Rene Schmidt – modern violins makers and their instruments deserve a fair chance

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  • We often have customers from abroad, especially from other continents, who come to our shop in Vienna with the desire to buy an Austrian violin. Can you tell us a bit about what is an Austrian violin and the tradition of violin making in Austria (since when it dates, who are the main makers and where it stands in comparison with Italian and German schools for example, how can one distinguish a violin made here)

The tradition of violin making in Austria dates back to the 16th century and is closely related to the development of music in Central Europe. While the Italian and German violin making schools were already well established in the 17th century, violin making in Austria developed its own unique style, incorporating and refining elements from both traditions.

One of the most important Austrian violin makers from this period was Jakob Stainer, who worked in Tirol, Austria. Stainer’s instruments were highly valued across Europe and rivaled in popularity the already famous Italian violins.

Other noteworthy Austrian violin makers emerged in Vienna and in Graz. In Viennna we have Stadlmann family, Leidolff  family, Sebastian Dallinger, Johann Georg Thir family, Matthias Thir, Franz Geissenhof, Johann Martin Stoß and in Graz Alois Max Palfner, Wolfgang Sagmayr, Johann Michael Alban, Johann Jauck, Salzburg, Marcell Pichler, Johann Schorn, Andreas Ferdinand Mayr

  • Do you have a favorite Austrian maker? Which one is your favorite maker?

I’m frequently asked this question, and I find it challenging to single out just one ‘favorite violin maker’. There are countless instruments that inspire me. I am equally fascinated by exceptionally beautiful instruments and those that might not be considered as such—after all, beauty is in the eye of the beholder. Stradivari, del Gesù, Stainer, Montagnana, da Salò, Maggini, Gofriller, Bergonzi, Ruggeri, Geissenhof and many others, both renowned and lesser-known masters of string instrument making, from historical figures to contemporary artisans, they all share a common passion — transforming the natural material of wood into instruments that, in the best cases, stand the test of time. With craftsmanship and sensitivity, they turn wood into works of art, enabling musicians to convey emotions such as hope, joy, sorrow, change and longing to their listeners—a truly moving process. I deeply admire all violin makers who carry this dedication within themselves.

  • There is one preconception that old violins are better. We personally know from experience and from seeing lots of violins that this is not always the case. What is your opinion on this?

Sound, in my opinion, is highly subjective, which is why sound descriptions often hold little significance for me. What one person perceives as ‘focused’ or ‘bright’ might be considered ‘shrill’ by someone else. I believe that when newly built violins are well played-in and their sound has developed, they can easily compete with the tonal qualities of old instruments—or even surpass them.

There are violin tests where musicians, blindfolded and with their noses covered (yes, old violins can indeed be recognized by their smell!), play instruments for an audience in the same condition (blindfolded and nose covered). In such tests, newer, contemporary instruments often outperform those of the old masters. Of course, there are old violins with particularly beautiful tones, but it’s important to note that many of these instruments have numerous repairs and most have been converted from baroque to modern setup—they are far from 100% original. I have great admiration for old instruments, especially the craftsmanship of their time, achieved with fewer technical resources. However, modern violin makers and their instruments deserve a fair chance. It’s important not to dismiss them outright by claiming that only old instruments are truly worthwhile, without even giving the new ones a chance to be heard.

  • We have two of your violins that we offer for sale in our shop. Can you tell us a bit about them?

The first violin is a personal interpretation of an original Stainer violin (baroque, 1668) with a modern setup, built in 2017. The choice of wood stands out for its simplicity. The ribs, back, and scroll are made from less flamed local maple, while the top features exceptionally fine and straight growth rings. Both woods originate from the ‘Totes Gebirge’ in the ‘Salzkammergut’ region. This wood selection gives the violin a simple yet elegant appearance. The oil varnish is lightly antiqued and the ebony crown along with the grafted neck are intended to imitate a baroque-to-modern conversion. The contour of the upper bout is kept flat, as in the original, which hints at the instrument’s original baroque neck-to-body connection (flush glued to the ribs and fixed with nails). The fittings (pegs, tailpiece, and chinrest) are made of boxwood.

The second violin is a personal interpretation of the ‘Il Cannone’, 1743, by Guarneri del Gesù. This violin was built in 2020 as the second instrument for my master’s examination. The back, ribs, and neck are made of well-flamed Bosnian maple, and the spruce top is very fine-grained alpine spruce. The varnish, also an oil varnish, has been slightly antiqued. The standout feature of this violin is the inlay work on the back.

  • What is your starting point when you decide to build a violin, what inspires you and what is the philosophy behind your work?

Before I start building a new string instrument, I draw inspiration from various sources – books, internet, and especially my ‘screenshot album’ on my phone. At this point, this album is so full that my phone constantly notifies me that the storage is full. Often, I have no choice but to delete photos to make room for new ideas. However, these inspirations serve only as a starting point. I don’t create 1:1 copies or bench copies, as I find that unexciting. Instead, I am often fascinated by details like a particular varnish color or specific antiquing techniques.

The true creative process unfolds for me during the building itself. The fundamental elements, such as geometry, always remain constant – they are essential for the instrument to withstand the forces acting on it and for the musician to feel comfortable with it right away. I place great importance on individuality. Preset thicknesses for the top and back seem unwise to me, as each piece of wood is unique and should be treated accordingly. Only then can the optimal sound potential be extracted.

Each of my instruments is one-of-a-kind, custom-made to suit the properties of the individual wood. This is where I see the true art in violin making. Currently, I am working on my own models for violins and cellos. My focus is on outlines, archings, and the use of alternatives to tropical woods – especially for fingerboards, pegs, as well as upper and lower nut. There is a wealth of old instruments and their copies.

We live in the 21st century, and after over 400 years of violin making history, it’s time to take new paths and develop own models. It’s time to break the myth that only old instruments are valuable and sound good.

 

Nine Beatitudes for Violonists by Arthur Hartmann

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‘Blessed are they who early in life approach Bach, for their love and veneration for music will multiply with the years.

Blessed are they who remember their own early struggles, for their merciful criticism will help others to a greater achievement and furtherance of Divine Art.

Blessed are they who know their own limitations, for they shall have joy in the accomplishment of others.

Blessed are they who revere the teachers – their own or those of others – and who remember them with credit.

Blessed are they who, revering the old masters, seek out the newer ones and do not begrudge them a hearing or two.

Blessed are they who work in obscurity, nor sound the trumpet, for Art has ever been for the few, and shuns the vulgar blare of ignorance.

Blessed are they whom men revile as futurists and modernists, for Art can evolve only through the medium of iconoclastic spirits.

Blessed are they who unflinchingly serve their Art, for thus only is their happiness to be gained.

Blessed are they who have many enemies, for square pegs will never fit into round holes’.

 

 

‘My philosophy is based on simplicity’ Gergely Ficsor

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  • You are an emerging young Hungarian violin maker. For those unfamiliar with the violin making scene in Hungary, can you tell us a bit about it.

Although it cannot be compared with Italian violin making, which has a tradition of hundreds of years, Hungarian violin making also has a 100-150-year history. Many outstanding names can be mentioned, such as Sámuel Nemessányi. The storm of history that hit Hungary in the twentieth century also left its mark on this profession. On the other hand, contemporary Hungarian violin making can be inspired by a much more open, broad-minded professional environment, and many talented young people can spread their wings.

  • Do you consider yourself belonging to the Hungarian violin making school or you rather have your personal style?

It is natural that I learned the basics of the Hungarian school when I was still familiar with the profession, but this school also has a strong connection to the traditional Italian or even German school. Personally, since I was lucky enough to go to foreign schools and workshops during and after my student years, I was mixed with many other views and styles. I would like to believe that by now a broad-minded, yet individual style has emerged from this mixture.

  • Traditionalist or modernist when it comes to building a violin?

I like traditions. Especially in this profession, it is essential, but the world is constantly changing and modernization is necessary to a certain extent. But for me, simplicity is the primary consideration. If possible, everything is made by hand, avoiding the use of machines as much as possible.

  • Your favorite violin makers of all times?

I really like the works of those makers, in which inner intuition, simplicity, but at the same time genius can be found mostly. My personal favorite model is Guarneri ‘del Gesu’.

  • What is the most important thing you learned from your master?

The way of seeing things in this craft, as well as the communication with the musicians. The importance of professional humility and order both in the head and on the planer.

  • What is the most important discovery you made for yourself?

For me, the inspiration of nature and the uniqueness of the materials used are important. Every tree is perfect as nature created it. For me, it is a great discovery to what extent a tree can teach and lead the maker. 

  • Can you identify some modern trends in the violin making world and how do you see the scene in 100 years from now?

Unfortunately, one or two types of used wood materials are already in serious decline. Therefore, in my opinion, the primary change will be the replacement of various hard-to-obtain wood materials. In addition, of course, the use of today’s various measuring and forming instruments has become very common, which can fundamentally change the profession. However, my philosophy is based on simplicity; I believe in intuition and the handworks and the unnecessity of different machines, or measuring instruments. I believe that a good violin in 100 years will still be mostly made by hand and made of wood.

  • For those who do not know what to look for when buying a violin, what are the qualities of a good instrument? How do you identify, let’s say, the best violin from 20 violins?

Comfort should be a priority for a musician. Think about the length of time spent in an orchestra at a concert. At the same time, of course, it is the sound that grabs someone, but this is a subjective matter. The musician must know what sound she or he is personally looking for, what he or she feels is most their own. The condition of the instrument is also important, but so is its appearance, which gives the first impression in most cases.

Three of Gergely Ficsor’s beautiful violins are in our shop in Vienna and they are a must-test

GERGELY FICSOR I

HOW TO CHOOSE A VIOLIN BOW

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GUIDELINES WHILE CHOOSING A BOW

1. Start with an open mind and do not compare with your old bow. It is possible that your old bow was not so great, but you got used to it. It is also possible that you might discover you like playing more with bows that have different characteristics that the previous one.

2. Choose a high quality Pernambuco bow, whenever possible, but have an open mind to try some other bows, such as carbon bows, for example. The research always advances and you might be surprised to find out that there are also high quality carbon bows that create articulation and resonance of a fine Pernambuco bow and that might be matching your instrument better. Pernambuco bows have higher resilience and do not break so easily.

3. Make sure the stick of the bow is not too week. The bow can be light but strong at the same time. The stick is the most important in a bow, therefore if you are considering purchasing an old bow that is damaged, bear in mind that the frog, etc., can be fixed, and get the bow for the stick if it is great.

4. Do not be too fixated on the weight of the bow, rather pay attention to its balance. The balance is one of the most important aspects while choosing a bow. A fine balanced bow is both flexible and firm, it responds easily while at the same time shows some resistance.

5. Last but not least, the sound. It is very important you bring your own instrument while choosing a bow in order to find the right match. This process should come after one has selected the best bows for balance and comfort. You might fall in love right away with a specific bow for the sound, but if this does not happen, a good rule is to match a brilliant bow with a dark sounding instrument or a darker bow with a brilliant instrument.

Often customers come with their teachers or colleagues they trusts to get their opinion. This is a very important and reassuring part of the process. However, it is important to remember that in the end you will be the one playing it and that no one can know better than you what is the right bow for you and how comfortable you feel with it while playing. Trust yourself, and if you, the instrument and the bow are vibrating in harmony both in sound and in comfort.