The Hague, The Netherlands
"Newly Made Fine VIolins By The Modern Stradivari"
~ Raymond Aaron, New York Times Bestselling Author
The Badiarov Violins embody the cultural legacy that has inspired creators for two millennia, including luminaries like Vitruvius, Stradivari, & the artisans behind legendary instruments played by iconic artists such as Menuhin, Stern, & leading baroque violinists. Today, our instruments continue to resonate with contemporary violin players, drawn to the rich heritage that informs our craftsmanship.
Violin Maker Badiarov: Our Origin Story
- Nalchik, 1980: Amidst a cultural void created by a ruinous state, Vladimir, my first luthiery teacher and the last of the Titans, revives the nation's music culture. At age 15, captivated by the transformative power of his orchestra, I decide to become a violin-maker—to craft signature instruments infused with centuries of culture to help outstanding musicians like you level up your performances and connect audiences. Today, over 40 years later, the arch-villain remains the same—just smarter, stronger, and harder to name or spot. Hence, the purpose of Badiarov Violins remains unchanged.
- It is a picturesque town surrounded by pristine nature—mountains, forests, glaciers. But the republic's national culture is wiped out by decades of the Soviet version of a "cultural revolution." It feels like a place without identity.
- My first tutor, Vladimir Oiberman, a luthier extraordinaire, revives before my eyes what Soviet rule had ruined: the musical culture of an entire nation. When the orchestra he created is heard for the first time at a massive festival taking place on a stadium, there is a sense of profound happiness, pride, and connection among the spectators, myself among them.
- As a 15-year-old boy, I am profoundly moved. I feel that if a luthier can create so much happiness and that sense of connection, I want to become a luthier.
- This event sparked a mission for a lifelong journey—to infuse every instrument with centuries of culture and exceptional craftsmanship to help musicians like you to move your audiences and create that connection in culture. Together, we can make the world a better place.
Uninterrupted Tradition Under Your Fingertips
- 1985-1991, I studied the violin under Mark Komissarov at St. Petersburg Conservatoire. You may not have heard of Komissarov, but his lineage extends through Sher, Korguev, Leopold Auer, Joachim, Bohm, Rode, Pugnani, Somis, and Archangelo Corelli—an uninterrupted tradition spanning 12 generations between Badiarov Violins and the 1700 maestro. I want to offer my clients a thorough understanding of how the evolution of violin playing technique and repertoire shaped today's most iconic instruments.
- 1988, Merida, Spain. I played under the baton of M. Rostropovich at a 2000-year-old Roman theater that stunned me with its acoustics. Believing that the old masters knew something we, the moderns, have no clue about, I developed desire to revive their lost acoustical know-how, so I can offer you newly made instruments with rich sound and rich culture built into them.
- Encouraged by my second violin-making teacher, Vladimir Yakimenko, I participate in the Moscow violin-making competition in 1992. Winning a prize with my first violin is a surprise, but the sight of almost uniform instruments makes me feel that the ancient culture and character are missing in those competition violins. I decided to never participate in competitions again and dedicate my life to bringing back the old masters' lost culture. That way, I believe, musicians like you can enjoy rich sound and keep this culture alive in newly made instruments, designed to my client's specifications.
The Birth of Vision and Mission
- In 1991-1994, as a chamber violinist, I struggled with shyness and ridicule from others, until my first violin changed everything. It became clear: my mission is to provide violinists with instruments that help to instantly elevate your playing and carry you through life's challenges.
- It felt frustrating that my insecurities prevented me from playing well in front of people and unjust because I knew I could play well. My first violin changed everything. When asked to play my part solo in front of the orchestra, the concertmaster expected I would shun away. Instead, I tapped into newfound inspiration and confidence, playing a hundred times better. The conductor insisted on repeats, and the next day, the bullying concertmaster was fired. I became the concertmaster of Virtuosi of St. Petersburg.
- It now became crystal clear: my mission is to provide violinists with instruments that instantly elevate their playing and carry them through life's challenges. My vision: inspired, empowered violinists connecting people with their music in culturally vibrant societies.
Precision In Sound Design
- In 1994, Badiarov Violins brand faced a dilemma: which path would help us rediscover the old masters' knowledge and better serve you? Enrolling in one of the European schools of violin making or pursuing music as a Baroque violinist? I chose the latter. I moved to Brussels to delve into the study of Baroque violin, convinced that the methods of Early Music held the key to unraveling the cultural depths of the violin, its rich sound, technique, music, and its evolution as a whole.
- Encouraged by Sigiswald Kuijken, under whom I studied Baroque violin, I initiated my research with the purpose of putting my brand on the solid foundations of Historically Informed Performance now applied to making.
- During a short sabbatical in 1997, I undertook an intense study of violin-making with Luca Primon in Milan while residing in Cremona. These experiences allowed me to sublimate the culture that once served as a native tongue to the greatest makers of the past, further consolidating what I later integrated into the acoustical design system now known as The Old Masters T.O.N.E.S. Technique: a thoroughly tested and proven system for designing rich sounding instruments to your specifications with certainty.
- As there is more to Baroque music than just the written notes, there is more to violin-making than just making copies. I aim to give my clients more.
Aspiring To Inspire
- Venturing outside the conventional path is never easy, yet this is what the musicians I wanted to serve do. Initially met with skepticism and ridicule - "Don't reinvent the wheel!", "Do you believe you are a Strad or what? Just make copies!" - gradually, Badiarov instruments and my unconventional approach, supported by our profound research into the cultural foundations of the violin, got recognized by musicians from all over the world.
- Despite frequent advice to conform and abandon unconventional paths, my perseverance bore fruit in 2002 with the crafting of an early Baroque violin for Ryo Terakado, concertmaster of La Petite Bande and Bach Collegium Japan.
- This marked the beginning of musicians flocking to my workshop, ordering instruments in anticipation. Collaborations with acclaimed artists such as Sergey Malov and Sigiswald Kuijken ensued, infused with my 12 years of experience as a Baroque violinist and leader in renowned Early Music groups.
- My instruments are not mere replicas; they embody a profound understanding of the spiritual, cultural, and philosophical facets of the violin, evolving from a theory into a vibrant tradition cherished by individuals like us. Badiarov Violins is more than reliable companion that sounds rich, I aspired to create instruments in a way that will remind people like you to always chose faith over fear. "This instrument is like a confident person, a companion to yourself" ~ Sigiswald Kuijken.
The Return of Da Spalla
- In 2003, I was commissioned to create a groundbreaking instrument that empowers violinists to explore Baroque cello repertoire, including solo, obbligato, and basso continuo. Born from a dream in 1980 to revive tradition, this unique instrument now provides multi-talented violinists with new opportunities and access to vast musical possibilities. Moreover, it serves as a meaningful conversation starter, fostering connections through culture and music.
- In 2003, during a concert tour with La Petite Bande in Bilbao, Spain, Kuijken approached me with a crucial question: "Did such an instrument really exist, and could I make one?" In a flash, I was transported back to 1980, when I was 15, and my dream to revive a cultural tradition was born. After six months of intensive research across libraries, the now-famous model was drawn, and the first instrument that shook the music community was created in early 2004.
- In 2004, Geert Robberechts, the former manager of La Petite Bande, asked me to collect all of my research papers, believing it might help the orchestra in lobbying for government financial support. A follow-up revealed that he was able to raise the highest subsidy in the state, amounting to a total of 3 million (€). This is not a suggestion that you might be able to do the same, but it reveals the value of sharing value at the right time, in the right place, and in front of the right people: people capable of appreciating the value of keeping culture alive. The same value is certainly offered to clients like you in each and every instrument I build, at a microscopic fraction of the price.
- I have created Violoncello da spalla for a number of instrumentalists from all over the world, notably for the pre-eminent Violoncello da spalla virtuoso Sergey Malov, award-winning film composer Bryan Senti, and more. The instrument has broken outside the boundaries of Baroque into romantic, jazz, contemporary, and even pop, helping musicians like you to discover something even more unique, attract opportunities in an over-saturated world and make even more unique music.
Realistic, Holistic Approach
- In Tokyo, 2005-2010, I discovered the struggle even experienced musicians face in finding concert opportunities. Investing in management and marketing changed my trajectory from no concerts to playing at major venues, without even being a full-time violinist. Now, my vast experience is here for self-employed soloists and chamber musicians like you, making Badiarov Violins a unique place for a truly transformative customer experience.
- A violinist can win the Queen Elisabeth Competition, be dubbed "the most promising violinist" by the most reputable media, and still have "nothing for the moment" on their agenda. It's a painful reality of a hyper-saturated marketplace that often questions yet another great musician's necessity. Conservatories miss teaching musicians indispensable survival skills. As a luthier, my initial goal wasn't a musical career but serving clients in the real, not imaginary world.
- Investing in crucial knowledge transformed my journey from having no concerts to playing at major venues like Tokyo Opera City, gaining recognition in Japanese and international media, such as Nikkei and Tokyo MX TV, and earning up to €14,700 in a single project—without being a full-time violinist. Today my focus is on even more honest, and even more holistic approach to serve customers, empowering them to create concert opportunities and a livelihood from their musical passion, even in a hyper-saturated marketplace.
- "Dmitry is a wonderful coach and motivator. Taking his Professional A.R.T.I.S.T. Pathway course opened my eyes to the great potential of online marketing for classical musicians. With his guidance, I established a string orchestra and developed a violin method on a worldwide scale. Dmitry's charisma and ability to share are exceptional." ~ Giovanni Bobisse, violinist.
The Future: Where do we go from here and why Badiarov Violins exist
- In the '80s, the easily identifiable villain was the Soviet regime that obliterated non-conforming narratives, leading to the loss of cultures, professions, knowledge, skills, and identities. Today, the villain persists, more dangerous and elusive than ever, with many faces—well-spoken, highly educated, in every country and every profession, including some musicians. It downplays the significance of culture, shifts focus from our humanity, devalues musicians' work, vilifies non-conformity, and urges artists to stick to the status quo. Badiarov Violins exists to do the opposite: give you custom designed instruments, while preserving cultural traditions, prioritising uniqueness, fostering connection, empowering musicians like you to elevate your artistry and become even more inspiring individual and artist.
- On January 19, 2013, I faced a life-threatening health issue that left me on the brink of death. Doctors predicted a bedridden future, and I felt the weight of despair. However, with unwavering support from my wife, I not only recovered but also found a new purpose. Unable to perform, I channeled my knowledge into two authored books, co-authored another, and developed training programs that go hand in hand with my instruments, offering them to my clients so more musicians like you can make their dreams come true.
- Since 2016, my investment of over a quarter-million in ongoing education has empowered Badiarov Violins to enhance the value we bring to the music space. I was invited to speak alongside esteemed figures in marketing, mindset, and sales, such as Paul O'Mahony, Chris Rowell, and Marcin Marczak, at entrepreneurial conferences in London and hundreds of webinars and talks. I shared my strategies, aiming to demonstrate to a skeptical audience that there is indeed power in mentoring, coupled with action, leading to tangible results. Becoming a lifetime member of the Andy Harrington Elite Speakers Academy, I received recognition as an award-winning speaker and author for the publication of "On Fine Violin Making," featuring a foreword by New York Times Bestselling Author Raymond Aaron (2022), and a book on Da Spalla (2023). The development and evolution at Badiarov Violins never cease, continually aligning with the changing world. Realistic, honest, and holistic artists like us represent the future.
The Practical & Fun
- Badiarov Violins is located in The Hague, The Netherlands, and I ship instruments worldwide with a specialised art-shipper.
- Usually we begin by an easy conversation about your needs on Zoom or phone, and by the way, normally I find the time to respond within 24 hours.
- In case you like what I do, we discuss the sound and the feel of your instrument in minute detail, we also discuss all the guarantees. To ensure the instrument sounds and feels exactly like you want, I use my unique method based on 30+ years of practical research and experience known today as The Old Masters T.O.N.E.S. Technique™. We might not be neighbours, but the whole process will feel for you like you are just around the corner.
- When you like the instrument, you have seven days to approve it. And if you like it, you keep it. Else, you get your money back (or a replacement instrument - whichever you prefer).
- My clients risk nothing and gain a lot from my unique support programs alone.
- My passion for woodworking was ignited by dreams of sailing, nurtured by my father, who gifted me a carving knife at the age of five. I built many toy tall-ships and, in my imagination, sailed the world, although at that age, I had never seen the sea or boats. The blue on this website is not just the color of the sea, and the gold is not only the golden sunsets; they are colors of freedom, the vastness of culture, and that of the golden nugget in your heart. Semyon Ziskind, my violin teacher since childhood, remains a key figure whose unconditional love and support shaped my journey. Without him, none of the above would have ever happened. We are in touch to this day. My son, Captain Strawberry, earned his seafaring stripes by the age of five, crossing enough nautical miles to span the Atlantic—a cherished and experienced crew in calm seas or when braving standing waves, salt, and hail in the face. Dreams come true; we are here to help you realize yours.
- Need a hand? Just drop me a line using this form, and we'll have an easy, enjoyable chat. I usually reply within 24 hours. Talk to you soon!
