Form is sound
This brief, just seemingly simple equation runs through all my creative work, from new construction to restoration. For only when the focus of the creative process entirely lies on the coherence of an instrument's form will it grow to full tonal greatness in the hands of the musician and inspire the undreamed of.
Similar to a musician who moves in his art between resistance and serenity, the art of violin making is located in the midst of opposing poles: Between conservation and progress. Between science and artistic expression. Between reconstruction and conception. Within these dimensions, I see myself on a quest for perfect sound. I am not alone on this path. On the contrary, I am inspired by the ideas of various musicians. Their ideas of a certain sound enrich the innovative spirit and individuality of my work.
In the spirit of the Baroque, the ideal of perfection of form emerged, being equally elementary to my work. It is only to a very limited extent a matter of ornament; rather bodily completeness is at the heart of it. Shaping every detail of an instrument in such a way that the sound is as projective and nuanced as possible at the same time is of paramount importance. Swing and counter-swing, supporting and releasing lines must be physically in perfect balance with each other. Perfection of form serves as goal and process alike. Nothing on an instrument may be contingent, everything carries significance. Every detail deserves special attention. Perfecting form is a work to which one can only devote oneself with passion. Rilke speaks of music as a "language where languages end". I work for the voices of this wordless language to resound in the most beautiful tones.
Form is sound
This small, only seemingly simple equation runs through my entire work, from new construction to restoration. For only when the focus of the creative process is entirely on the coherence of an instrument's form will it grow to full sonic greatness in the hands of the musician and inspire the unimagined.
