the fingerboard, setting the neck, and giving it a higher inclination.
All these changes took part in the evolution of violonistic virtuosity and sonority. But is the art of the stringed-instrument trade at its top? Can the art of making stringed-instruments still evolve? Or does it have to confine itself to Baroque models?
Outline of the table.
During the XIXth Century, many experiments were realized on the shape of the violin and the arching.
Great violin-makers, such as Jean-Baptiste Vuillaume, indulged in this game. The purpose of the research was improving sound and performance. Many clever instruments did not meet with the success they deserved and stranded in museums.
Cutting F-holes.
The last experiments appeared at the beginning of the XXth Century and around the Second World War. Some of these innovations were metal coated gut strings, the chin rest and shoulder rest.
One of the violins by Gauthier LOUPPE
To approach the art of the stringed-instrument trade, it is necessary to study its evolution during the Baroque period, which turned out as “the Golden Age” . The growing demand from the so-called “baroqueux” musicians brougth about an unquestionable development of stringed-instrument making.
Being aware of the past provides a context in which to include the work and research of the XIXth and XXth centuries’ violin-makers and helps to understand the current state of the stringed-instrument trade.
Creations in progress in the workshop.
The experiments, creations and achievements of violin-maker Gauthier LOUPPE mean a potential for the future of the stringed-instruments trade. His works result from more than ten years of permanent research, which brought about a significant evolution in knowledge and know-how.
Exhibition “Salon du Patrimoine Culturel” in Paris.
TOLBEQUE’s book « L’art du luthier » , gave his cause for reflection. Is stringed-instrument making a craft or an art? Is the craftsman an artist?
To manufacture an object, whatever it is, a method, a technique, know-how are necessary. They are the basic requirements of any craftsman. To achieve musical instruments, such as those of the string-quartet, a craftsman needs, in addition to his technical abilities, an extra skill to create a sound, the quality of which is subjective and undefinable. This additional dimension qualifies the trade for art-craft.
The cello of the “Phoenix quartet”.
Books on art in the XIXth. and XXth Centuries deal with painting, sculpture, architecture, cabinet-work, town planning, science, photography, comics, composing, philosophy, literature, theatre, but don’t refer to the stringed-instrument trade.
Although there was some experimental research, it remained sporadic and didn’t generate any artistic trend.
This gives rise to some questions:
Does string-instrument belong to the artistic world?
Does the stringed instrument trade take part in artistic evolution?
Will violin making remain behind .
Are the instruments of the quartet reduced to be mere working tools?
Sculptures of the head of the “Phoenix” quartet.
The traditional violin is a symbol of conservatism.
What changed in the violin during five centuries? Actually, few things. The musical literature, so liberally offered by brilliant composers, shows a true evolution or revolution. To answer it, the virtuosos and interpreters studied, created and applied new violonistic musical techniques. Violin makers also found improvements relating mainly to the power of the instruments. Even Stradivari modified the shape of the classical violin. These instruments looked like guitars
The “Quintessence” violin.
Some research was carried out during the XIXth Century, and some research has continued until today. All these evolutions are no well known, because they were sometimes experimental, sometimes eccentric trying to meet a specific need. These musical instruments ended up in museums.
The “Contemporary” violin:
Prospects of the stringed-instrument trade.
Nowadays, some violin-makers are devoted to research but they are very few and isolated. Certain experiments fail, others are successful. Too often, though, the traditional culture of musicians and violin-makers themselves resist any evolution. This culture advocates classicism and conservatism, while music, like any art, is in constant evolution. Why should string-instrument making stick to the past?
Head of the “Saphir” violin.
To give a new dash to the stringed-instrument trade, it is important to acknowledge the interactions between violin maker, composer and musician. They make each other evolve.
The creations of violin maker Gauthier LOUPPE demonstrate that the stringed-instrument trade is not rigid, but evolutionary.
The presentation of these innovations contributes to change mentalities, to widen the horizon.
It may inspire violin makers to take up creation again, following the trend of their forerunners during the Renaissance and the “Golden Age”. Likewise, it may encourage musicians to develop a liking the innovations, which are to make up our future common inheritance.
The “Dopo la Tempesta”violin, 1999.
In a design violin such as the one named “Dopo la tempesta”, nothing can be left to chance. Every step in the creating process is carefully thought over.
The traditional violin has an asymmetrical internal structure: a sound-post for the high pitch and high frequencies, a bass-bar, which is a spring, for the low pitch, and for the low frequencies.
As we know, the violin is smaller than the viola, and the violin produces higher sounds than the viola. From this, the violin-maker deduces that the size and proportions of the sound-box have a fundamental influence on the sound and the tone colour.
In the shape of this violin, the right half of the body of the violin is smaller, corresponding to the needs of the high frequencies, whereas the larger left half is wider and fuller so as to meet the needs of the low frequencies. The sound pallet is widened.
The scroll, symbol of the Baroque period, has no meaning in contemporary art.
Lines are simplified for aesthetic reasons. Reducing the weigth is an essential element to meet the acoustical needs.
The Electra 2000 violin.
In 2000, Gauthier LOUPPE met with an unexpected order: building an electric violin. This meant an unusual challenge for him, since in the past he had dealt but with acoustic instruments. As the sound-quality of electric instruments depends on the quality of the microphone, the wiring and the electrical appliances, this type of violin allowed more freedom and creativity than an acoustic one, so that the violin-maker took up the work with pleasure. The first outline he created was interesting, but too elaborate, it did not correspond to the desired criteria. He then produced a simple and elegant shape, fit to support the musician’s play. It was very favourable received by the musician. The decoration and the finishing of the instrument was discussed with the violinist.
This violin belongs to a set consisting of Ouroboros, Quintessence, Serpentaire, and Résurgence.
See the page with these names for more information.
The lines of this instrument are inspired by the Art Nouveau style.
Table and back are in Italian wood.
This violin is the brother of Quintessence, Serpentaire, Florilège and Résurgence.
The following text applies to all of them.
Building the various violins among which “Ouroboros”; illustration by Dominique BROCA.
This type of violin expresser continuity and introduces simplicity of shapes.
Its features answer the acoustic needs and the technique of the musician.
The purified lines keep the intrinsic nature of the instrument. This simplicity demonstrated the possibilities for this kind of violin to be intellectually accessible for everybody. The design introduced in this violin shape, gave the possibility for the violin maker to reproduce it easily.
However, the violin maker gives a distinctive mark to each of the instruments in this line.
The back of the instruments are made of “ Pioppo Nostrano”, i.e. extraordinary Italian poplar from the Po plain.
These violins keep several features of violin “Structure”. Each instrument has a different head, but the same positioning for the pegs, three on the left and one the right. Except for the “Quintessence” violin.
The carvings on the higher part of the back of the instruments, are all different and display the symbol for the name of the violin.
The Ouroboros symbol is chiselled in the wood of the first violin of the series. It represents a snake biting its own tail. With this mythological reference, Gauthier LOUPPE points to the lack of creativity in the stringed-instrument trade. The snake biting its own tail pictures a circle, an eternal restarting, or turning round in circles. Not only has the stringed-instrument trade evolved little in five centuries, but moreover, present-day violin makers carry out true copies of old instruments, including the wear and tear of centuries. Besides, clients and musicians also seem to show an obstinate taste for the traditional look. This is why Gauthier LOUPPE derisively applied an ageing technique are the otherwise contemporary design of the “Ouroboros” violin.
The outset of a series of five instruments Ouroboros, Quintessence, Serpentaire, Florilège, Résurgence.
2.
Part of the cello
At the end of the realization of the “Contemporary” violin, a new project arose in his mind.
Gauthier LOUPPE had a dream: creating a contemporary art string-quartet, significant of his philosophy.
Nature, a source of inspiration.
The SPES Foundation in Brussels made it possible for the violin-maker to make his dream come true. The substantial prize he was granted enabled’ him to devote himself entirely to this task.
A quartet is composed of two violins, a viola and a violoncello. With such a set, we can see that the shapes designed by the violin-maker are interesting for the viola and the violoncello as well. The quartet regards the violin-maker, the composer and the musician to the same degree.
After more than forty years of life-experience, twenty years of professional practice and ten years of research, this innovating quartet is an accomplishment of maturity. This instrumental unit is built out of the wood of one tree, according to the same pattern, in the same style, in the same spirit and covered with the same varnish. The purpose of all this being a balanced sound and harmony among the instruments. These particulars make the quartet up as one single work of art, the parts of which are indissociable.
Similar sculptures for the 4 heads
Outlines of the two violins, the viola and the violoncello in wood of the same tree.
Same lines for the four instruments
Table in Spruce of Dolomites
Sculpture
Gauthier LOUPPE plays the “Phénix” violoncello accompanied by his daughter Elise at the piano.
Mr. Taki ATSUMI
Chairman of the seventh American Cello Congress
The five-stringed violin played by Jenny SPANOGHE.
Compositions written by Jan Van LANDEGHEM (Belgium) and Maestro LUPPI (Italy).
For the history of this instrument, do not hesitate to contact the Master violin-maker; he is ready to answer all questions on the interactions between the violin-maker, the composer and the musician.
e-mail – Gauthier.louppe@skynet.be
Lengthened fingerboard allowing 5 octaves and a half for the instrument.
The bottom of the instrument is carried out in “Pioppo nostrano”, an extraordinary Italian poplar from the plain of the PO; (north Italy).
The button symbolizes quintessence.
Each creation displays a unique head.
This creation conveys two new elements. A step further in the evolution, though the basic model remains the same as in the two previous works, since it was studied for the quality of the sound and the violinistic technique. The artistic aspect of the realisation is also challenging: the lines of the carvings lead our eyes all around the instrument, as it was the case for “Wind of Freedom”. The violin finished consummate skill in its achievement and is most unusual.
The head, an ergonomic sculpture.
All the pegs are easily reached by the left hand.
Two concepts are to be found in the head and the bottom of the instrument. The pegs are arranged irregularly around the head. They are directed so as to be easily accessible for the left hand. This carving beautifully crowns the top of the instrument, which, despite being a tool, is a thing of beauty. As for the bottom, a outlet has been cut in back. This third outlet, carved in a spot nobody ever thought of, enhances the radiance of the sound production.
Third outlet in the back of the corpus.
This instrument continues the trend of the “Saphir” violin. The concept of the third outlet raises new questions and further investigation regarding the outlets or the f-holes.
Can the violin be opened by more than the existing holes, the so-called F-holes?
How wide can they be?
Can we benefit from the internal vibration of the violin?
Open ribs and closed ribs.
This investigation led to the creation of a new instrument. The violin’s ribs are completely open. The table and the bottom are connected by an open structure. This technique is based on architectural principles applied in metal frames and construction works. This design makes it possible to keep strength and functional rigidity, leaving as open as possible.
It makes the inside of the instrument readily accessible and visible.
However, the acoustic result was catastrophic. The openings being too important, internal resonance was lost. Sound was of poor quality.
To return the instrument its essential sound quality, the violin-maker closed the ribs, from inside, leaving the external architectural structure visible. The instrument found a warm sonority.
The violin-maker keep part of the concept included in the realization of the head of the violin “Saphir”. Only three pegs remain on the left. The peg for the E string is on the right.
Practical solution for the positioning of the pegs.
After the “Contemporary Violin”, the violin-maker wished to build a “symbolic “ violin. This research was not carried out completely and was stopped after making the pattern, the mould, the head and some accessories. Achieving this violin had turned out meaningless to him, because another project germinated. Although the “symbolic” violin didn’t go beyond an embryonic and intellectual stage, it was a necessary step to the further evolution of Gauthier LOUPPE’s work.
Only the head of this instrument was carried out, made of maple, ebony and ivory.
Violin “Wind of Freedom” 1997-1998.
The name of this violin refers to the wind as a symbol of freedom. It emphasizes the freedom with which Gauthier LOUPPE realized this instrument. It is already regarded as a masterpiece by musicians for the sound it can produce, as well as by violin-makers who appreciate the technical expertise of this “crazy” realisation as much as its beauty, quality and creativity.
Illustration of the table and the back of violin “Wind of Freedom” .
Published in the book “BAS 3” and in the “ Dictionnaire de signatures de plasticiens Belges”.
This creation combines several disciplines:
the stringed-instrument trade ( the technical skills)
Art (inspiration)
Science (knowledge)
Music (sound and violonistic technique)
Philosophy (the reasoning behind the process)
Ribs of the instrument and the profiles of the head.
This violin is not an ordinary working tool. It is more fragile than the usual violin and should be handled delicately. If the author had chosen to produce a merely functional instrument, he would have carried out a design violin. The great difference being that “design” simplifies lines and shapes, whereas in this one, the lines are complex.
Other lines, other perceptions of the ribs.
The violin-maker underlines this:
“This realisation is probably an image of myself. Some people told me they saw a complicated, tortured, passionate being in it. I’d rather see someone in a liberating process, who can release his imagination completely and has the means to get where he wants to. Life is not simple, an artist expresses himself by his art and perhaps this very expression has therapeutic effects. Like DALI, I would say: “The great difference between an insane person and me, is that am not insane!”.
Some say this violin is even crazier than the previous one. But what is craziness? Isn’t it more foolish to follow restrictive conventions when all you want is breaking out?
Erasmus’ “Praise of Folly”, though written 500 years ago, is still up-to-date.
To carry out crazy projects in art, you need the abilities. This means technique, skill and keen work. Art is not innate, it is made up of 5% of talent and 95% of hard labour.
A work is never finished: it is the fruit of a previous research and the foundation for future achievements.”
A book was published on this subject, “Quelle forme nouvelle pour le violon?” (new shapes for the violin ?) editions: Les Amis de la Musique, SPA, Belgium, 1995.
This instrument responds to several questions:
Must the violin have a traditional shape to sound well?
Is it imperative for a violin to be symmetrical, whereas its inner structure is not?
STRADIVARI, who lived in the Baroque period, naturally made Baroque instruments for the Baroque music. Why couldn’t the present-day violin-maker do the same , applying to his time?
Can stringed instrument making partake in contemporary art?
Bearing these considerations in mind, the violin-maker addressed himself to the creation of the instrument called “Violon Contemporain”. The development of this realization lasted four years. The artistic aspect of the project was possible thanks to Daniel SERET, an abstract painter, who helped the violin-maker to edge away from his traditional training and culture, and introduced him to contemporary art.
Three new concepts:
Asymmetry between the left and right part of the corpus, and asymmetry between the back and the table.
Opposition between straight lines and curves.
Torsion in the ribs and sculptures.
The “Contemporary Violin”, displayed for the fist time to the public in 1995, was and remains a revolution. It was awarded in Paris by the International Academy of Fine Art, and in 1996, Gauthier LOUPPE was awarded prize winner of the JAUMIN Foundation for Sciences, the Letters and Arts in WALLONIA.
Composer Claude LEDOUX, from LIEGE, composed a work for this instrument. It was played for the first time at the Cultural Centre of Marche-en-Famenne. The sound-qualities of the violin were highlighted. An exhibition was organized in collaboration with the Instrumental Museum of Brussels and the International School of Stringed-instrument trade of Cremona, Italy.
The event was widely commented on by the media. (T.V., radio, newspapers)
The violin was shown and presented many times in Belgium, France, Italy and Canada.
Claude LEDOUX – Composer- Belgium – 6 June 2000 , part 1
Claude LEDOUX – Composer- Belgium – 6 June 2000 , part 2
Jenny SPANOGHE – Violinist – Uldenberg- 30 June 2000 – Part 1
Jenny SPANOGHE – Violinist – Uldenberg- 30 June 2000 – Part 2
Master Violin-Maker Giorgio SCOLARI Cremona – 6 July 2000
Jean-Jacques PAGES – President of the G.L.A.A.F. – Mirecourt , 10 July 2000
Andre VAN LAETHEM – Brussels – 8 September , 2000
Arts Centre “les CHIROUX” – Liege – Belgium – 8 September 2000
National School of Stringed Instrument trade – Quebec – CANADA , 11 September 2000.
Jacques LEDUC – Vice-Chancellor of the musical vault Queen Elizabeth – 14 September 2000
Belgian Museum of Radiology – Brussels – 23 September 2000
Museum of Musical Instruments – Brussels- 25 September 2000.
Articles published in “Le Monde de la Musique” , “The Time Magazine”, « Point de Vue », « Le Soir », « La Libre Belgique », « Le Vif- L’Express », «La Meuse », L’Avenir du Luxembourg », Luxembourg Tourisme » , and many others.
We will mention only some of the last published articles.
Guillemin Article
Luxembourg Tourisme article
Point de vue article
Wallonie- Brussels article part 1
Wallonie- Brussels article part 2
Wallonie- Brussels article part 3
This talented illustrator of reputation, has had a prolific career. He worked for many private and public companies and also for violin-maker Gauthier LOUPPE. You can visit his site.
Here is a series of illustrations he realized for Gauthier LOUPPE, and in particular for the elaboration of the new folder.
The relations between violin-maker, composer and musician constitute a significant triad. The work of the one interacting with that of the others. Too often, though, they all work their own way, so that they can’t enjoy the benefits that may arise from a fruitful collaboration between them.
Composer Claude LEDOUX having seen and heard the “Contemporary violin”, composed a work for it.
It was played at the opening of the exhibition at the Cultural Centre of Marche-en-Famenne in 1995. This work has been recorded and published on a C.D. . Jenny SPANOGHE played violin “Wind of Freedom”, Jean-Claude VANDEN EYNDE played at the piano. All the composers on this C.D. are Belgians: Cesar FRANCK, Elias GISTELINCK, Claude LEDOUX, Jacques LEDUC, Vic LELEY and Marcel POOT.
We can not speak about music and the stringed-instrument trade without a sound illustration. The work of violin-maker is very unusual and needs sound illustration since the sound quality of the instruments has always been his prime concern. Concerts are also essential to introduce Belgian composers as well as interpreters. There we find all the importance of the relational triad between violin-maker, composer and musician.
Different interpreters are very interested by violin maker Gauthier LOUPPE’s thinking and work.
Diversity in musical styles brings about additional cultural interest. They can vary from Baroque music to jazz, passing through classical music, symphonic or chamber music, traditional music and contemporary works.
Some quartets (musicians) are interested by the new instruments of the “Phénix” quartet.
Jenny SPANOGHE recorded a C.D. with editor René GAILLY interpreting works of Belgian composers on violin “Wind of Freedom”.
She had already played this violin in previous concerts, such as at the Musical Instruments Museum (M.I.M.) in Brussels. The artist also played violin “Quintessence” built by Gauthier LOUPPE.
Jenny SPANOGHE playing violin “Wind of Freedom” at the museum of Musical Instruments, Brussels, 2002.
A young virtuoso from Bordeaux, Guillaume DEVIN, who played violin “Wind of Freedom” in highly technical works at different concerts in France, wishes to continue.
Boris BELKIN, a violinist of international reputation, regularly calls at the violin maker’s workshop in Liège for he knows and appreciates Gauthier LOUPPE’s unusual pursuit. Having tried out several instruments of the violin-maker, the virtuoso agreed to use a LOUPPE contemporary violin during concerts performe on the occasion of a serus of cultural events. He thought of two musical groups, either the Liège Philharmonic Orchestra, or a group for chamber music accompanied by pianist Jean-Claude VANDEN EYNDEN.
The violinist BALANESCU, first violin of the quartet of the same name, visited the workshop of the violin maker in order to discover some of his instruments and play them. He is very interested in the possibility of interpreting his own creations on one of Louppe’s violins.
Gauthier LOUPPE gives many lectures, on various occasions.
U.S.A. : at the “7th American Cello Congress” which was held in Phoenix.
Canada: During a training course that Gauthier LOUPPE gave at the National School of Stringed-instrument trade of Quebec.
France: At the thirtieth anniversary of the School of stringed-instrument trade of Mirecourt.
Belgium: at the M.I.M. (Museum of Musical Instruments) in Brussels; the Museum of Radiology, in Brussels, at Services Clubs such as: Rotary drill, Lion’s Club, Kiwanis, Fifty-one, and other circles. During exhibitions and rewards, and this in a great many Belgian towns, such as Ostend, Arlon, Liège and Mons.
He presents his trade as it is currently and sketches out his daily tasks. Thereafter he speaks about his artistic and acoustic research of new shapes for the violin. This takes us far from the beaten tracks and may reach philosophical considerations.
Titles and Contents of the Lectures:
The stringed-instrument trade, an unfamiliar, even unknown arts craft. It deals with the training of string-instrument makers, the technique of manufacturing violins, the restoration of the string-instruments, the occurrence of parasites and damage. It is a scientific and technical approach.
“Art in the stringed-instrument trade: utopia or reality?” History and critical approach of the research in the XIXth and XXth centuries, leading to the examination of the violin-maker’s own research and creations. Challenges and questions.
“Applications of radiology to the stringed-instrument trade” Research never ends. A surgeon friend opens the doors of his hospital to the violin maker. This contribution makes it possible to discover the relation between the human body and the violin, the relation between medicine and the stringed-instrument trade. But also the terminology, professional training and surprising applications of radiology to the stringed-instrument trade.
Large screen projections of the presented works (M.I.M. Brussels)
Presenting this unusual, even unknown craft, seems essential to us.
Presentation of the stringed-instrument trade as it is today.
The building technique of a traditional violin interests many people. This is shown in a didactic exhibition. It is conceived to be within the reach of all, even children. The varius stages are presented by real parts according to the multiple phases of the manufacture of a violin. The whole is supported by short explanatory texts and illustrated by photographs of the violin maker at work.
A window displays tools and preliminary shapes.
A second window shows a significant part of the job of the violin maker: restoration. Various parts of instruments in the process of restoration as well as tools used in this task are displayed.
The presentation gives more insight in the building technique of the instruments of the string quartet and the difficulties of the trade.
A guided tour gives the visitor a privileged and personal contact with representatives of the world of the music.
Visits are adapted to every public, from elementary education to Academies of music and Royal Academies. The comments are intended for students of all ages, and their teachers. Visits are accessible to individuals as well as groups.
Guiding can be taken care of by the “Musical Youths” organization. This event many lead to dynamic activities such as workshops for musical or instrument approach, creation of instruments on the basis of existing material, whether natural or recycled, etc.
If you wish to rent the exhibition, click here.
Another painter, Jef SEYNAEVE is interested. He painted various stages in the violin-maker’s pursuit. They are symbolized by three portraits: one accompanied by a lute, representing the past, one with the violin “Saphir” picturing the present day, one with the violoncello of the “Phénix” quartet expressing the violin maker’s dream for the future and the originality of his pursuit.
Another artist, graphic designer Dominique BROCA is also connected to the violin maker’s carrier: he painted several pastel illustrations. (See pictures in the new folder in “Topicality”)
Other painters could join this trend, and bring their personal vision on the interaction between different artistic disciplines in connection to the world of music.
Many documents on to the life, research and creations of violin maker Gauthier LOUPPE.
Owing to the cultural interest of Mr. Louppe’s work, various films, both video and 16 millimetres, were produced. These reports were carried out by televisions, such as ARTE, TV 5, R.T.B.F., R.T.L., R.T.C. Liège, Télé Lux, by the I.A.D., …..
« Le luthier de Marenne » (20’) 16mm.
Documentary realized in the violin maker’s workshop. It shows the construction of violins and the violin-maker’s considerations in the process. One part is well documented on the history of the classical violin.
« Mémoire au Pays de Liège » ( 12’) TV.
Report realized by Willy LESSURE for the R.T.C.Liège (television). It presents the violin maker’s philosophy, his evolution and how the features of his first modern violin, the so-called “Contemporary violin” originated.
Violinist Emmanuel KOCH played this instrument. He also comments on the facility of playing the violin and the quality of the sound.
“Quatuor pour un atome” (8’) I.A.D.
Realizer Fabien GAUDISSART comes from the Institute of Arts of Diffusion (I.A.D.) from Louvain-la-Neuve. This film is a little marvel, filled with sensitivity, subtleties and modernity, it is about the interrelation between the violin maker, the composer and the musician, with violin “Vent de Liberté” (Wind of freedom) as focal point.
Gauthier LOUPPE
Violin maker
Claude LEDOUX
Composer
Jenny Spanoghe
Musician
Xavier Keyser
Acoustician
- « Marking Works of Art »
Report carried out by RTL-TVI I, at the workshop of the violin maker in Liège, with the collaboration of company ART SECURITY of Brussels.
“Portrait sans paroles” (3h.- in two parts) production for Music 3 radio operator R.T.B.F.
-“C’est fabriqué près de chez vous” (10’) Made by the R.T.B.F.
Sculptures
Restoration.
Repairing and restoring instruments take up an important share in the professional life of the violin-maker. It is often thanks to his previous restoration works and hearsay that he can make a living. Many people keep instruments in their attics or cellars without knowing their value. They have no idea how much it would cost to put them in working order or to use them as on ornament.
Instruments may also be damaged accidentally and are submitted to the wear and tear inherent to their use.
Contact the violin-maker for any expert appraisement or analysis of an instrument.
He is in the best position and most qualified to advise you in your choices.
This exhibition also includes a scientific part. It shows how much scientific knowledge and handi-craft are connected. It presents several fields in wich research is performed, such as radiology and acoustics. These techniques are too rarely used in the stringed-instrument trade.
Gauthier LOUPPE lecturing at the Museum of Radiology in Brussels.
If it is important to be accessible to all, it is equally important for the various specialists to share their knowledge with each other. This approach is most unusual in the stringed-instrument trade.
Science and technique:
Gauthier LOUPPE’s research also includes a scientific part. During exhibitions he shows how much scientific knowledge and handicraft are connected. He presents several fields in which research is performed, such as radiology and acoustics. These techniques are too rarely used in the stringed-instrument trade.
Gauthier LOUPPE lecturing at the Museum of Radiology in Brussels.
If it is important to be accessible to all; it is equally important for the various specialists to share their knowledge among each other. This approach is most unusual in the stringed-instrument trade.
We spoke about the technique of building instruments. Here, we refer to analytical techniques. The acoustic study was carried out at the University of Liège, it presents various graphs showing sounds and harmonics.
The radiological analysis of the instruments of the quartet was carried out in various establishments such as a hospital in Ostend, the Vlaamse University Brussel (V.U.B.) and the Institut Royal du Patrimoine Artistique (I.R.P.A.) in Brussels.
We can discover radiographic pictures of various violins, violas and cellos.
Other radiographies disclose the normaly invisible interior of new violins created by violin maker Gauthier LOUPPE. Other techniques are presented, such as: endoscopy, scanner, as well as tree-dimensional computer-assisted reconstruction.