Enrico Ceruti Double Bass, Cremona, 1852

My wonderful Double Bass comes from Cremona, Italy, and completes a trilogy of great bass making from the Ceruti family. The father was Giovanni Battista Ceruti (G. B. Ceruti); the son, Giuseppe Ceruti (Joseph Ceruti); and the grand- son, Riccardo Fabio Ceruti (Enrico Ceruti).

Riccardo Fabio Ceruti was born in 1806 and died in 1883. He was nicknamed "Enrico" and some of his original labels bear the monogram "R. F. C." or "E. F. C." Enrico was a bassist as well as a violin and bass maker. In Duane Rosengard's excellent book, ''Contrabassi Cremonesi'', he writes: "Enrico was also a professional double bass player, and a member of the Philharmonic Society of Cremona in the 1840s. He is recorded in the City Directory as a musician in the years 1844-1847 and again in 1858 as 'contrabasso al cembalo' or 'principal bassist."

My instrument's design is a flat- back model, derived from a model made by his father, Joseph. The C-bouts are quite similar on both models, but the upper and lower bouts of Enrico's bass were made smaller (almost a cut-down version, yet without altering an original maker's work). The f-holes could be from the same pattern as his father's bass, but appear to be cut by a different hand since they are more open and rounded. The wings of the upper eyes are cut more squared-off, and are reminis- cent of Nicolo Bergonzi (Enrico's predeces- sor some 70 years early in Cremona). The aperture on Enrico's bass is smaller, placing the f-holes closer together. The top is made of two pieces of spruce with wings added in the flanks. The grain in the center is fine, moving to wider in the flanks, similar to violin wood.

Duane Rosengard indicated that the back and ribs are from the same tree as used by his father, which is of maple native to the Lombardy region of Italy. Although the wood does not have a stunning flame throughout, its acoustical properties are quite exceptional. Visually, the wood appears more common like willow cut on the slab, but slightly more solid in structure than willow. Enrico's scroll is a longer design than Joseph's and appears more slender, leaving more length in the peg box. The varnish is a deep golden brown color.

Along with the instrument is a letter from John & Arthur Beare confirming the instrument is the genuine work of Enrico Ceruti. The instrument possesses great depth of sound, clarity, and the ability to soar above an orchestra in a solo situation without forcing to produce the desired effects. As a maker and a performer, Enrico Ceruti was able to learn from his grandfather and father about how to make not only a beautiful double bass, but also a "magnificent partner to making music."