The uniqueness of bow making
- Francisco has been making bows since the late 1970s
- He is a pioneer in his field in Spain
- His mentor was Giovanni Lucchi
Born in Mexico in 1957 and based in Madrid since 1983, Francisco González Espinosa is a specialist in the construction, restoration and repair of all types of bows. The quality of his work lies in representing the finest tradition of Cremona—where he obtained his diploma from his mentor, Giovanni Lucchi—and in being a higher diploma holder in cello playing. This gives him the sensitivity and knowledge of sound production both from the bow and from the instrument. "My sources of inspiration are mainly bows from 19th-century masters, predominantly French and German," says Francisco. "A well-made piece is very complex. It must be comfortable, well-balanced, strong yet pliable, agile but with character, and visually appealing." Francisco has received numerous awards and recognitions for his workshop's work. "I mainly work on modern bows for violin, viola, cello, and double bass," he confirms.
Discover his work
INTERVIEW
I began working with instruments in Mexico around 1975, under the direction of my father, who was a violinist and luthier. Under his guidance, I performed countless repairs as well as built two violas and a cello.
I wanted to work with instruments but also needed something that would allow me to continue my cello studies. That is why I decided to take a bow-making course instead of joining an instrument-making school.
I was the first specialised bow maker to establish himself in Spain, and this made many musicians aware of my craft and its importance. Unfortunately, even after more than 40 years of work some musicians remain unaware of this specialism.
The way to construct a bow is completely different from making a violin. They are two entirely different techniques. A bow maker works with tropical woods, metal such as nickel silver, silver, and gold, as well as animal items such as elephant ivory, mammoth ivory, animal skin and horsehair.
