LUTHIER YUJI KANEKO

LOCATION Matsuyama, Japan

ALL PHOTOS YUJI KANEKO

A peek into lutherie workshops around the world

MY SPACE

After studying and working in Italy for more than a decade, I returned to Japan two years ago to establish a workshop in my home town. With about 510,000 inhabitants, Matsuyama is the most populous city on Shikoku, the smallest of Japan’s main islands. Although there are one or two repairers here, it seems that I’m the first violin maker in Matsuyama.

My atelier is located in a detached house facing the moat of Matsuyama Castle, which dates back to the year 1602. The workshop, which is about 42 sq m, consists of the main space shown here, a varnish room and an acoustic space for testing instruments. The main workshop has a diagonal ceiling with two small skylights, which provide some natural light. I spend most of my working time either at my desk by the south window, which I use for the more delicate tasks, or at my workbench from Mantua, for the rough work.

Unlike many violin makers, I don’t have a toolboard attached to the wall, because I prefer to save all my wall space for posters or pictures, which can help bring a little inspiration to my work. The room I devote exclusively to varnishing is in a separate area, where I can keep it clear of wood dust. The wood seasoning space is in the attic, while my poor bandsaw is relegated to the garage.

Even though I live and work in the centre of the city, I enjoy a beautiful view of the Castle Park. As well as the castle, the Dōgo hot springs, the oldest in Japan and of mythical origin, are undoubtedly the most memorable symbols of our city. The warm climate and the small amount of rainfall bring us a large crop of mandarin oranges every year. I like the layout of my city, with its clear historical central area. It’s not very common in my country, and for me it’s a nostalgic reminder of the medieval cities of Italy.

This plate is typical Tobe ware, the traditional 18th-century blue and white porcelain from Tobe, a city neighbouring Matsuyama. The kilns are still being vigorously fired today.

These are casts from original instruments which Alberto Giordano was so kind to give to me when I worked for him. They all provide me with a continuous source of inspiration.

A page from the 1891 publication L’Italia geografica illustrata shows a surprisingly unchanged view of Cremona, where I lived while I was learning my trade. What a fascinating cityscape!

I made these moulds after Stradivari’s ‘P’ and ‘G’ forms, from teakwood bought at a lumber store in Genoa. I’ve recently been trying out a Guadagnini model as well, which allows for more variety of interpretation.

Right The varnish room is the sunniest place in the house, and the natural lighting helps me keep a close eye on what I’m doing. The violin hanging up is ready for varnishing.

I’ve had this pine bench, which was hand-made by a craftsman, ever since childhood. I still remember the day it arrived 30 years ago, and we’ll certainly be spending a lot of time together for many years to come.