Gaspar Borchardt is a highly considered professional violinmaker. He was born in Germany in 1961 and moved to Cremona in 1984, where he attended the violinmaking school; he got his school leaving certificate and especially followed the courses held by master Alessandro Crillovi. He has been working together with his wife Sibylle Fehr since 1990. Their workshop is at number 11 of Piazza Zaccaria, a small square opposite Cremona Cathedral. His production is characterised by a remarkable attention towards details; Gaspar makes his violins , violas and cellos following the “classical Cremonese method”, but using his own moulds. Moreover, he is very keen on music (he has been playing the violin for some years) and is a demanding researcher. We carried out our 11th acoustic test on a viola model Andrea Guarneri made in 2012 in a different and original way. On this occasion, maestro Wim Janssen played Borchardt's instrument in two separate sessions: The first one took place mid- May before varnishing and the second one a few months after varnishing. It was a really interesting event; Gaspar has always been very competent, serious and professional; he wanted to effect this test so as to understand all the acoustic potentialities of his viola.. As a matter of fact, he is convinced that it is extremely useful to hear “white” instruments (before being varnished), as at this stage it is still possible to make some technical changes , thus improving the acoustic outcome if necessary. His main objective is to reach a better structured and an increasingly more refined sound. To make the viola Borchardt used spruce from Fiemme Valley for the table ; this wood was kept in ”stream” for 5 months. The one-piece back consists of seasoned maple wood coming from Bosnia, the pegs are in blackthorn and the side chinrest, made by Gaspar himself, is in strong and light Cremonese prune wood. During the recording, the acoustic peculiarities of the instrument stood out immediately; moreover, the varnish has not only an aesthetic function, but also a protective one. The viola after Andrea Amati model and made personal by Borchardt even before varnishing, was extrordinarily rich of harmonics, powerful and dynamic, very refined and easy to use, endowed with a clean timbre. The slightly antiqued varnish contributed to the aesthetic qualities of the instrument, without altering the remarkable original characteristics. Wim Janssen was very satisfied with the sound; even if that evening he was suffering from a painful shoulder, he played different pieces by Bach which highlighted especially in the last recording, the exceptional features of the viola. All in all, the Dutch musician greatly appreciated the acoustic qualities of the instrument. You can here its SOUND now.