Barak Norman

History

Barak Norman was a prominent English instrument maker. Sources contain conflicting information regarding his life dates: John Dilworth states 1651-1724, while Cecie Stainer indicates 1688-1740. He was apprenticed to W. Harding from 1668 to 1675, according to John Dilworth. Norman was active in Bishopsgate, London, from 1689 and established his workshop in St Paul's Churchyard from 1692, operating at the sign of 'the Bass Viol'. He was assisted by Nathaniel Cross from approximately 1713. After Norman's death, his shop was continued by his widow, Elizabeth. He was established as the leading viol maker of his time, and from about 1700, he also began to produce violins, violas, and cellos of comparable quality. According to George Hart, during his early years, he was much esteemed as a maker of Viols, many of which show careful work. Around 1715, Barak Norman entered into a partnership with Nathaniel Cross, carrying on their joint business at 'the Bass Viol' in St. Paul's Churchyard. George Hart and Cecie Stainer suggest that Norman was the first English maker of the violoncello, as all endeavors to discover any existing English violoncello or record of one anterior to him have failed.

Craft

• Construction: In his instruments of the violin family, the ribs are generally set into a slot cut in the inner edge of the back, a method used by violin makers throughout northern Europe during this period.
• Decoration: Many of his instruments feature a lavish monogram, 'BN' reflected symmetrically, rendered in purfling on the front or back. His viols carry much of the formal decoration characteristic of that instrument. Cecie Stainer notes that he sometimes used double purfling and ornamental devices, such as the 'clover-leaf' design on his violoncellos. Willibald Leo Lütgendorff mentions that besides his label, his monogram is sometimes found on the outside of the back.
• Materials & Varnish: His viols typically have a pale golden-brown varnish. Instruments of the violin family are generally plain, using modest materials and a thin, intensely colored red varnish. George Hart notes that all the violoncellos of Barak Norman have bellies of splendid quality, with modeling executed skillfully and due care observed in leaving sufficient wood. Willibald Leo Lütgendorff states that he chose fine wood and that the varnish is good, though somewhat dark. Cecie Stainer describes the varnish on his violoncellos as dark and his tenors as having very dark varnish.
• Design Elements: The scrolls tend to be rather large but delicately cut with a slender chamfer. The soundholes are open and widely set, with an Amati form. George Hart describes his tenors as having a higher build and sound-holes of German character. Willibald Leo Lütgendorff notes that the F-holes in his altviolen still show the old snake form.
• Workmanship: Willibald Leo Lütgendorff states that Norman insisted that only the works he made alone bore his name, or he explicitly noted which parts originated from him.

Influence

• Apprenticeship: According to John Dilworth, Barak Norman was apprenticed to W. Harding.
• Mentorship: William Meredith Morris, George Hart, Cecie Stainer, and Willibald Leo Lütgendorff suggest he was probably a pupil of Thomas Urquhart. George Hart notes that judging from the character of his work, it is very probable he learned from Thomas Urquhart, an opinion strengthened by examining his earliest instruments, which show the same peculiarities that mark Urquhart's individuality. Cecie Stainer also observes that his earlier work had much the same appearance as that of Urquhart.
• Stylistic Influences: Later in life, he leaned much to the model of Maggini, copying these makers in nearly all his violoncellos, as noted by George Hart. Cecie Stainer also mentions that he copied G. P. Maggini to some extent. Willibald Leo Lütgendorff observes that his violin instruments have some kinship with those of the Brescian school.

Legacy

• Preserved Instruments: Very well preserved viols by Barak Norman are held in the collections of the Royal College of Music and the Horniman Museum (London), Longford Castle (Salisbury, UK), the Musée de la Musique (Paris), and the National Music Museum (Vermilion, USA).
• Exhibitions: Three bass-viols were exhibited at the South Kensington Museum in 1872.
• Museum Collections: A bass viola by Norman is likely in the Paris Conservatorium (No. 173), and a carefully crafted, beautifully inlaid Viola da Gamba is in Berlin, kgl. Samml. No. 826, as noted by Willibald Leo Lütgendorff.
• Historical Value: Cecie Stainer mentions that one of his violoncellos, made in 1718, was valued at 15 guineas in 1790, with prices now higher.

Further Information

• Labels: Examples of his manuscript labels include: 'Barak Norman / At the Bass viol in / St Pauls Churchyard / London 1711'; 'Barak Norman at the Bass Viol / in St. Paul's Alley / London. Fecit 1706'; 'Barak Norman at the Bass Violin / in St. Paul's Church-yd. / London. Fecit 1723'; and 'Barak Norman and Nathaniel Cross / at the Bass Viol in St. Paul's Church Yard. London. Fecit 1724'.
• Markings: He marked his instruments with his name enclosed in a design of purfling or with the monogram 'N. B.' in purfling, sometimes under the wide part of the finger-board or in the center of the back.
• Instrument Dimensions: Cecie Stainer notes that his violoncellos are of large size, and his tenors are generally large size.
• Collaborative Work: In a viola da gamba, a label in the handwriting of Nathaniel Cross was found, stating, 'Nathaniel Cross wrought my back and belly', with the sides and scroll being the work of Norman.

Summary

Barak Norman was a highly influential English instrument maker, active from the late 17th to early 18th centuries, though sources conflict on his exact life dates. Apprenticed to W. Harding and likely a pupil of Thomas Urquhart, he established his workshop in St Paul's Churchyard at 'the Bass Viol'. Initially renowned as a leading viol maker, he later expanded to produce high-quality violins, violas, and violoncellos, with some historians crediting him as the first English maker of the violoncello. His craftsmanship is characterized by features such as ribs set into the back, lavish purfled monograms ('BN' or 'N. B.'), and a preference for the Maggini model in his later work. His instruments, particularly his viols, are well-preserved in prominent museum collections worldwide, underscoring his significant legacy in English instrument making.