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Cellos by Robin Aitchison

• Guadagnini model - an introduction
• Montagnana model - interview with Stephen Orton
• Feedback from owners of Robin's cellos

for a video of Stephen playing his Montagnana copy see Video Gallery

Guadagnini model

Robin has been making successful copies of a 1755 Guadagnini cello for some years, thanks to the generosity of its owner who has given him extensive access to the original instrument. Through careful wood selection and intensive study of the original's arching, thicknessing and varnish, Robin’s copies come very close to re-creating the distinctive tone and appearance of the original instrument.

(From left to right: the original 1755 Guadagnini cello
alongside three of Robin's copies.

Guadagnini made cellos with a back length of just 711mm. Whilst his cellos are played by a number of soloists including David Geringas, Pieter Wispelwey and Natalie Clein, some players find them excessively small. To accommodate taller cellists, Robin makes a slightly enlarged version with a back length of 730mm, as well as the 711mm model.

The original instrument has a fiery orange varnish and Robin has been able to reproduce this colour in his instruments to great satisfaction. All Robin’s instruments are antiqued and patinated to closely resemble the original. If you would like more information about Robin's Guadagnini copies please contact us. You might also like to read G.B. Guadagnini - his life and cello making in our Articles section.

Montagana model

Based on the work of Domenico Montagnana circa 1740.
Length of back: 29⅛" (739mm) String length: 27½" (693mm)

Montagnana copy made in 2000

Stephen Orton interview

'By the time I first met Robin in the spring of 2008 I had been unhappy with my own instrument for some years and had been borrowing a series of distinguished cellos including a Vuillaume. I had been very impressed by my colleague John Heley’s David Rubio cello which Robin had recently worked on, so at John’s suggestion I came to see Robin to try to get my own cello working better. I also decided to try some cellos and played about five instruments during my first visit to Robin’s workshop, including a Montagnana copy by Robin which was incredibly free in its response and offered so much that I was looking for in an instrument. I am principal cellist with the Academy of St Martin’s in the Fields so I play mostly chamber music, either in the orchestra or in the chamber ensemble but I also guest lead in the Philharmonia and the LSO. As a principal cellist you need to make a big sound on the A string and you also need a very good bass; I found that Robin’s Montagnana copy had all of these qualities so I took it away to try it. After a few weeks, during which time Robin fitted a different bridge to free the response and I found my ideal combination of strings, I decided to buy it.

I have played Robin's cello ever since and I love it. I have already taken it on several tours to hot and dry climates and I feel very confident wherever I am and always enjoy playing it. Being a new instrument it is not fragile but I look after it just as carefully as if it was a delicate antique; it has a seat next to me on the plane and very rarely does it go out of my sight on tour unless it’s in a heavy flight case and being looked after by experienced tour crew.

I didn’t really expect to find a contemporary instrument that I could live with so happily and feel comfortable with in all situations. Some people might say you need several different instruments for different circumstances but I find this cello works and responds to my needs in all situations, whether in a big orchestral solo or playing really softly. I think the cello has developed during the time I’ve played it; there has been a lot to explore in the cello. What I really love is the freedom the cello gives me. My colleagues all like the instrument and no-one is saying, ‘Steve can you play louder here?’ I am really very happy with it.'

To see a video of Stephen playing his Montagnana copy, visit
Video Gallery.

Stephen Orton has been principal cellist with the Academy of St Martins in the Fields since 1986 and is also a regular guest leader with the LSO and the Philharmonia Orchestra, London. Stephen was formerly principal cello with the Bournemouth Sinfonietta and assistant principal in the English Chamber Orchestra, performing as soloist with both ensembles and he was also a member of the Delme Quartet for 10 years. This year Stephen and his cello will be touring the USA, Germany, Spain and Switzerland with the Academy of St Martins in the Fields.

Feedback from owners of cellos by Robin Aitchison

'I just wanted to say a big thank you to you both for helping me find the perfect cello (Robin's Strad copy) and bow (by Thomas Grünke). I have just graduated with a II:i and received a really good recital mark. I feel that your help, experience and patience in finding me such good tools was one of the key factors in helping me achieve my result.' Oliver Mansfield, owner of a Stradivarius model by Robin

'I'd be glad to let people try my cello, not least because I'm so thoroughly delighted with it! My first audition was a great success, and I've accepted a place to do a postgrad course, scholarship and funding pending. The professor said the cello sounded terrific.'
Alex Barnes, owner of a Stradivarius model cello by Robin

'Thank you for the happiness you bring through your enthusiastic work with cellos.' Owner of Robin's first Guadagnini copy

'I just had the chance to see and to play on a Robin Aitchison cello based on the Guadagnini model. I was so pleased to have the chance to have a close look to this cello which I found fantastic from all points of view.' extract from an email from a professional Italian cellist

I was very impressed with your Guadagnini copy which I preferred to others I have seen (including an original Guadagnini). I very much liked its acoustic potential as well as the woodwork and varnish. Your Guadagnini copy has such richness in detail and your woodwork is of an outstanding quality and comes with an extraordinary lightness. Besides the fact that your cello is a very close copy, you have also completely captured Guadagnini's freedom of design which I have never seen with other Guadagnini copies. Also, your varnish is one of the most beautiful I have ever seen on new instruments: it is wonderfully transparent and balanced in colour and texture. It is obvious how careful and skilled your technique of applying is! Personally, I think it is clever of you to take so much care and to persevere with your Guadagnini model and not changing your model twice a year like other some other violin makers! I'm very happy that you are going to make a cello for me and I will proudly present it in my musical environment! Response of a soloist on first trying a Guadagnini copy. He subsequently commissioned a copy.

'Victoria is overjoyed at being the owner of such a beautiful instrument.' Father of a talented student who plays a Guadagnini copy.

'I have your cello in hand and just want to say that it is exceptional and stunning. Thank you for it, I will be thrilled to offer it!' Prominent USA dealer

'I took out my Robin Aitchison Strad model cello on approval in early March 1011. The cello felt so right in my hands that I was soon in no doubt that I had to buy it. As a veteran cellist with a career of 20 years as an orchestral player and then longer than that as Head of Music in two London schools behind me, my new cello has given my playing a new lease of life. In my palmy days as a player, when I was, principal cello with English National Opera, for over 10 years, I never managed to get the cello I really needed: if only I had had this cello then!

I gave the cello its public debut on Friday 17 June 2011 with the Devas Piano Trio at Bury St Edmunds Cathedral. I have played the Mendelssohn D minor trio many times but it has never felt as good as this with its easy response and rich, vibrant tone.'
John Catlow

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