The musician/stringed-instrument maker relationship

In general, the musicians who order an instrument from me already know my work, having tried one of my instruments or heard one in concert. For me, it’s important to meet them and hear them play – if possible, in a rehearsal or concert situation – so as to figure out what they’re looking for and whether I can meet their demand.

It’s very difficult for me to work for a person I don’t know. So, between the day on which a musician orders an instrument from me and the day on which I start making it, I make arrangements to meet the person, get them to try out one or more instruments, analyse the trial and listen to them playing in concert or on disk.

I don’t only make one kind of violin, viola or cello. From the time when I worked as a restorer, I’m still in the habit of adapting to my customers’ requirements. This malleability seems to me important in the complex and fascinating relationship between the stringed-instrument maker and the musician.

Violin de 2009, copie Guarneri Del Gésù 1742

Violin, inspiré de Guarneri Del Gésù 1743

Violin, copie de Guarneri Del Gésù 1735

Violin, A. Stradivari 1728 inspired

Note : il suffit de passer la souris sur les photos pour découvrir en détail mes instruments.