› Tradition and innovation
› Views on the construction of new instruments
› Tonal architecture, models and material

Tradition and innovation

I concentrate mainly on making the instruments of the string quartet. I am working on my own style in sound and form, on the foundations of existing violinmaking traditions. Creating exact copies has never been an aim in itself, only a very instructive stage in my career as a violin-maker. While drawing inspiration from the example of the classical masters, I am seeking a form of contemporary violin-making. The 16th and 17th-century traditions of Cremona and Venice obviously play a major part. I also have a particular affinity for old Flemish violin-making.
I combine this knowledge with modern techniques and the results of recent scientific research into the history of violinmaking and the analysis of sounds and materials. All this contributes to the quest for the richness and magic of top-quality instruments.

The study and copying of old masters

The detailed study of old instruments gives me an insight into the working methods of the early masters. This study is underpinned and enriched by an extensive library of specialised literature, a large database of photographic material, plaster casts and measurements. High-quality instruments which spend some time in my workshop for adjustment and care are objects of careful study. I also study renowned collections throughout the world and visit international auctions. But it is the making itself, the creation of copies, that remains the ultimate way of learning from past generations.

Violinmaking today

Violin-making at the present time is very much alive and diversified. More and more violin-makers are specialising in restoration, bow-making or new instruments. This trend towards specialisation has stimulated violinmaking enormously over the last 20 years, and standards have risen significantly. Leading soloists no longer hesitate to buy contemporary instruments. They play them in concerts, do recordings on them, and grant them a permanent place alongside their older loves.
Thirty to forty years ago the profession of violin-maker had virtually died out. The tradition of high-quality instruments was lost in the course of the 19th century and the making of new instruments amounted to no more than an endless flow of commercially-produced instruments made by and for no one in particular. The increase in authentic performance practices in the sixties led to a sudden renewed demand for new instruments. In addition to the need to convert instruments back to their original state there was also the call for copies of baroque instruments. Authentic early instruments became increasingly expensive. It was often their rarity and historical value for which one paid, and not so much their remaining tonal potential. But in any case, this fact also meant an increase in demand for new instruments. The standard of specialised courses improved and knowledge of instruments from the past was exchanged. Violinmaking once again aroused international interest: competitions, associations, colloquia, exhibitions and publications were born. Nowadays a new generation of violin-makers is appearing. They are characterised by a high degree of specialisation, with their own tradition and mark of quality in the building of new instruments. Musicians are returning to contemporary instrument-makers. Alongside historical instruments, new making has now created a place for itself in the music world.

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Views on the construction of new instruments

Each instrument is a unique creation

Each instrument is a unique creation that arises out of intensive dialogue with the musician concerned.
I prefer to work on commission because then I can take a more purposeful approach. In this way each instrument is a personal creation tailor-made for the musician. After all, musicians make specific demands on their instruments: they want a particular sound, dark or bright. A specific timbre, measurements, the look of the instrument, can all be created so that they suit the musician’s taste and preferences. Consultation, advice, cooperation and trust are crucial elements for me. There are always test instruments in my workshop which the musicians can try out.

Timbre and sound quality

When building new instruments I endeavour to create a balanced instrument with the correct balance between the four strings. The instrument must have a good playability and a direct and focused sound. Its rich spectrum of timbres allows for refined nuances when played. It has an open sonority, rich harmonics and considerable power so that solists will effortlessly stand out against orchestral playing. What is more, it brings with it a valuable sound potential that will develop even more over the years as a result of the musician’s playing.

Aftercare | after-sales service

An instrument’s life only truly starts after it has been bought. No high-quality instrument is completely ready when handed over to the musician. It is like a newborn child and over the years will continue to develop an identity and timbre defined by its owner and player. In cooperation with the violin-maker, the musician can in the first few years adapt the instrument to suit him. This is why I like to keep track of the instruments I make when possible. For the first two years, maintenance of the instrument is free and I encourage musicians to bring the instrument in regularly to discuss its development and thereby improve it and keep it in perfect condition.
Every instrument has a two-week approval period. Only then does the musician have to decide whether to buy it or not.

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Tonal architecture, models and material

Tonal architecture

In the whole making process, sound is paramount. Every instrument is the result of a combination of years of craftsmanship in traditional violin-making and knowledge of the most recent research. In violinmaking the lucid approach to sound taken by science provides a breath of fresh air.
The study I made of the effect of varieties of wood, model, arching and even varnish on the sound of an instrument focused my understanding of the physical properties of the old masterpieces. At the same time I was stimulated to develop new working methods and tools in keeping with the latest scientific findings. This allows me to create instruments that satisfy the demands of today’s individual soloists. The result is a unique style, the hallmarks of which are evenness of tone, ease of response, direct and focused sound, open sonority, rich spectrum of timbres and considerable power that allows soloists to stand out effortlessly against orchestral playing.

Models

My choice of models is based on the instruments of the Cremona school of the 16th and 17th centuries (Amati, Andrea Guarneri, Guarneri del Gésu and Stradivarius) and the cello-makers of Venice (Goffriller and Montagnana). Another major source of inspiration is the Flemish instrument-makers of the same period (Hofmans, Willems and Bourbon).

I aim for perfection, but a living and organic perfection. What makes the old masterpieces so attractive is the life of which they can tell and the history that has left its mark on them. They are endowed with a spontaneity and richness of sound achieved by their makers’ instinctive abilities.
I am attracted by both rather more roughly built instruments full of energy, power and suppleness, and by highly-refined violins that radiate class to the finest detail. In my work I try to achieve a synergy between the two. Without ignoring the demands of perfect proportions I allow sufficient elbow room for artistic expression.

Materials

> Wood
The pine and maple used for these instruments is specially selected and comes from Bosnia and Northern Italy. Although aesthetics play a part in this selection, the main criteria are the physical and acoustic properties of the wood. It can only be used after it has dried for years in optimal conditions. Having a large stock of wood enables the instrument-maker to always choose the right piece for each particular job.

> Varnish
Historical research combined with detailed chemical analysis provides priceless information about the ingredients and processes with which the great violin-makers of Europe worked until 1750. Unfortunately much of this knowledge was lost in the 19th century. The varnish and the varnishing methods I employ are a reflection of the scientific reconstruction of these traditions. This means that after a time the newly-built instrument takes on a natural and durable patina just like that of the earlier instruments.
As in all the instruments from the classical period, I am once again using an oil-based varnish, one I have developed in cooperation with a chemist. The properties I aim for are suppleness, transparency, texture, colour and durability.

The varnish has an aesthetic function and emphasises the quality of the wood and the violin-maker’s work. It also serves to protect the instrument. Although the varnish is not the great secret behind a good sound, it does have an influence on the resonant qualities.

Depending on the way the varnish is applied, when the instruments are completely finished that they may look like true replicas, have a slightly aged look or appear brand new with a completely intact coat of varnish.

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