STATE VOCATIONAL AND TECHNICAL SCHOOL FOR VIOLIN MAKING AND STRING INSTRUMENT MAKER IN MITTENWALD
My training as a violin maker (1991-1994) encompassed extensive private study of both German and international sources by historic and contemporary authors.
I wanted to gain a better understanding of the working methods of classical violin making in terms of woodwork, acoustics, and varnish and dye production. I also undertook a theoretical and practical examination of historic tuning theories (e.g. Fuhr Method, Hutchins Method) and modern working methods (e.g. modal analysis), with a view to approaching sound design in a physical way.
Another interest was in the world of baroque instruments and baroque bows. Ingo Muthesius (Paris) provided initial insights here.
PIERANGELO BALZARINI (CREMONA, ITALY)
After my studies in Mittenwald, I had the opportunity to work in the Italian mecca of violin making. These two years of employment with Pierangelo Balzarini (Triennale winner, juror of international violin making competitions) allowed me to meet and learn from expert colleagues from all over the world and was formative in learning about the heritage of violin making.
EMILIO SLAVIERO (CREMONA, ITALY)
I laid the foundations for my bow making expertise with one of the most renowned bow makers in Italy (baroque bow making and bow restoration).
During this time I also made my first attempts at carving heads for baroque instruments under the guidance of Marcello Ive (Cremona).
TOMÁS PILAR (HRADEC KRÁLOVÉ, CZECH REPUBLIC
The Pilar family is one of the most important violin making dynasties in the Czech Republic. When it comes to being in a position to reproduce specific tonal qualities, they have decades of experience and expertise.
It was here that I resumed the study of the systematic working methods involved in the distribution of the thicknesses of the top and back.
FRANK RAVATIN (SAINT-FLORENT-LE-VIEL, FRANCE)
Working with Frank Ravatin, a violin maker who has won many awards and serves as a juror for the “Violin Society of America”, I explored new stylistic approaches and working techniques that are personal or customary to a country.
HIERONYMUS KÖSTLER (STUTTGART, GERMANY)
After years of building new instruments, it was important to me that I complement my skill set with the study of historical instruments and their restoration. The omnipresence of valuable instruments in one of the most reputable workshops for restorations and appraisals opened up a wide range of opportunities for me to work and exchange ideas with colleagues and musicians alike.
ACQUISITION OF THE TITLE OF MASTER
REINHARD FISCHER (HAMBURG, GERMANY)
Reinhard Fischer is regarded as an expert in the field of baroque instruments made in German-speaking countries (Thielke, Hoffmann). During this time, my work was focused once again on the construction of baroque instruments and baroque bows, as well as carving techniques.
WALTER KIRSCHFINK (SANTIAGO, CHILE AND BUENOS AIRES, ARGENTINA)
Finally, at the request of Walter Kirschfink (co-publisher of the “Database for Auctions of Stringed Instruments” since 1984), I taught as a violin making instructor in his workshops in Santiago and Buenos Aires.
2003 OPENING OF THE “ATELIER FÜR STREICHINSTRUMENTE WÜRZBURG”
