I am ready for a long road flight for work with a week- or months-long projects.
career
My career has taken me all around the world. And I have learned from the very best – working tirelessly with internationally renowned luthiers in their workshops and studios with the result that, today, I am able to give something back: to share my skills with others who would like to improve theirs.
Fascinated by its architecture, culture and history, I have taken Vienna as my spiritual home, opening my own restoration workshop in the heart of the city.
My vision for that workshop is to offer the very best of the old and the new: to combine proven, traditional techniques with innovative ideas, methods and technologies to meet my clients’ most exacting requirements.
Fascinated by its architecture, culture and history, I have taken Vienna as my spiritual home, opening my own restoration workshop in the heart of the city.
My vision for that workshop is to offer the very best of the old and the new: to combine proven, traditional techniques with innovative ideas, methods and technologies to meet my clients’ most exacting requirements.
NEW YORK
City
Curious to explore the practices and approaches adopted by luthiers in other countries, I moved to New York City in 2013 to join Christophe Landon Rare Violins.
Whilst there, I worked on a number of demanding restoration projects, along the way meeting musicians with diverse cultural and musical backgrounds and playing styles.
As part of an international team of violin makers and restorers, I learned about the techniques and traditions of, amongst others, France, England and Asia.
Whilst there, I worked on a number of demanding restoration projects, along the way meeting musicians with diverse cultural and musical backgrounds and playing styles.
As part of an international team of violin makers and restorers, I learned about the techniques and traditions of, amongst others, France, England and Asia.
VIENNA
Learning and growing as a professional luthier – acquiring new skills and insights – means regularly changing workshops.
Thus it was, in 2009, I moved to Vienna – in my view, the capital of classical music – where, in the workshop of Christine Eriks, I was privileged to work on many masterpieces of Italian violin making.
This workshop also proved to be influential in developing my understanding of sound and sound adjustment.
Convinced that the restoration of stringed instruments can and should be enhanced with modern techniques, I also enrolled at the Conservation and Restoration Department of the Academy of Fine Arts, Vienna, where I studied the scientific theories and practices of conservation and restoration.
In 2010, I was appointed guest lecturer in restoration techniques at the University of Applied Science Zwickau, Department of Musical Instrument Making, Markneukirchen.
Thus it was, in 2009, I moved to Vienna – in my view, the capital of classical music – where, in the workshop of Christine Eriks, I was privileged to work on many masterpieces of Italian violin making.
This workshop also proved to be influential in developing my understanding of sound and sound adjustment.
Convinced that the restoration of stringed instruments can and should be enhanced with modern techniques, I also enrolled at the Conservation and Restoration Department of the Academy of Fine Arts, Vienna, where I studied the scientific theories and practices of conservation and restoration.
In 2010, I was appointed guest lecturer in restoration techniques at the University of Applied Science Zwickau, Department of Musical Instrument Making, Markneukirchen.
OLDENBURG
Having decided to specialise in restoration, I joined the workshop of Christian Erichson in Hanover, where I worked on a number of largescale projects, whilst concurrently studying with Jean-Jacques Fasnacht in Brienz.
Photo: Faldrian. / CC BY
Photo: Faldrian. / CC BY
KLINGENTHAL
Fascinated by violins and with a burgeoning interest in the science of sound production, I took the decision to attend violin making school, having completed my studies.
In 2001, I was invited to attend the Klingenthal Violin Making School in Vogtland – a region with a proud tradition of instrument making.
The school itself is small and uniquely personal, accepting only three-five students each year to be trained by two teachers.
Whilst studying violin making, I also played in a quartet with students from the school and musicians from the neighbouring Czech Kraslice.
On graduating, I was proud to be nominated Student of the Year, going on to win first prize in the German Chamber of Crafts 2004 competition for violin makers.
Photo: CC BY-SA, Archiv TVV, J. Strobel
In 2001, I was invited to attend the Klingenthal Violin Making School in Vogtland – a region with a proud tradition of instrument making.
The school itself is small and uniquely personal, accepting only three-five students each year to be trained by two teachers.
Whilst studying violin making, I also played in a quartet with students from the school and musicians from the neighbouring Czech Kraslice.
On graduating, I was proud to be nominated Student of the Year, going on to win first prize in the German Chamber of Crafts 2004 competition for violin makers.
Photo: CC BY-SA, Archiv TVV, J. Strobel
BAD PYRMONT
After moving with my family to Bad Pyrmont in northern Germany, I studied violin with the renowned teacher Barbara Rau.
Photo: Kathleen Tyler Conklin / CC BY
Photo: Kathleen Tyler Conklin / CC BY
GOMEL
Born in Gomel, Belarus I was most fortunate to receive a classical Russian school musical education, beginning violin lessons at the age of seven.
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