Instruments by violin-maker Dmitry Badiarov

Violin no.86

Violin-maker-Dmitry-Badiarov, no.86
Violin-maker-Dmitry-Badiarov, no.86

Violin scroll, no.86

Violin no.80
Violin by Dmitry Badiarov, no.80
Violin by Dmitry Badiarov, no.80

Violin by Dmitry Badiarov, no.80

Violin no.76
Violin by Dmitry Badiarov, no. 76

Violin no.93

violin_del_gesu_badiarov_top_wp
violin_del_gesu_badiarov-wp2

Violin no.88

Baroque violin by Dmitry Badiarov
Baroque violin by Dmitry Badiarov

Viola no.90

Viola by Dmitry Badairov
Badiarov viola no 90, 2014

Viola no.85

Viola by Dmitry Badiarov; St.Petersburg Philharmonic
Viola by Dmitry Badiarov; St.Petersburg Philharmonic

Violoncello da spalla made in 2014, now in France

Badiarov violoncello da spalla 2014
Badiarov viola da spalla

Violoncello da spalla, now in Israel

Violoncello da spalla by Dmitry Badiarov; 2012
Violoncello da spalla by Dmitry Badiarov; 2012

Sergey Malov plays violoncello da spalla by Dmitry Badiarov

Sigiswald Kuijken, Makoto Akatsu, violin-maker Dmitry Badiarov,
La Petite Bande (life in Osaka 2011)

Sergey Malov plays violoncello (da spalla), life

Sergey Malov plays violoncello (da spalla), life

Sergey Malov plays violoncello (da spalla), life

Ryo Terakado plays violoncello (da spalla), life

Dmitry Badiarov plays violoncello (da spalla), CD

Dmitry Badiarov plays violoncello (da spalla), CD

More videos

 

I prefer to know for whom I make an instrument, therefor I work mostly upon commission. I make instruments off the list only when I need these for an eventual exhibition in New York, Cremona or Tokyo.

I have been making violins for nearly quarter of a century. However I have also been a professional violinist. I was used to perform with lots of musicians. Some of them came from the Russian school of violin-playing. Others – from the Belgian baroque violin school. Many of these musicians have become my clients.

In the ideal scenario I prefer to meet the musician for whom I will be making an instrument. I need to know how the musician plays, what repertoire, what sound she or he likes. This will have to be blended with my own style and convictions of what fine violin-making must be and what, ultimately, the commissioned instrument will be.

I can play the instrument well enough to discern if any adjustments are necessary. However, if possible, I like to meet the musician just before I start varnishing. At this stage some tiny but important adjustments can be done with ease.

Personally I prefer the beautifully crafted and beautifully varnished instruments resembling the feel of certain fine antique violins. I do not aim to fake age. My instruments are not antiquated in the strict sense of the word. I leave some tool marks and wood grain, these naturally absorb more colour and give instrument a more noble feel. I trust this is the way many of the fine violins, specially in Italy, were made in the 17th-18th centuries.

Some musicians might prefer the uniform finish given to certain modern violins. The uniform finish makes the work considerably easier and if stylistically appropriate, it can be achieved too.