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The standard method of making violins today involves cutting a model from a poster of Stradivari or Guarneri, or some lesser-copied models, and creating a replica. It is a proven method, and countless master instrument makers and factories use this approach to produce high-quality instruments.
With all due respect to established norms, I chose a different path because, to me, there is more to art than making copies, and there is more to culture than its surface.
With all due respect to established norms, I chose a different path because, to me, there is more to art than making copies, and there is more to culture than its surface.
In 1992, the very first violin I ever built was a copy of Stradivari. It won a diploma at a Violin Making Competition. Stunned by the sight of dozens of almost identically looking instruments, I decided never to participate in competitions again.
Despite the unexpected recognition, I no longer believed in uniformity, and I no longer felt like working hard to conform to something I no longer believed in. Why work so hard to blend in when you were born to stand out?
After sharing my thoughts with the extraordinary luthier Vladimir Yakimenko, who was my teacher, I embarked on a quest to uncover the lost know-how of the old masters: their culture, their world, their thoughts, and the feelings that led them to craft their instruments in a certain way. I believed that there would be musicians interested in a deeper appreciation of the mother culture, rather than just the product of that culture. Skeptics told reviving a cultural tradition was a crazy idea but I was stunned by the number of musicians open-minded to that deeper appreciation of culture. After all, it enables luthiers create instruments with great sound on demand.
Despite the unexpected recognition, I no longer believed in uniformity, and I no longer felt like working hard to conform to something I no longer believed in. Why work so hard to blend in when you were born to stand out?
After sharing my thoughts with the extraordinary luthier Vladimir Yakimenko, who was my teacher, I embarked on a quest to uncover the lost know-how of the old masters: their culture, their world, their thoughts, and the feelings that led them to craft their instruments in a certain way. I believed that there would be musicians interested in a deeper appreciation of the mother culture, rather than just the product of that culture. Skeptics told reviving a cultural tradition was a crazy idea but I was stunned by the number of musicians open-minded to that deeper appreciation of culture. After all, it enables luthiers create instruments with great sound on demand.
Since 1992, I have chosen to approach violin making with the philosophy of Early Music. What does that entail? It entails embracing the culture of the creators of the original models. Just as there are rules of harmony and composition practiced by musicians for centuries, there are rules of harmony and composition for crafting violin models. These rules are not only preserved in the finest of instruments, they are preserved in dozens of ancient writings; they are also embedded in the cities and villages of tourism-worthy ancient Europe and European art.
For modern violinists, the score is the ultimate guide, representing ‘the composer’s intention’ to be faithfully executed by the performer. In contrast, for Baroque violinists, the score is more like a hint, akin to a jazz player interpreting a song. This represents a vastly different culture. While a modern violinist will typically play a Baroque adagio exactly as written, with whole notes, a Baroque violinist sees an Adagio as an invitation to showcase their musicianship. They create spontaneous, rich improvisations, crafting music on the spot, seemingly out of thin air. However, this ‘thin air’ is enriched by centuries of cultural understanding of the composer whose music they perform. Without that cultural context, creating improvisation, let alone new music, would be impossible. This is something all dedicated Baroque violinists understand instantly.
If you are not familiar with this philosophy, you might be wondering about the practical and monetary value of this culture to you as a violinist. Well, this culture, expertise and experience allow for crafting a violin with YOU at the center, a violin that will help you progress from where you are today to where you want to be tomorrow.
For modern violinists, the score is the ultimate guide, representing ‘the composer’s intention’ to be faithfully executed by the performer. In contrast, for Baroque violinists, the score is more like a hint, akin to a jazz player interpreting a song. This represents a vastly different culture. While a modern violinist will typically play a Baroque adagio exactly as written, with whole notes, a Baroque violinist sees an Adagio as an invitation to showcase their musicianship. They create spontaneous, rich improvisations, crafting music on the spot, seemingly out of thin air. However, this ‘thin air’ is enriched by centuries of cultural understanding of the composer whose music they perform. Without that cultural context, creating improvisation, let alone new music, would be impossible. This is something all dedicated Baroque violinists understand instantly.
If you are not familiar with this philosophy, you might be wondering about the practical and monetary value of this culture to you as a violinist. Well, this culture, expertise and experience allow for crafting a violin with YOU at the center, a violin that will help you progress from where you are today to where you want to be tomorrow.
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insightful opinions of professional musicians
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"This instrument grows the wish to play more and allows me to improve"
~ Ioan Haffner
~ Ioan Haffner
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"I love it"
~ Claire de Prekel
~ Claire de Prekel
"The perfect instrument originates within you, not outside of you. That way it becomes the bridge that takes you from where you are, to where you want to be."
Have you ever practiced hard only to discover that the next day you can't play? In this I want to share with you one of the most powerful tips I have ever received from a world-class violinist, my former professor.
You may not have heard his name, but you might be familiar with some of his teachers: Sher, Korguev, Auer, Joachim, Bohm, Rode, Viotti, Pugnani, Somis and Arcangelo Corelli. That's the lineage of tradition I want to offer you.
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