Makers' Day Brochure 2022

WELCOME T O

Bringing together musicians and makers for a celebration of our instruments WWW. M A K E R S D AY. O R G . U K

Contents

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Introduction

Schedule

Festival Team

Welcome & letter from the BVMA Management Committee

Find out what, where and when events are happening

Meet the Makers’ Day organisers

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Floor Plans See where everything is inside the venue

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The Kreutzer Quartet Find out more about our lunchtime concert performers

Maker Profiles Read about the makers exhibiting today

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Trader Profiles

Membership

Read about the traders exhibiting today

Find out how to become a member of the BVMA

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Newsletter Sample

An interview with Juliet Barker

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INTRODUCTION

Welcome to Makers’ Day 2022 Created to bring together musicians and makers for a celebration of our instruments Makers’ Day is a unique event in the British musical calendar. The event showcases the living craft of violin making and promotes it to a wider audience of musicians and general public.

When you walk through the doors of Kings Place on Makers’ Day, you’ll be met with the immediate buzz of atmosphere from makers and musicians, meeting, talking and playing as it echoes out across the galleries. For the whole of the day, you can walk around the galleries and meet makers at their stands where they’ll be displaying currently available instruments.

You can discuss your needs, ideas and even trial instruments right where you stand.

Makers’ day is one of the founding traditions of the British Violin Making Association and takes place each year with about 40 stands for makers who are members of the association. Exhibitors typically join us from all across Europe.

From the beginning, the BVMA has applied one simple rule: that exhibitors must be showing instruments that they have made themselves in order to be eligible for the exhibition. The sale of instruments by other makers, whether living or dead is prohibited in order to maintain the unique and very special nature of the event.

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An exception is made for a limited number of ‘trade stands’ that sell parts of instruments, such as tonewood, varnish pigments or fittings as the day is a useful time for makers to connect with their suppliers. We also extend an invitation to any violin making school and allow them to exhibit whatever work they feel necessary to promote their educational goals.

Although Makers’ Day is primarily an opportunity for musicians to meet makers, it has also become a very important event for violin makers to compare each other’s work, drawing many other violin makers to the event, and making a significant contribution to the goal of raising of standards in contemporary making.

The afternoon concert with the Kreutzer Quartet is the highlight of Makers’ Day. Join them as they play excerpts on a selection of instruments that have caught their attention for a quality that each member of the quartet likes or finds interesting. Between playing, they’ll talk about why they selected the particular instrument, and guide listeners to hear the unique tones or qualities that they’ve found.

The BVMA would like to express their enormous gratitude to King’s Place for their collaboration since 2017 and the boost it has given to the event.

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membership base has continued to grow, with attendees coming from all across the UK and beyond, and so to reflect this exciting development, we made more maker and trader tables available.

Letter from the BVMA Management Committee Dear Makers’ Day exhibitors and visitors, We are delighted to be back at Kings Place, after a challenging year that meant many of the BVMA’s activities had to be postponed. We’re very grateful to the wonderful team at Kings Place for finding a slot for our event – a challenging task given how much they had to squeeze in this year.

This year marks the largest Makers’ Day event yet, with more exhibitors than ever before. Since our last event, our

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We also welcome back the Kreutzer Quartet, who are an integral part of the day. With their help, makers and attendees are able to hear the different characteristics of many different instruments all in one concert.

An opportunity to directly compare styles of sound in a concert environment is rare.

The BVMA committee would like to take this opportunity to thank the members of the quartet for taking part, and for always bringing an infectious enthusiasm for our craft along with them.

To the players and members of the public who are visiting: we hope that you enjoy wandering around the exhibition floors, speaking to makers and trying out their instruments. This is a highlight of our year and we are excited to share with you what everyone has been working on.

Kindest Regards,

BVMA Management Committee

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SCHEDULE

Schedule Meet the Instrument Makers 10:30am­–5:30pm

floor -2 & -1

Join our main exhibitors fair, where you can meet cello, violin, viola, bow and double bass makers from across the world.

Lunchtime Concert with the Kreutzer Quartet 12:30pm–1:30pm

hall one (floor -2)

The Kreutzer Quartet will play through their instruments selected from those brought by exhibitors. They’ll switch between playing longer excerpts together, to smaller excerpts whilst discussing the merits or characteristics of the various instruments selected.

Q&A With the Kreutzer Quartet 2:15pm–2:45pm

st. pancras room (floor -2)

Join the members of the Kreutzer Quartet for a Q&A after their lunch time concert.

Event Closes 5:30 PM

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Julian Pindar event manager & concert mc

Julian trained at Merton College in violin making and repair. He has built a repair and sale business in the Surrey area and also travels regularly to China advising workshops and factories on instrument making and quality control. He is also the secretary of the British Violin Making Association.

Renato Carrano

event administrator

Renato studied at Merton College before taking up a role in the workshop of Stringers, London, where he focuses on set ups and repair work. He is also the administrator for the BVMA.

Katy Thomas

communications

Katy studied at the Newark School of Violin Making and graduated in 2007. After graduation she worked in Toronto repairing and restoring violins.

Now she lives in Perugia, Italy and runs a workshop with her husband, Filippo Protani, a violin maker.

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F E S T I VA L T E A M

Festival Team Emma Hardy

volunteer coordinator & event manager

Emma completed her studies in violin making and repair at Merton College in 2020, and has since been working on setting up her own workshop as a violin maker, whilst continuing to develop her skills through BVMA courses. She is also the editor of the BVMA Quarterly magazine.

Tibor Szemmelveisz program coordinator

Tibor is an experienced Violin, Viola & Cello Maker based in North London. He is also a member of the BVMA committee.

Libby Summers

social media & marketing

Libby graduated from The Newark School of Violin Making in 2020 after four years of study. As well as being trained in repairs, restoration, making and bow repairs, Libby is a violin teacher with over 20 years of experience.

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Floor -1 Exhibitor tables

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Floor Plans

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Trader tables

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Floor -2 Exhibitor tables Trader tables

St. Pancras Room (Q&A) & Hall One

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Horsefall Room (Practice Area)

W.C.

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Wenlock Room & Limehouse Room Practice Areas

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HW International Group

Specialists in Insurance for Fine Art, Collectibles and Musical Instruments - Dealers and Makers, Collectors and Musicians and Orchestras H. W. Wood Limited Contact: clairesanders@hwint.com Direct Line: +44 (0) 20 3697 2099 www.hwinternational.com

Broker at H. W International Offices: U.K. AUSTRALIA. CANADA. FRANCE. USA. GERMANY. GREECE. HONG KONG. NETHERLANDS. SPAIN

EXHIBITOR LIST

List of Exhibitors MAKERS TABLE 1

TABLE 2 TABLE 3 TABLE 6 TABLE 10 TABLE 11 TABLE 15 TABLE 16 TABLE 17 TABLE 18 TABLE 19 TABLE 20 TABLE 21 TABLE 22 TABLE 23 TABLE 24 TABLE 25 TABLE 26 TABLE 27 TABLE 28 TABLE 29

Tibor Semmelweis (Szemmelveisz) James Stephenson Violins Stefan Johann Krattenmacher The Bow Business William Castle Harry Strong Cellos Colin Cross Violins Kai-Thomas Roth Cellos Merton College Nowak Violins (Bristol) Fabroviolins KilBride Violins Students from Newark International School of Violin Making Stamford Strings Edward Gaut Violins Jan Bartos Honorata Stalmierska Tim Baker Tulloch Violins Lorraine Bitaud Antoine Gourdon Nigel Crinson Draskoczy Violins Paul Sadka

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Hilsden Violins Philip Brown Bows IJmkje van der Werf Violins Theo Parmakis A. R. Woods Ruth Pabel Christian Müller Rod Ward Violins Adamson Violins Mark Jennings Violins Filippo Protani Florian Leonhard Fine Violins William Szott Andreas Hudelmayer William John Violins Rudolf Pilsel Stefano Gibertoni Chris Halstead Resonant Strings RAB Trust Helen Michetschläger Philip Ihle Kaspar Pankow Prokop violin

TRADERS TABLE 4 TABLE 8 TABLE 12

Andreas Pahler Alpentonholz The Strad Magazine Prelude­­­—Musical Instruments Insurance

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TABLE 13 TABLE 35 TABLE 38 TABLE 49

D’Addario Orchestral Amati Anima Nova The Sound Post Ltd

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The Kreutzer Quartet Europe. They have taken their extremely eclectic programmes to Italy, Germany, France, Holland, Serbia, Montenegro, Sardinia, the US, Spain, Cyprus, Poland, and Lithuania.

Recent critical and publicly acclaimed performances have been at the Warsaw Autumn Festival, de Doelen, Rotterdam, Quartet 2000, Manchester International, and the Vilnius Philharmonic Festival.

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he Kreutzer Quartet has established itself as one of the most sought after string quartets in the UK. They appear regularly at the major London venues and have made many live and studio recordings for the BBC, and major networks all over

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The Kreutzers have a busy recording schedule, reflecting their commitment to musical exploration. Following the critical acclaim accorded their releases of cycles of quartets

by Gerhard, Weir, Finnissy, Birtwhistle, Tippett, David Matthews and Hallgrímsson, the quartet are in the process of recording and releasing ground-breaking recordings of contemporary music while also keeping a hand in the classical repertoire with a forthcoming Metier disc of Beethoven. They have a particularly strong association with the Metier label, and have also recorded for Naxos, Toccata, NMC, Chandos, PARMA, Guild and New Focus. >>

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The Quartet’s personnel: peter sheppard skærved | violin mihailo trandafilovski | violin clifton harrison | viola neil heyde | cello

Information on the Kreutzer Quartet from violist Clifton Harrison (www.cliftonharrison.co/kreutzer-quartet)

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KREUTZER QUARTET

The Kreutzer Quartet was formed in 1988.

The group quickly became recognised as one of the foremost young string quartets in the U.K. The Kreutzer Quartet’s rise did not occur despite its adventurous repertory, but in many ways because of it: from the beginning, they worked closely with many of the contemporary composers mentioned above, especially Tippett, Matthews, Weir, Hallgrímsson, and a few others. The group garnered numerous awards and citations in the coming years, including being selected for the 1996-1997 National Federation of Music Societies Tour. The Kreutzer Quartet’s recordings soon began drawing attention, too. Among its earlier successes were a pair of Metier CDs from 2000: String Quartets 1 & 2 by Roberto Gerhard and Catalan Quartets, an album that offered quartets by Josep Soler, Miguel Roger, and Albert Sardá. In 2002 Naxos began issuing recordings by the Kreutzer Quartet, the initial CD offering Quartets 1, 5 & 6 by Germany-based American composer Gloria Coates.

Maker Profiles See below for information about the instrument and bow makers exhibiting today ta b l e o n e

Tibor Semmelweis (Szemmelveisz) Maker and Restorer of violins and cellos

Through regular contact with musicians, Tibor draws inspiration to create individual instruments. Each personality requires a special companion; the challenge to find this harmony is his main motivation. Tibor’s instruments have received medals and distinctions at international competitions (Cremona 2000; Salt Lake City 1998). Members of orchestras including Age of Enlightenment, National Youth, Philharmonia, Halle and Budapest Festival, enjoy playing Tibor’s instruments, as do many members of chamber music ensembles. tibors@btinternet.com

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James Stephenson Violins I am a luthier based in Wellington, Somerset, specialising in making and setting up cellos.

Following a degree in Fine Art specialising in painting, my interest in traditional techniques combined with a passion for music led me to the art of violin making.

As graduate of the Newark School of Violin Making, I currently combine new making with repair, set up and restoration at Devon Strings Workshop in Exeter and Bristol Violin Shop. jamesstephensonviolins.co.uk

james@jamesstephensonviolins.co.uk

@jamesstephensonviolins

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stefan johann krattenmacher

maker and restorer of fine stringed instruments

krattenmacher.com +49 176 22 16 40 19 münchweier – germany

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Stefan Johann Krattenmacher

Maker and restorer, and future wine maker Born in Tegernsee, a small alpine village south of Munich, Germany, Stefan comes from a family of woodworkers and musicians. Growing up in his father’s furniture workshop, he started learning the double bass at fourteen and became the first violin maker in the Krattenmacher family. After completing his initial training at the Mittenwald Violin Making School and working for three years in Germany, he spent a number of years working for various established makers in countries as diverse as Hong Kong, Australia and England. In this context he also spent eight years working in London where he gained much experience and built up various contacts to orchestras and musicians.

This time abroad enabled him to gain invaluable experience of other violin making schools and allowed him to develop himself mentally, technically and stylistically from the German tradition.

It is the combination of his German training and his eclectic work experience that makes him the maker he is today.

Gold medal at makers competition in Lucca, Italy 2018 Since 2012 he has been conducting the Ettenheim Chamber Orchestra, and regularly plays in other regional orchestras and chamber groups. k r at t e n m a c h e r . c o m

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The Bow Business Bow maker and restorer

Stephen trained in violin repair at Merton College in 1994-6 and then at J P Guivier & Co, where he changed from instrument repair to bow repair. He has been self-employed since 2006 and combines bow repair, restoration and making.

He is based in Deptford in south-east London.

Clients are welcome to visit by appointment. thebowbusiness.com

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MAKER PROFILES

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William Castle

Maker of violins, violas and cellos As an established violin maker of over thirty-five years, my main interest is in the individual qualities of an instrument. It is not just that they should be comfortable and easy to play, but the sound should have character that makes an instrument interesting to listen to, enjoyable to play, and which carries to the back of the room.

My awareness of the need to match instruments with the right musician has, over the last twenty years, led me to make many small violas [under 16 inches] and smaller full-sized cellos. williamcastle.co.uk

william@williamcastle.co.uk

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Harry Strong Cellos Cello making

I was a musician before I was a maker. I began playing the cello at the age of 5, and went on to study music performance at the University of Leeds and the Conservatorio E.F di Musica Dall’Abaco in Verona, Italy.

I then completed a three-year course at Newark School of Violin Making. During this time, I decided to focus purely on the cello. My classical training has given me a critical ear, but also an understanding of how a modern cello player’s needs differ from those of other musicians.

I now work independantly, prodcing 3 - 4 cellos a year. h a r ry s t r o n g c e l l o s . c o m

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| @ h a r ry s t r o n g c e l l o s

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Colin Cross Violins Violin maker and repairer

Newark-trained luthier with 30 years’ experience, recently relocated to the beautiful Dumfries and Galloway. Maker and restorer. d e a lv i o l i n s . c o m

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Kai-Thomas Roth Cellos

Violin maker—modern, classical and baroque instruments Kai-Thomas trained at Newark School of Violin Making and has exclusively been making bowed stringed instruments of all periods and specifications since 1986.

With well over 100 cellos to date, as well as violins violas, viole d’amore and double basses of modern transitional and baroque set up, and even a few viols being played worldwide, he has established a reputation that ensures his instruments are in high demand. kaithomasr@aol.com

| @kaithomasrothcellos

MAKER PROFILES

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Nowak Violins (Bristol)

Violinwood, books on the violin & good coffee Steffen Nowak (WSVM 1986), Maker of modern and baroque Violins, Violas and Cellos.

Professional musicians and advanced students from many countries perform on his instruments. Special emphasis is placed on set up, sound and projection.

Recent projects: a baroque viola after Grancino for a London player, a Stradivari cello, violins & violas after Guarneri, Mantegatia, Stradivari, Lorenzini. Steffen welcomes enquiries and a few violins, various violas and 2 cello models are ready to purchase. nowakviolins.co.uk

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Fabroviolins At a very young age he started to show interest in woodworking thanks to being part of a Scouts group, which he joined at the age of five. Later on in his youth, he started taking violin lessons with the maestro Roberto Cuccurullo and joined the “Camerata de Bernal” as a player.

Combining these two passions of music and woodworking, he decided to pursue his studies in violin making at the I.P.I.A.L.L. “Antonio Stradivari”.

He collaborated with Liuteria Tonewood, one of the leading suppliers of maple wood for instruments.

He visited them in Croatia to enhance his theoretical and practical knowledge of wood, developing a unique expertise on the whole process involved in the preparation of wood used in violin making, from the cutting of the tree to the moment the wood is dried.

He applies this knowledge and techniques to select the best wood to use for his instruments.

He takes pride in understanding all the technical >> 19

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KilBride Violins

research, competition, publishing, violin making and restoration Gerard KilBride is a violin maker, restorer, researcher and musician.

He is a graduate of Newark School of Violin Making, he created and maintains the longstanding violinbridges.co.uk research project, author of the book “Violinbridges” and organises the International Violin Bridge Competition.

His workshop is in Mid Wales where he lives with his growing young family. gerardkilbride.com

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gerardkilbride@gmail.com

fa c e b o o k : g e r a r d k i l b r i d e v i o l i n s

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Students from Newark International School of Violin Making

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MAKER PROFILES

processes which go into creating a great instrument.

He knows the whereabouts of most of them and get to see them from time to time as the musicians who commission them often become friends.

He works alone from scratch on each instrument, and he has a keen interest in the physics of the instruments and the importance this has on the acoustics. Each handmade top and back has its own individual and specified arching to enhance the sound quality of the instrument.

Varnishing is an integral part of his process as he uses his own recipe, having selected the different components matching his style of construction to get the highest quality of sound for his instruments. During the set up stage he applies strict attention to detail, making certain that each instrument is always well balanced, with perfect equilibrium between the strings.

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Stamford Strings Libby Summers founded Stamford Strings in 2019 with a vision to create a space for new makers to showcase their work. After completing a four year degree at the Newark School of Violin Making, she opened her first shop and workshop in September 2020 and is already employing several other luthiers. She believes that by working together, pooling their resources and their expertise, skilled craftsmen can thrive and flourish together, as well as provide a comprehensive and excellent service for the customer.

Stamford Strings’ luthiers also undertake day to day repairs and extensive restorations in their new extended workshop space, and the shop has recently added The Studio, which customers can book for private instrument trials. Stamford Strings is thriving as a showroom for new making and attracts visitors from all over the country looking for upcoming talent.

As a player and teacher by background, Libby puts the needs of the player at centre stage at Stamford Strings.

There is a focus on playability and sound, rather than looks or investment value - although they have their place. Fine violins are tools for players, and that is what Stamford Strings is all about - enabling players to reach their potential with the very best instruments, set up expertly to work for them. s ta m f o r d s t r i n g s . c o . u k

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Edward Gaut Violins Violin Making + bow rehair

Bristol based violin maker specialised in the making of violins, violas and cellos. edwardgautviolins.co.uk

edwardgaut@googlemail.com

@edwardgautviolins

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MAKER PROFILES

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Jan Bartos and Honorata Stalmierska Jan Bartos

Maker and restorer of violins, violas and cellos

Violin maker professor of Academie of Music in Poznan, and violin maker from Paris janbartos.eu

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Honorata Stalmierska Honorata Stalmierska, luthier. Makers of violin, viola and cello. Professor in Akademi of Music Poznan h s ta l m i e r s k a @ g m a i l . c o m

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Tim Baker Bow maker

Tim Baker worked for both W E Hill & Sons and J & A Beare as a bow maker and restorer. He has been a jury member at international bow making competitions and has also contributed to several publications. More recently he has been involved with organising short courses to help pass on skills to the next generation.

Tim works independently as a bow maker in Oxford. tim@bakerbows.co.uk

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Tulloch Violins

Violin making and Fittings Manufacturer At Tulloch Violins we are a father and son business making fine violins, violas and cellos in the Italian Cremonese tradition. We specialize in making a range of fine violin fittings based on English designs.

Colin has been making violins since 1992 and studied violin making with Kelvin Scott. Colin has also attended Oberlin for several years spending time with some of the world’s finest contemporary violin makers.

Findlay studied computer aided design in Glasgow, Joining the business in 2019 and has been developing a range of fine fittings. Findlay has been working alongside his father learning the instrument making process. tullochviolins.co.uk

info@tullochviolins.co.uk

| @tullochviolins

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Lorraine Bitaud and Antoine Gourdon Fine Violins Lorraine Bitaud Maker/restorer

Lorraine graduated from the Newark School of Violin Making in 2010. Since then, she has been perfecting her skills as a restorer, working for major workshops in the finest instruments. She now has her own workshop in Acton, London, specialising in large scale restorations but also undertaking smaller repairs, maintenance work and tonal adjustments.

Alongside restoration, Lorraine also continued to make instruments, mostly cellos which she has always felt drawn to, but also the occasional violins or violas... b i ta u d v i o l i n s . c o m

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Antoine Gourdon Fine Violins Making of fine new instruments

Antoine’s instruments are inspired by the work of great Italian masters from the 17th and 18th centuries. >>

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antoinegourdon.com

gourdon.lutherie@gmail.com

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Nigel Crinson For over 30 years Nigel’s inspired work is exclusively as a maker, by maintaining a balance of visual beauty with strong character and sophisticated sound, encapsulating the dynamics needed by today’s players. nigelcrinson@icloud.com

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Draskoczy Violins and Paul Sadka Draskoczy Violins New making, copies

Violinmaker based in copy making.

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Paul Sadka Paul Sadka makes modern bows using the french traditional method. He was awarded gold medals for his violin, viola and ´cello bows at the 2010 Violin Society of America international competition. pnsadka@gmail.com

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MAKER PROFILES

For more information, visit www.antoinegourdon.com.

In April 2016, Antoine wins the prize “Coup de Coeur Renaud Stahl” at the International Viola Making Competition “Violas 2016” held in Paris. Renaud Stahl is the viola soloist of the Ile-de-France National Orchestra. In 2019, the Franco-European Viola Association (Association Franco-Européenne de l’Alto) invites Antoine to run a team of four violin makers to build a small viola over three days in public at the Paris Conservatoire for the international conference ‘Viola’s 2019’ (The Strad.com) Antoine’s workshop is based in Newark-on-Trent where he also teaches at the International School of Violin Making.

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Hilsden Violins

Violin, viola, cello maker & repairer Martin trained in the world renowned firm of W.E.Hill and Sons in the late 60’s and early 70’s producing fine Instruments of the Violin family from his workshop in the beautiful hills of Mid Wales and over the past 35 years since becoming an independent maker and repairer, he has become recognised as a Maker of distinction, whilst also continuing the repair and restoration of quality Instruments for musicians throughout the U.K and abroad. hilsdenviolins.com

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martinhilsden@inbox.com

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Philip Brown Bows and IJmkje van der Werf Violins Philip Brown Philip primarily makes period bows, in particular Classical bows inspired by Tourte and Dodd and early fixed frog bows working from extant examples. philipbrownviolins.co.uk

IJmkje van der Werf IJmkje is a violin maker and restorer working in Cambridgeshire. She has thirteen years professional experience of which seven specialising in cellos. She works part time in the workshop of the Royal Academy of Music in London and regularly at Philip Brown Violins in Newbury. In her own workshop at home she makes new instruments, mainly violins, and takes on occasional small repairs and maintenance work as well as more extensive restorations.

IJmkje was born in The Netherlands where she obtained a Master’s degree in musicology from Utrecht University in 2005. >>

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Theo Parmakis & Andrew Woods Theo Parmakis and Andrew Woods both graduated from Newark in 2020.

Theo Parmakis New making

With a background in folk music and computer programming, I have always been keen to combine efficiency and precision with a healthy degree of experimentation. I believe that it’s important for an instrument to be fun and entertaining to make as well as to play. I enjoy building and repairing many different types of instrument, and each presents its own challenges, but recently I’ve found cellos the most rewarding to build. pa r m a k i s - i n s t r u m e n t s . c o . u k

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Andrew Woods New making

I spent my formative years within my family trade as an artisan gun maker. In my twenties, I became a guitar maker, then developed into an amateur Violin maker. That’s where things got serious, I had found my ‘thing’. I attended the Newark School of Violin Making graduating in 2020 with a BAhons first class in Musical Instrument Craft. Having spent a year helping my family through the pandemic, I now focus solely on making finely crafted violin family instruments. arwoodsinstruments.co.uk

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She graduated from the Newark School of Violin Making in 2008.

Her first name looks a bit confusing on paper. It is pronounced Eemkye, with the last e sounding like the short ‘e’ in ‘the’.

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Ruth Pabel My violin making workshop is located in Konstanz, a small city at the very south of Germany, next to lake Constance and close to the Alps.

I mainly do repairs and restoration, but I also regularly take the time to make a new violin or viola. I do this basing on historical models, but with plenty of room for modification and own creative ideas. All of my instruments are made by hand with much attention to detail, sometimes using traditional techniques for decoration. I strive to create instruments with a warm and broad, open sound, beautiful in tone and appearance. g e i g e n b a u - pa b e l . d e

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Christian Müller Violin making

I am based in Glasgow and studied violin making at Glasgow Clyde College with tuition from Sheena Laurie.

Formerly a mechanical engineer in marine renewables, the career change to lutherie allows me to combine a love for delicate wood work and music with my knowledge of engineering sciences. I am excited to present my violins at Maker’s Day for the first time. christianmuellerviolins.com mueller.ch@gmx.de

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Rod Ward Violins

Violin, Viola and Cello maker Rod Ward has been making Violins, Violas and Cellos for many years. His instruments have gained an enviable reputation for quality of work and especially for sound.

His instruments have had many recommendations over a long period, from well known players, both professional and amateur. wardviolins.com

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rodwardviolins@gmail.com

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Mark Jennings Violins and Adamson Violins Mark Jennings Violin, Viola & Cello Maker— Modern and Baroque Instruments

Mark has been a professional maker for 27 years. He studied at Merton College and the NSVM, graduating from both with Distinctions. Throughout his working life Mark has followed his philosophy of continuous improvement by studying at Liuteria Parmense at their annual masterclass. Recently Mark has teamed up with Peter Greiner to make a quartet of instruments for the prestigious International Musicians Seminar, IMS Prussia Cove. Mark’s instruments can be taken on an approval from his own workshop or alternatively from Florian Leonhard Fine Violins, London and Bridgewood & Neitzert also in London. jenningsviolins.com

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fa c e b o o k . c o m / m a r k . j e n n i n g s . 7927

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Table Thirty-Seven continued

Adamson Violins Colin Charles Adamson is a violin maker, born in Edinburgh, Scotland. As a young man he was interested in woodwork, art and architecture. However it wasn’t until Colin spoke to a local violin maker, who suggested he go to a violin making school, that his career path was set. Colin applied, and was accepted, to the prestigious Newark School of Violin Making, where he graduated after three years with a merit in 1998.

After Newark he worked in Canada, Finland and Germany as a violin maker and restorer. During his time abroad Colin worked on and handled many Italian, French and British instruments, which helped him develop into one of the Uk’s finest violin makers. Colin work is influenced by the classical period of violin making, and he uses his experience to make copies and new instruments from this distinctive 17th century Italian period.

Many of his instruments can be found in the hands of professionals and players from around the world including; BBC Philharmonic Orchestra, Royal Scottish Ballet, Royal Liverpool Philharmonic Orchestra, Royal Scottish National Orchestra, BBC Symphony Orchestra, and are also played by many fine freelance musicians around the UK and Europe.

Colin regularly exhibits throughout Scotland, in London with the BVMA and in Manchester at The Royal Northern College of Music. Colin now lives in the beautiful coastal town of North Berwick in East Lothian where he concentrates on making new bespoke instruments in his workshop with a view to the sea. adamsonviolins.com

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mail@adamson-violins.com

| @colin

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Filippo Protani Liutaio Maker

I was born in Perugia, amongst the hills of Umbria, Italy.

As a child I spent a lot of time with my grandfather, playing in his sculpture workshop where I developed >>

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Florian Leonhard Fine Violins Making

A selection of true copy violins and bows made in our London workshop. florianleonhard.com

violins@florianleonhard.com

| @florianleonhard

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William Szott

Violin maker and repairer based in South Manchester I have been based in Manchester for seven years after working at Guiviers, London and previously studying at Merton college. Providing personal, high-quality repair services to musicians in the North West. theviolinmaker.co.uk

@williamszott

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an irresistible attraction to woodworking. From my grandfather I also inherited a great passion for music, which led me to study classical piano at the Conservatorio di Perugia and which I currently keep alive by playing jazz with different ensembles.

My interest in violin making comes therefore as a perfect fusion of my passions in woodworking and music. I started my training at the violin making school in Gubbio, Umbria, where I made my first instruments. I then moved to England in order to improve my making and repairing skills at the Newark School of Violin Making.

From July 2007 to August 2010 I worked as a maker at Roger Hansell’s workshop, in North Yorkshire. Where I reach a professional level in new making.

In 2010 I moved back to Italy, where I set up my workshop in Corciano, Umbria.

I make instruments primarily to order. Building on commission by musicians is the aspect of my profession I find most satisfying.

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Andreas Hudelmayer

Maker of violins, viola and cellos, tonal adjustments Andreas Hudelmayer is violin maker based in London.

He concentrates on tonal adjustments and set up alongside his making of violins, violas and cellos.

His instruments are played by soloists and other professionals internationally. h u d e l m ay e r . c o m

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William John Violins

Making and restoring fine violins, violas and cellos William John started work at Ealing Strings in 1977 restoring and studying instruments of the great Italian masters; Amati, Stradivari, Guarneri etc. He started making violins, violas and cellos in 1980, alongside some Europe’s finest makers. Having left Ealing Strings in 1991 William continues to make and restore instruments for soloists, orchestral musicians and students. williamjohnviolins.co.uk wjohnviolins@aol.com

@williamjohnviolinslondon ta b l e f o r t y - f o u r

Rudolf Pilsel

violins, violas, cellos and their bows 2022 marks the 50th year since I made my first violin as a 19 year old student. Since then, working in a number of places in England I have made, and continue to make, violins violas of all sizes, cellos and bows for professional musicians, teachers, students and gifted amateur players. Over the years I have assembled a stock of first class tonewood which with a following wind, will keep me going for another 50 years! www.rudolfpilsel.co.uk

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Stefano Gibertoni and Christopher J Halstead Stefano Gibertoni Stefano’s approach combines a traditional use of proportions, together with more technological procedures. The combination of these techniques produces an instrument, which is in harmony aesthetically as well as acoustically. Since 2013 he has been teaching violin making and varnishing at the Violin Making School in Milan.

Stefano’s awards in International Violin Making Competitions are: • 2004 VSA Portland: Silver Medal for Violin Tone • 2010 Mittenwald: Finalist Cello V Place • 2014 Moscow: Violin Bronze Medal • Viola Silver Medal + Special Diploma for Best Sound • Cello Silver Medal • First Prize at Andrea Postacchini International Violin making competition May 2019 www.gibertoniviolins.co.uk www.gibertoninalin.com

s t e fa n o @ g i b e r t o n i v i o l i n s . c o . u k

@gibertoni_nalin

Christopher J Halstead Modern and period bows

Chris made his first bows whilst studying music and violin in Cambridge. Upon graduating he trained with Richard Wilson, and then in France with Didier Claudel.

His bows fuse traditional pernambuco with carbon fibre, jet, black oyster, lapis lazuli and other exotic materials.

From students to professional soloists, his bows are played all over the world. h a l s t e a d c j @ ya h o o . c o . u k

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Resonant Strings

Maker/repairer/restorer/rehairs Alan Williams and Dota Williams (née Theodoridis) run Resonant Strings together in the heart of stunning scenic rural Norfolk . We are each independent makers in our own right but occasionally make instruments together .

We make on commission / on spec and offer repairs / rehairs / sales and restoration services.

Dip NSVM 1995.x2 We also offer a trade up scheme for younger players on our handmade instruments. resonantstrings.co.uk

info@resonantstrings.co.uk

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RAB Trust For over 20 years, the RAB Trust has been offering support to student violin makers in the form of financial grants, workshop placements and the distribution of wood and tools that have been donated to us, often in the form of bequests. Many of the students we have helped are now established makers in their own right, and several are exhibiting here today.

On our stand today you can find instruments that have been made jointly by RAB Trustees and former award winners, which are for sale to raise funds for future awards. Please come to try them; the entire sale price will go to support the violin makers of tomorrow. rabtrust.org

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info@rabtrust.org

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Helen Michetschläger

Maker of violins, violas and cellos I’ve been a violin maker for over 40 years and made more than 330 instruments. These are loved by musicians as far afield as the USA and Hong Kong, from children >>

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helenviolinmaker.com

helen@helenviolinmaker.com

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Ihle Violins Ltd and Kaspar Pankow Ihle Violins Ltd

violin maker and scholar of the classical Cremonese school of violin making

I grew up in Stuttgart, trained in Cremona and worked for 12 years as an employee for Wilhelm Geigenbau in Switzerland and Florian Leonhard in London. In 2013 I set up my workshop in London specialising in replicas of classical Cremonese violins and making replacement parts for them. Since 2015, supported by the growing demand in my violins, I have employed an assistant or two at times. Together we can lift the overall quality of my violins beyond what I could achieve alone.

In the photos you see: me working in Oberlin in 2017, photo credit to David van Zandt, Mathieu Fourrier opening a back shortly after he arrived in in 2018 A corner on a 1698 Strad replica I made in 2013 the back of a “Cannone” del Gesu replica we finished in 2021. ihleviolins.com

@ihleviolins

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who benefit from my personal design of small-sized violins and violas to front desk professional orchestral players. I specialise in personalised commissions to meet your ideals for sound and playing comfort.

I have published a book of the varnish expertise of the late Koen Padding, write regularly for the Strad Magazine and have presented lectures at the Newark Lutherie Seminars and BVMA conferences. I am the chair of the RAB Trust which supports student violin makers, and also make and sell blankets for violin, viola and cello to support the Trust.

Table Fifty-Three continued

Kaspar Pankow Bow maker

Kaspar Pankow learned bow making on the West Dean courses, under the guidance of Tim Baker and Derek Wilson. He has also attended all the Oberlin bow making workshops since 2011. For ten years Kaspar worked in London in the workshop of Florian Leonhard. There he had the opportunity to study and document many fine examples, mainly of the French and English schools, which has greatly informed his work. Kaspar takes great care in selecting high quality pernambuco. This, in combination with the taper and camber of the stick, is the key to making a bow with excellent playing and sound qualities. His bows are handcrafted according to traditional working methods. He takes inspiration from the great Parisian bow makers of the first half of the 19th century in particular F. X. Tourte and D. Peccatte. In 2015, Kaspar moved to Switzerland, where he now has his own workshop. In 2016, Kaspar won the 1st prize at the Concours International Dominique Peccatte 1ere Edition. pa n k o w b o w s . c o m

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Prokop violin

Violin, viola and cello maker, repairer and restorer Ladislav Prokop is the seventh generation of violinmakers of the Prokop family.

He has been making and restoring stringed instruments for over 20 years, in the great instrument-making tradition of his family, which dates back to 1777. Established in London, he provides instruments of quality, enjoyable to play and a pleasure to hear. In continuing the acoustical craft of the great luthiers, he aim to create affordable instruments for the most discerning of customers.

He has also great reputation as a restorer, closely work with Ingles and Hayday company. prokopviolin.com

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info@prokopviolin.com

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Trader Profiles See below for information about the traders exhibiting today ta b l e f o u r

Andreas Pahler Alpentonholz Providing excellent sounding spruce from the heights of the Alps in Austria and Italy as well as best flamed maple is not only a challenging task but our passion youtube.com/watch?v=6kcRRB4sGqk www.alpentonholz.de

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info@alpentonholz.de

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The Strad Magazine Every month The Strad is packed with features, comment and analysis on all issues of interest to string teachers, players, students, instrument makers and enthusiasts. Authoritative, trusted and influential, the magazine keeps readers informed about the latest news, groundbreaking research and techniques in all aspects of playing and making stringed instruments.

Over 150,000 people a month visit www.thestrad.com to find the latest news, comment and analysis from the stringed instrument world. In addition, our email alert goes out to over 35,000 contacts twice a week, alerting subscribers to important news stories and new website content. thestrad.com

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thestrad@thestrad.com

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Prelude—Musical instruments Insurance HW International Group Specialists in Insurance for Musical Instruments, Fine Art and Collectibles. h w i n t e r n at i o n a l . c o m

+44 (0) 20 3697 2099

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D’Addario Orchestral D’Addario is the world’s largest manufacturer of musical instrument strings and accessories marketed under several product brands including D’Addario Orchestral.

A family-owned and operated business with roots dating back to 17th century Italy, we make bowed strings for all levels of players and playing styles. Our orchestral range includes Prelude, Ascenté, Pro Arté, Helicore, Zyex and Kaplan. D’Addario now has over 1,100 employees worldwide, and manufactures 95% of its products in the U.S. D’Addario strings and accessories are distributed in 120 countries and are the preferred choice of professional and serious amateur musicians worldwide. daddario.com/products/orchestral markus.lawrenson@daddario.com

@daddarioorchestral

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TRADER PROFILES

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Amati The Dilworth Dictionary is an essential reference book for people working with or interested in stringed musical instruments. This book combines accurate biographical information and Dilworth’s observations about historic makers. An extensive image reference resource is to be found at the back and with a limited print run of 1000, each book is uniquely numbered and is the perfect workbench companion.

Following on from the success of the Dilworth Dictionary, John and the Amati team paired up again to create The Monograph Collection, a series of exceptional books featuring three Stradivari instruments: • • •

‘La Pucelle’ violin, 1709 ‘Archinto’ cello, 1689 ‘Tyrrell violin, 1717

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Anima Nova Anima Nova is the original height-adjustable soundpost made out of carbon fibre.

The revolutionary soundpost brings out the best of your instrument: better projection, more focus, more overtones, quicker response, more volume.

Anima Nova has attracted a lot of attention since its launch in 2015. Editorial contributions in “The Strad”, “Strings Magazine” and “Das Orchester” have led to international fame.

Anima Nova is now available at over 140 violin makers in 23 countries and the number of partners is growing steadily. Anima Nova is used by musicians of the following orchestras (selection): Vienna Philharmonic, Staatskapelle Berlin, Konzerthausorchester Berlin, SWR Symphony Orchestra, Dresden Philharmonic, Beethoven Orchestra Bonn, Budapest Festival Orchestra, New York Philharmonic, The Met Opera Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, National Arts Centre Orchestra Ottawa, Australian >> 39

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The Sound Post Ltd Specialist distributor of bowed string instruments, strings, fittings & accessories.

Exclusive supplier of Larsen Strings, Despiau Bridges, OldWood1700 Varnishes, Leatherwood Rosin and Bam Cases in the United Kingdom www.thesoundpost.co.uk

sales@thesoundpost.co.uk

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| @violinexpert

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Chamber Orchestra, Qatar Philharmonic Orchestra.

Internationally renowned artists such as Cynthia Phelps, Paul Neubauer, Louise Lansdown, David Finckel, Clive Greensmith, Ron Carter and Joel Quarrington already trust Anima Nova - the new tradition of sound. Patent protected. Made in Germany.

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Become a Member The British Violin Making Association was founded in 1995 to promote fellowship between those who have an interest in the history and the craft of violin and bow making. We welcome professional and amateur violin makers and restorers alike, as well as all those who share an interest in the subject and the craft.

Although we are the British Violin Making Association, we welcome members from around the world.

Membership of the BVMA includes: BVMA QUARTERLY MAGAZINE

CONFERENCE DISCOUNTS

Four of the BVMA Quarterly magazine per year, which includes articles about all aspects of violin making and history.

Discounted access to BVMA conferences which happen every alternate year, and the BVMA study days which happen in between.

ACCESS TO COURSES

ACCESS TO EXHIBIT

Access to sign up for BVMA courses (at an additional cost), such as bow making and repair, advanced violin set ups, violin making and many more.

Ability to become a Makers’ Day exhibitor (table booking fee applies).

Pricing per year: Individual £65.00 | Joint £90.00 | Over 65 £50.00 Student £35.00 | Friend of BVMA - £65.00

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Friends of the BVMA Join the Friends of the BVMA Today Over the years we have met many people in with a deep interest in the violin, who would benefit from being a member of the BVMA, but who have been put off by the focus on professional making and restoration. As part of our 25th Anniversary Campaign, we developed a new kind of membership as Friends of the BVMA both to extend our hand to our many supporters, and to give a new focus to our remit of communicating the craft of violin making to a wider audience.

The benefits of membership as a friend of the BVMA are exactly the same as being a regular member, with the same newsletter and invitation to our events, but you will be invited to a number of special events put on through the year that have more of a focus for general interest and less professional audiences. Whether you are a musician, an amateur maker, or simply someone who would like to support the magical craft of violin making, we’d like to extend you the warmest welcome.

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Juliet Barker Interview by Emma Hardy

Many readers will be familiar with Juliet Barker. Whether you know her for her book Violin Making: A Practical Guide, as a teacher of instrument making at her workshop in Cambridge or for her instrument making itself, no one can deny that across the span of her career she has done a lot. I spoke with her to 45

This a sa article is m issu ple from BVM e 100 of AQ Mag uarter ly azin e

find out about how she went from studying at Mittenwald during the 1950s, to being the recipient of an MBE in 2006 for services to music and violin making.

Juliet was born in Cambridge, into a family of academics. It was her mother who was really the driving force behind music and violin playing in the family. Juliet started playing violin at around w w w. b v m a . o rg . u k

she wasn’t going to read classics but instead it must be music. However, she failed the university entrance exams (to her relief ), and by this time was ill, resulting in a year out recovering from an operation. This year gave her time to think about

“I used to polish [the violin] instead of practicing.” violas and small size instruments, but she tells me that it seemed the viola hardly existed when she was growing up, “no one played the viola unless they had to!”

I wondered how Juliet made the leap from being a player to wanting to become a maker. She tells me that the husband of a friend of her mother’s had been a collector – she still had some of these books and Juliet was given a book on Maggini.

This made Juliet realise that “violins were actually made and didn’t grow on trees.” She also adds that she liked the violin itself, “I used to polish it instead of practicing.”

In her later teenage years it was expected that Juliet was going to attend university, but she rebelled and said that if she really must go, B V M A M A K E R S ’ D AY 2 0 2 2

what she was going to do instead.

The idea to become a violin maker came to Juliet quite suddenly, “One day, I was just sitting and I thought – I’m going to be a violin maker.” Luckily, there was a family connection to Mr. William Beare, “I went to see him and he said, ‘Do you want to come and work in the shop?’ and I said, ‘No, I want to make violins.’” Until this point, both Beare’s and Hill’s always got their workers from the school in Mirecourt, but during the Second World War, this wasn’t possible.

Mr. Beare had recently been to the school in Mittenwald looking for people to come and work in the shop, “He’d seen that there were girls in the school, which officially there weren’t, and so he wrote to the 46

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six years old, “My mother really wanted to play the violin when she was little but couldn’t so she got both my brother and me playing.”

I wondered whether she also took up the viola around this time, as Juliet specialises in the making of

director.” This letter was received enthusiastically, and the director soon responded asking for Juliet to be sent over, “They were desperate for pupils. It was such a different situation then. I’d never have got in these days!”

Juliet arrived at Mittenwald completely unskilled in woodwork and only able to speak a very little bit of German, “The first time I used a saw in Mittenwald, everyone stood around laughing.” The

girls but, by the time she left two years later, there were only about 20 pupils, with the proportion slightly more in favour of girls.

They worked fast at Mittenwald; in her first year Juliet made six violins, and in her second year she made a viola, cello and a couple more violins. After students had made their instruments, they were sold off. A lot of them went to America or “to anyone who wanted mass produced violins because there

“Mr. William Beare took me on in the shop. I worked there for just a little while and I learned such a lot.” language barrier was tough, but luckily Juliet arrived the same day as an American who had always spoken German at home, a French boy and also a Swiss man, both of whom spoke French – which Juliet could speak, “We were a group of four foreigners together which really made the situation possible.”

At the school, they weren’t divided into year groups as is common in many violin making schools now.

When Juliet arrived, there were about 40 boys and only three 47

were no Chinese violins then.”

Rather than staying the full three years needed to graduate with a certificate, Juliet left after two years, “Mr. William Beare took me on in the shop. I worked there for just a little while and I learned such a lot. I learned how to cut a decent bridge there.”

At Beare’s in London, Juliet did repair work, “I enjoyed it and found it very interesting and, of course, was able to look at good instruments and handle them. It w w w. b v m a . o rg . u k

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was a great learning experience.”

However, she didn’t stay there for very long, “I got homesick for Mittenwald and missed the mountains no end, so I decided I ought to go back and do the final exam. I went back for as long as it took me to make the violin, which was a couple of months.” In 1957, after gaining her certificate, Juliet returned to Cambridge to help her by then elderly parents around their home.

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work and making. But first she had to find a suitable place to work, “I eventually managed to find some workshop space, the County Director of Music let me have a bit of space in his basement with the County Council’s bicycles.” Juliet worked from the basement for about five years, during which time her Swiss friend from Mittenwald came over and they made some viols together, “Nobody else made them back then — the ones we made were very Germanic, good solid things,” which they later sold.

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Much of Juliet’s career seems firmly rooted in her enthusiasm for saying yes to things and engaging in the community around her. It was while working from the County music department that Juliet also came to be a viola player, “One of the instruments I made in my second year of Mittenwald was a viola. I kept it, and I started playing it and I just decided that I preferred this to the violin. That’s when my love

in, had a moment of inspiration and suggested to her that there ought to be a violin making class in Cambridge as he’d love to make a violin. He found two other fathers who didn’t play themselves but had musical wives or children and then went to the Director of Music at the local College of Arts and Technology to suggest they run the classes. Juliet tells me that the director of music, Norman Hearn,

“I used to have to put all my tools in a bag and put them on the back of my bike” affair with viola started.” Because she was in the basement, she often heard local teachers playing together upstairs and so enquired as to whether she could join them, “I was sitting next to the viola player in the Macnaghten Quartet and she just turned to me and said, ‘Do you have viola lessons?’ I said, ‘No, because I’m not very good at practicing,’ and she said, ‘Well, I wouldn’t mind that.’ So I started having some lessons.”

It was around this time (1960) that one of Juliet’s customers, a father bringing his daughter’s violin 49

“was a wonderful man and apt to say yes.” Although he was on board with their plan, Norman stipulated that there must be five pupils. So they also brought on the Tech’s head of Geography, who played the cello but decided he would like to come and make a viola, and Roland Gentle, who was at that time a maintenance carpenter in the Tech.

Roland would later join Juliet as a teacher in the violin making class when it was flourishing and she needed another pair of hands.

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Luckily, they weren’t starting from scratch, “We had quite a lot of tools because grateful pupils would say, ‘Oh, would you like some money to buy tools.’” By then, they also had a nice workbench with a tail vice, as well as quite a few lab benches which they brought from the college along with Juliet’s tools.

Sadly, during this transitional phase Roland developed cancer and died very soon after. Juliet was left with the workshop and now, going it alone, received huge support from people around her, “I was just

“The pupils came and painted the place. It got going just in time. Without various people it wouldn’t have happened.” again very lucky. One of the pupils was a carpenter and he came and helped. All the people who had 50

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all my tools in a bag and put them on the back of my bike and go down to the Tech because we were just given space, not anything else,” Juliet tells me, “and then, because of the connection with Roland, we moved into the maintenance carpenters’ workshop, which was far more suitable.” As the class continued to grow, it got too big for that space too and so made it into the main woodwork workshops.

The course stayed there until the Tech became a university around 1985, at which point Juliet and Roland decided to open a joint workshop together where they could both make and teach.

This again presented the challenge of finding a suitable workshop, “I was having no luck at all finding a space, but I took a shortcut whilst on my bike and noticed a for sale sign, and it looked like a very suitable building.” Juliet moved quickly and got an offer in to the sellers, just in time to outbid an existing offer they had already received. Soon after, she was the owner of what is still their workshop today. The building itself is a hundred years old, and needed kitting out, which was the next big thing to sort out.

known Roland at the Tech came to help. My husband was wonderful.

It was summer vacation and he was used to designing labs and so he knew how to fix the layout of the benches. The pupils came and painted the place. It got going just in time. Without various people it wouldn’t have happened.” Soon their youngest son moved into the workshop and by 1991 was

instrument at a time.

In the early 2000s, Juliet was recommended, through David Dyke, to write a book on violin making. David suggested Juliet because of her experience of teaching amateur makers, which would translate well into writing a book on the subject. At this point, Juliet’s life was already quite full, “I wrote most of the book between

“In my first year at Mittenwald, I made three sets of ribs, three backs, three fronts, then two more bodies, then five scrolls, then put the scrolls in the bodies and finished them off.” teaching along with Juliet.

As you might expect, the style of making taught at Cambridge is very similar to that of Mittenwald and focuses on efficient making. “I think it is a good way of working.

In my first year at Mittenwald, I made three sets of ribs, three backs, three fronts, then two more bodies, then five scrolls, then put the scrolls in the bodies and finished them off.” Juliet, though, points out that their pupils do only make one 51

ten and eleven o’clock at night.

I think it suffered a bit, could be better. Anyway it got out all right and my husband took all the lovely photos.” The book is also illustrated with clear diagrams, these were drawn by Rebecca Downing who, “started off as a pupil who went to Newark then came back and worked with us and helped my son, who was running the workshop by then.” While Juliet was working, Rebecca would work on the w w w. b v m a . o rg . u k

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the price has gone up quite a bit and so I realised it wasn’t actually a commercial proposition. But there were parents and grandparents in the classes who made small instruments. People like making for grandchildren. When they’re born, the grandparents say, ‘Well, if I start it now…’”

Juliet has experimented somewhat with measurements and sizes, but mostly adapts measurements she was given when she studied in Mittenwald. “I had a vague idea of sizes and by then we’d had small violins coming in to be repaired. I’d seen some really nice ones. When my sons were born, I started collecting nice sets of small violins and cellos for each of them.

Having the boys encouraged me to think about small instruments.”

The problem of making small instruments as a realistically commercial enterprise still hasn’t been fixed. Juliet thinks that to solve this we need to get teachers on board with encouraging parents and pointing out how the finances could work out, “If only the parents realised when they bought a quarter size violin, or even the eighth size one, that they could always sell them on. If we got everyone using 52

JULIET BARKER

drawings so they could discuss and give feedback in real time, resulting in very clear and useful diagrams.

A big part of Juliet’s working life has also been dedicated to working on childrens’ instruments and going into schools to teach children about violins and violin making, “I used to play in a quartet with three teachers who went around primary schools showing what a violin was.

I used to do how to make a violin in five minutes. We took pieces of wood and would teach them the three important words: pizzicato, purfling and pernambuco, which pleases children.”

This close relationship with local teachers, even playing in quartets with some of them, meant Juliet saw first-hand how frustrated they were at not finding decent violins for children, “There was a Suzuki teacher who had a room in what was then the workshop house, where I now live, and she had lots of little pupils and they wanted violins. So, I thought it must be possible to make one quickly and I made a quarter size violin which had a flat back and a simplified scroll which I managed to make in 24 hours. But, by the time you bought the tailpiece and strings,

the good quality ones the teachers could say, ‘Well, you know, it’s a big outlay but then you can sell it and get the bigger size.’ Then the initial amount would be worth it to the violin maker.”

In 2006, Juliet was awarded an MBE for services to music and violin making. She has her suspicions as to who nominated her but you don’t get told officially, so it remains a mystery to her. The ceremony was at Buckingham Palace, “My husband was previously knighted so we’d already been – we knew the ropes,” she chuckles as she recalls the day, “It was Prince Charles. They have a lackey just behind telling him who

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everyone is, and when he got to me Prince Charles said, ‘Oh, I hear you worked at J & A Beare’, and so I cheerfully said, ‘Yes, that’s where your cello came from!’” Juliet gained this pertinent insider knowledge because he was an undergraduate in Cambridge and learnt cello with a friend of hers.

These days Juliet is still making a bit, and the workshop she set up is thriving. The inspiring journey that she has taken from working in a basement filled with bikes to being presented with an MBE at Buckingham Palace for her work is one I’m grateful to have heard, and I thank Juliet for taking the time to retell it in such detail for us.

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Notes

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Makers’ Day is an event run by the British Violin Making Association. www.bvma.org.uk