Christopher Dungey Gives Cellos Their Voice
Originally published in the Fall 2020 issue of SPOKE+BLOSSOM
With fastidious craftsmanship, award-winning Christopher Dungey has been creating custom-made cellos for 40 years. He follows the history and traditions established hundreds of years ago by great makers such as Montagnana, Goffriller and Stradivarius.
Photos by Melanie Wiseman
“They made very viable instruments that haven’t been tinkered with much over time,” Dungey says. “I’m trying to replicate what they did — their approach, what they were thinking, why they sculpted it this way or picked the wood they did.”
Over 400 hours go into creating each cello with meticulous detail, perfecting the critical feature a cellist is looking for — the cello’s “voice.” As every cellist has a unique voice, so does every cello.
“From maple to spruce and ebony, each piece of wood has its own working properties and characteristics that, once assembled, will dictate what that instrument’s voice will sound like,” explains Dungey.
Dungey’s customers range from national and international professional principal cellists, semi-professional advanced conservatory students and very advanced, keen amateur cellists.
“I have to pinch myself when I hear them play,” adds Dungey.
Following the completion of the downtown Grand Junction Avalon Theatre’s renovation in 2013, Dungey sat in the audience of its inaugural concert brimming with pride. On stage was internationally renowned cellist Lynn Harrell playing a cello Dungey made.
Complete collaboration and communication between Dungey and players at every part of the process secures a mutual respect and seamless fit between the player and instrument. Dungey consults with each client before the creative process begins to form a picture of the future cello and instrument expectations. All cellos are specially made to fit a specific person.
“Part of creating a custom cello is ensuring it’s the right size for the player and fits them ergonomically,” Dungey explains. “Once that decision is made, I look at the wood combination I should use to achieve the voice they requested.”
Then, the hundreds of precision steps begin. After many months, completion comes to fruition, and Dungey arranges to meet the client in person. Whether it’s the players’ location, Dungey’s shaded, backyard, Grand Junction workshop or somewhere in between, he has a strong preference to exchange the cello in person, rather than through shipping. Although clients have seven days to return their custom-made cello, all 122 cellos have stayed in their forever homes.
The relationship between Dungey and the player does not end here. There’s follow-up, reconnecting, fine-tuning and adjustments.
“I’m not interested in just making a cello and then letting you run wild,” says Dungey. “I want to maintain a relationship with you and your instrument to ensure that you’re happy for years to come.”
One simple truth has followed Dungey throughout his career. Every cello he has ever made carries wood from a select few trees he cut down with his own two hands, illustrating his attention to detail.
His own professional playing background also gives Dungey an uncommon understanding of the unique relationship between player and instrument. Music was the center of his life growing up in Medford, Oregon. He graduated from the University of Oregon with a degree in Bass Performance.
A couple trips to a string instrument repair shop in Seattle changed the course of his career. He was fascinated by what he saw and was already comfortable working with his hands in his dad’s workshop. Dungey attended England’s prestigious Newark School of Violin Making and transitioned into making cellos after repairing and restoring instruments in London, then Los Angeles.
“After school, I found my training and background as a player had brought me full circle,” adds Dungey. “I have customers who come to me specifically, because they know I understand how a cello is supposed to sound, how it’s supposed to be played and how to put all the parts together to make a top flight, clean sounding instrument.”
Dungey travels around the world to continue his education and has attended the Oberlin Acoustics Workshop for almost two decades to enrich his technological understanding. He plays bass in the Grand Junction Symphony Orchestra and is moving forward on his personal quest of building a custom bass for himself.
A $50,000-$60,000 price tag may sound steep until you grasp the complexity and love that goes into each cello — and is far cheaper by comparison to Stradivarius cellos starting at $10 million.
“Fewer than five percent of people are doing what they are really passionate about,” Dungey claims. “I have the best job in the world and have no intention of stopping.”