A few days ago I was called to sub in another Orchestra for a 3 concert series for this weekend doing their annual Christmas Show but with a Ballet Company doing 2 pieces from the Nutcracker with the Orchestra (Valse and my favorite the Trepak). My friend who recommended me to the Conductor is currently playing on my English Gilkes. I gave him a choice between bringing the Martini and the Hart (John Hart was the only apprentice of record to Samuel Gilkes 1820-1825) and he chose the Martini for me to play because it's not as loud as the 'room filling' Hart and possibly drown out the Gilkes.
Well I show up a little early Friday evening for a quick rehearsal (the real rehearsal canceled due to bad weather) and looked thru the Music. At that point there were only 2 of us, the 3rd player not yet there so the Conductor suggested I play 2nd (usually I play principal in another Orch. and my buddy beside me is on my right. Tables turned here!..lol).
We do the Rehearsal and the 3rd player finally shows up (was stuck in traffic) and we do the Concert. The Gilkes sounded huge next to me. The Martini smooth, sweet deep and punchy. At the end of the Concert my friend then says; "Ok, you can bring the Hart tomorrow".
So, I bring the Hart and side by side they look and sound beautiful together. We could both hear each other and our selves. Samuel Gilkes died in 1827 just before this Bass was made. My Gilkes Bass is from 1814 and the Hart estimated to be 1830 before he became the most famous Violin dealer of the 19th century in London and later known as 'Hart & Son' who rivaled the Hills (Hill & Son, W.E. Hill).
These two Basses to our knowledge have never been on the same stage together yet both are from the Forster School with Hart being the apprentice to Gilkes. We didn't say anything to anyone there but playing beside the Gilkes knowing that Hart was his pupil made me feel like I was in a cloud. The Hart more of a Panormo/Maggini influenced model and the Gilkes a Strad copy Cello model similar in form to the Forster Cello models preceding him and as made in the Forster shop as well during his employ.
Here the are, Master and Apprentice;
Both Basses have original decorative Back Buttons with the exception of an emblem replica in the Hart to fill in the empty hole from the missing original.
Two things are clear to me here. The Gilkes is an earlier turn of the century style Bass made prior to the surge in the Panormo/Maggini model like the Hart which was later done all over London by makers like Kennedy, Lott, B.S. Fendt, William Gilkes and even William Baker of Brighton. The model as seen on the Hart became the pride of London. Many of them up until recently floating around as genuine Italian Basses including another Hart that was in the London Symphony for 30 years known then as a real Maggini. Even I assumed my Hart to be an Italian Bass at first glance. A good second look and careful examination with Arnold changed my mind.
The Hart is currently my personal Bass and was just beautifully restored by Arnold Schnitzer as was the Gilkes just a year earlier. Funny thing though. The Hart sat in Arnold's shop for 6 months waiting for the Gilkes to be done so he could restore what we all believed to be a Fendt (or Fendt Sr.). Not until after I took the Gilkes home and Arnold had the Back off did he find the 4 hidden Stamps inside the Back marked side by side in two places "J.HART".
At first, Arnold was more excited then me, making the discovery before calling me on the phone. Two Basses on his work bench, back to back restoration and having the same owner. Chilling though.
A Tale of Two Basses 
can't imagine how powerful.... 
Sellersville? 
