The Art of Fugue Violin
A violin shaped from Bach’s contrapuntal architecture
A musical theme translated into form
Conceived in 2009, The Art of Fugue Violin begins from Bach’s unfinished contrapuntal work. Its curves and proportions are not chosen as decoration, but developed from musical relationships translated into the structure of the instrument.
The Art of Fugue Violin geometry study showing musical proportion translated into instrument form.
Harmony revealed as geometry
In this model, musical relationships guide proportion before external form is fixed. The aim is not to reproduce an old violin visually, but to create a living instrument whose measurements, response, and voice arise from harmonic structure.
Sound Alchemy method study for translating musical relationships into instrument design.
Harmony as design method
The Art of Fugue Violin belongs to Badiarov’s harmony-first approach: musical relationships are resolved as proportion, then translated into measurements, response, and voice. The result is a historically informed violin made for professional performance today.
Made for the stage
The Art of Fugue Violin is designed for professional use across historical and modern performance contexts. It is available in baroque and modern versions, with setup, pitch, response, and physical handling considered in relation to the player’s repertoire and artistic needs.
Two violins heard in the same space: an 18th-century Cremonese instrument and the 2013 Art of Fugue Violin. Recorded minutes apart, without balance correction or tonal adjustment.
“How can a new instrument be predictable before it is finished?”
A commission is not guesswork. Before measurements are fixed, Badiarov studies the musician’s repertoire, physical needs, intended sound, setup, pitch, and practical performance context.
This is the role of his harmony-first method: musical relationships are translated into proportion, geometry, response, and voice, so the instrument is shaped with clear musical and physical purpose.
The method has informed repeated commissions for professional musicians including Sigiswald Kuijken, Sergey Malov, and Ryo Terakado.
Witnesses
“I thought it was an antique Italian.”
Viktoria Mullova
Concert violinist
“Dmitry has unique ideas and his violins have distinct characters. Every instrument is different, and I own three of his. I know nobody with his intelligence and originality.”
Ryo Terakado
Concert Violinist, Conductor
“I was especially impressed by the sound of the Badiarov violin. It was most fascinating to find such an intense sound and full of overtones.”
Razvan Stoica
Concert Violinist, Conductor, Producer
“I've been playing my Badiarov violin for two years, and every day I'm even happier with it. It felt comfortable from the first touch, allowed me to play in many different situations, and inspired me to improve my skills. It's constant, reliable, and versatile across climates and music styles.”
Ioan Haffner
Violinist, Member of Orquestra Simfònica del Vallès
“I met Dmitry and heard him play his violin—I immediately loved it. Choosing this instrument was a big decision, but it has become a joyful part of my musical journey, and I am truly happy with it.”
Kaoru Ouchiyama-Koyama
Baroque Violinist, Chamber Musician
“A wonderful violin-maker, a true artist, always in research, never blindly copying anything but following his highest aesthetic standards based on profound knowledge of the whole culture and spirit of the baroque period (among others)… Many thanks, again!”
Sergey Malov
Concert Violinist, Conductor
Art of Fugue Violin
Framed fingerboard and tailpiece, Domus Aurea–inspired ornamental inlays
excl. VAT
Some models are available in more restrained workshop versions beginning from €22,314.