Luthiers Biographies

Asinari, Sandro

Sandro Asinari was born in the province of Cremona in 1969. Attracted as he was by music and musical instruments, at the age of 14 he enrolled in the International School of Violin Making in Cremona, where he studied under Vanna Zambelli. Having received his diploma in 1987, Sandro Asinari went on to study at the CEE Bottega Scuola under the guidance of Maestro Gio Batta Morassi, eventually opening his own workshop in Cremona in 1991. He participated in numerous violin making competitions and was a finalist of the competitions of Moscow, Bagnacavallo and Dolny Kubin. At the Baveno competition in 1991 he won the Best Young Violin Maker award, First and Second prizes in the violin category, Second Prize in the viola category and Special Mention for the best sound quality. In 1997 he won Third Prize in the cello category and the Best Varnish prize. At the 10th Cremona Triennial Competition in 2003 he received a mention of honor for a viola, while at the 11^th Wieniawski violin making competition in Poznań in 2006 he received Second Prize. He also received Second Prize at the Nacod competition as well as an award for the best workmanship in 2008. That same year, he won the Arvenzis violin competition. In 2009 he was a finalist in the viola category at the “Eufonia” European competition. He is a teacher at the International School of Violin Making in Cremona, member of the Consortium of Violinmakers “Antonio Stradivari” Cremona and secretary of the Italian Luthery Association (ALJ). His instruments are inspired by the great masters of the antique Cremonese school, Antonio Stradivari in particular, yet show inventiveness, personality and style. They are especially appreciated by Italian conservatory teachers, students and orchestral players, as well as in Japan, the USA and Taiwan.

Bachmann, Anton

Anton Bachmann, ur. 1718 Berlin, zm. 8 III 1800 tamże, nadworny skrzypek i przez 30 lat lutnik dworu pruskiego. Budował cenione wiole, skrzypce, altówki, wiolonczele i kontrabasy według wzorów cremońskich i własnych, a także gitary. Miał syna Carla Ludwiga (1748-1809), nadwornego wiolistę, dyrygenta oraz lutnika, który prowadził zakład ojca po 1791 r. i któremu przypisuje się kilka wynalazków, m.in. stosowany w kontrabasach do dziś mechanizm śrubowy do strojenia z 1778 r. Drugi syn Antona – Wilhelm (1749-1825) był również nadwornym muzykiem. Anton stosował kartki drukowane: Antonius Bachmann, / Königl, Preuss. Hofinstrumentenmacher / in Berlin. 17(56); Antonius Bachmann. / Königl:Preuß:Hofinstrumentenmacher / in Berlin 17(59). Bibliografia: W.L. v. Lütgendorff, Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, Frankfurt a. Main 1922, s. 24; E.E. Helm, M. Elste, Bachmann Carl Ludwig, w: The Grove Dictionary of Musical Instruments, red. L. Libin, t. 1, Oxford² 2014, s. 161

Bartoszek, Józef

Józef Bartoszek, b. 18 Mar. 1940 in Zakopane, d. 10 Dec. 1997 in the same place. In 1959 he finished violin making at the High School of Art Technology in Zakopane. In 1959–1975 he worked as a teacher at the High School of Stringed Instrument Making in Nowy Targ, while manufacturing instruments on his own account. Thanks to a grant from Ministry of Culture and Art he trained in the workshops of Czech luthiers in 1961. In 1982–1990 he resided in Austria, where he mainly worked as conservator and corrector. He produced over 300 instruments, including violins, 55 violas, 50 cellos, over 40 double basses and 12 quartets. In the 1960s he also built several dozen children’s instruments to a commission from the Ministry of Culture and the Arts. He took part in every edition of the H. Wieniawski International Violin Making Competition in Poznań between 1962 and 1977, receiving 1^st and 4^th prize in 1977. He also took part in several editions of the International String Quartet Competition in Liege, where in 1963 he won the gold medal for the youngest finalist. He was a juror of many national and international competitions, including every edition of the Z. Szulc Polish National Violin Making Competition; the 6^th, 7^th, 8^th and 9^th H. Wieniawski International Violin Making Competition in Poznań (in the last of these as chair), and the violin making competition in Freiburg in 1996. He was a member of the violinmakers’ section of the H. Wieniawski Musical Society in Poznań. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); The Luthier’s Art. in Poland 1954-2004, ed. M. Waller (Poznań 2004).

Bausch, Ludwig

Karl Friedrich Ludwig Bausch Jun. (b. 10 Nov. 1829 in Dessau; d. 7 Apr. 1871 in Pabsdorf, n. Königstein); a son and pupil of famous bow maker Ludwig Christian August B. (1805–1871), he mainly made violins. After completing his apprenticeship, he practiced in New York, then established his own workshop in Leipzig. In 1860 he joined his father’s firm (Ludw. Bausch & Sohn), taken over by his younger brother Otto Julius (1841–1875) after the death of Bausch Sen. He applied printed labels reading: Ludovicus Bausch filius / fecit Lipsiae anno 18(60) [with monogram LB under a cross in double circle]; ADOLF PAULUS / LUDW. BAUSCH & SOHN / LEIPZIG / Instrumente. Bogen. Seiten. Etuis etc. / Reparaturen.
Bibliography: W.L. v. Lütgendorff , Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, vol. 1, (Frankfurt a. Main 1922), p. 35; R. Vannes, Dictionnaire Universel des Luthiers, vol. 1, (Bruxelles 1951), p. 23

Bernardel, Auguste

Auguste Sebastien Philippe Bernardel, ur. 12 I 1802 Mirecourt, zm. 6 VIII 1870 Bougival, francuski lutnik znany jako “Bernardel Père” (ojciec). Terminował w Mirecourt, a następnie praktykował i pracował u N. Lupota w Paryżu ok. 1815-1824, potem krótko u C.F. Ganda zanim otworzył w 1826 r. własną pracownię w Paryżu przy rue Coquillière, przeniesioną wkrótce na rue Croix des Petits Champs, gdzie już wcześniej istniał zakład Vuillaume’a. Do firmy przystąpili synowie Ernest (1849) i Gustave (ok. 1849) a jej nazwę zmieniono (1859) na Bernandel i Synowie. Wycofał się na emeryturę w 1866 r. do Bougival, miasteczka słynnego z malarzy impresjonistów, podczas gdy jego firma połączyła się z pracownią Ganda jako Gand & Bernandel Bracia, Lutnicy Konserwatorium. Był jednym z bardziej znanych francuskich lutników tego okresu (obok swego nauczyciela Lupota). Zbudował wiele instrumentów, szczególnie cenionych wiolonczel. Nagrodzony dyplomami honorowymi i medalami na wystawach przemysłowych w Paryżu w 1827, 1834, 1839, 1844, 1849, a także w Londynie w 1851 i 1855 r. Stosował karteczki drukowane, czasem dodatkowo sygnowane. Bibliografia: W.L. v. Lütgendorff, Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart, Frankfurt a. Main 1922, t. 1-2, s. 41; Ch. Beare, Bernandel, w: The Grove Dictionary of Musical Instruments, red. L. Libin, vol. 1, Oxford ²2014, s. 317

Bętkowski, Wojciech Jacek

Wojciech Jacek Bętkowski (b. 27 Feb. 1952 in Siepraw near Kraków) studied violin making at the Technical School of Stringed Instrument Making in Nowy Targ (1967–1972). He then worked at the Lower Silesia Stringed Instrument Factory in Lubin, before joining Jan Pawlikowski’s atelier in Kraków in 1995. He has built over 120 instruments, including violins, viols and cellos. He participated in Polish national and international violin making competitions in Poznań, Hradec Králové, and Cremona, reaching their second rounds. He applies handwritten labels with the inscriptions: WOJCIECH BĘTKOWSKI / LUBIN 1991; and printed labels with floral ornaments: WB / Zbudował: / Wojciech Bętkowski / Siepraw 2002 r. Bibliography: Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004) pp. 62, 65

Bielański, Mieczysław

Mieczysław Bielański (b. 4 Oct. 1914 in Nowica, near Stanisławów, Ukraine; d. 9 Nov. 1983 in Wrocław), son of Karol and Felicia, self-taught violin maker, founding member of the Polish Union of Artist Violin Makers and vice president of the union’s Board (1970–76). He finished his education in middle school. He built his first instrument in 1932. In 1952 he earned his journeyman license under F. Pruszak in Warsaw. In 1954 (1952?) he opened a violin maker’s workshop in Wrocław at ul. Kosynierów Gdyńskich 75/4. His creative output comprises over 110 (220?) violins, violas and cellos combining the style of A. Stradivari with individual features, such as flat arching; deeply concave, Secession style C-bouts; and plates with high, plastic edges. He applied alcohol-based varnishes in golden-orange shades and printed labels with the following inscription: OPUS / 18 / M. Bielański / Wrocław / 1955. He took part in a few editions of the H. Wieniawski International Violin Making Competition in Poznań (1957 – special award, 1967, 1972 – Fifth Prize, 1981 – as juror). In 1960 he took part in the Quartet Making Competition in Liège and served as juror of the 1st Z. Szulc Polish National Violin Making Competition in Poznań (1979). In 1966 he presented a violin made that year at the „Polish Musical Instruments” exhibition in Warsaw. He was awarded the Knight’s Cross of the Order of Polonia Restituta, Gold Cross of Merit, and an Honorary Award for Services to Culture. Married to Halina. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Z. Szulc, Słownik lutników polskich (Poznań 1953); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989);Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004);B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007)

Blondelet, Hugues Émile (Jérôme Thibouville-Lamy & Cie)

Hugues Émile Blondelet (b. 1875; d. 1928 in Mirecourt, France). In 1890, at fifteen years old, he began training with the famous violin making atelier of Jérome Thibouville Lamy (JTL) in Mirecourt. In 1908 he became one of the firm’s directors in Paris. Instruments bearing the name of the atelier and of Blondelet himself belonged to the most expensive at the time. How much he was personally engaged in their making, we do no know. Instruments signed both by him and JTL were also made after Blondelet’s death. In 1923 he was awarded Grand Prix of the Marseille exhibition, the Legion of Honor, the Cross of War and the Order of the Academic Palms. He was also chairman of the jury at the violin making competitions in Rio de Janeiro (1922), Gand (1923), Barcelona (1923) and Strasbourg (1924). He applied printed labels reading: H. Emile Blondelet, luthier à Paris, G n 139, année 1928; Grand Prix 1922, Marseille, légion d’honneur, croix du guerre, palmes académiques; President du jurz hors concours, Rio de Janeiro1922, Gand 1923, Barcelone 1923, Strasbourg 1924. Bibliography: R. Vannes, Dictionnaire Universel des Luthiers, vol. 3, Bruxelles 1985, p. 19

Bobak, Jan

Borowiecki (Borówka-Borowiecki), Franciszek

Franciszek Borowiecki (Borówka-Borowiecki), a carpenter, self-taught violin maker, and founding member of the Polish Union of Artist Violin Makers, b. 17 Sept. 1868 in Niwki, Kielce region, d. 6 May 1962 in Lublin, son of Piotr, a wheelwright, and Wiktoria née Karcz. In 1885–1887 he trained as carpenter in Zawiercie while studying sculpting an drawing with H. Kuder. Subsequently, he was an apprentice in the carpentry and sculpting workshop of R. Świeży. From 1888 to 1889 he trained with M. Śmigrodzki in Częstochowa, where he earned his journeyman license in 1889(?). He also studied the violin with a musician by the name Richter in Częstochowa and Professor Sachse in Zawiercie. In 1914–1915 he studied the cello with Professor Liliental in Lublin. He built his first violin in 1893 according to A. Lehman’s textbook. Encouraged by S. Barcewicz, in 1901 he decided to focus exclusively on making instruments and opened a workshop and store in Zawiercie, moved 1909 to Częstochowa, in 1910 to Lublin, at 10 (6) Królewska St., where he settled down. His output comprises over 100 violins, 15 violas, 15 cellos and 2 double basses. He modelled them on old Italian instruments, in particular Stradivari’s, retaining some individual features. He did not use prefabricated components. The palette of his varnishes ranged from amber to dark cherry. Sometimes he would replace the scroll with a carved head. From 1925 on he used printed labels instead of handwritten ones (eg. Korygował Franciszek Borówka / w Lublinie 1914 roku [Corrected by Franciszek Borówka / in Lublin in the year 1914] on a Groblicz violin in the Music Instrument Museum in Poznań, inv. no. MNP I 487), and changed the first name from Borówka to Borowiecki (eg. Franciszek Borowiecki / wykonał w Lublinie / Roku Pańskiego 19 [ Made in Lublin / by Franciszek Borowiecki / in the year of Lord 19.]). Among the musicians who played his instruments were I. Lotto, S. Barcewicz, P. Kochański, H. Marteau, J. Kubelík, K. Wiłkomirski, E. Umińska, I. Dubiska, S. Jarzębski, S. Namysłowski, B. Huberman, H. Palulis, and J. Rakowski. Most of them wrote letters of commendation to the maker. In 1909 he received a bronze medal in the Agricultural and Industrial Exhibition in Częstochowa for a violin with a carved female head, in 1929 – two gold medals at the National General Exhibition in Poznań for a violin and a cello (he exhibited a few violins, a viola, and 2 cellos), in 1936 – First Prize for a violin and Grand Medal for a string quartet built in 1922–1932 and his work as luthier at the 1936 Polish National Violin Making Exhibition in Kraków. He took part in the 1934 Poznań International Fair and showcased his quartets at the 1954 International String Quartet Competition in Liège and the 1952 ”Violin in Poland” exhibition in Poznań. Awarded the Gold Cross of Merit (1955), Lublin Artistic Award (1956) and an excellence in craft honorary award from the Polish Craft Association (1962), he was one of the best Polish luthiers of the 20th century. Occasionally he played the violin and the viola as part of the orchestra of the Lublin Music Society. Having married Marianna née Sukiennik in 1893, he had eight children, among others Kazimierz Józef (1904–1987), a lawyer, who ran his late father’s workshop until 1987 and Władysław Sławomir (1910–1984), a violin maker based in Radom. Instruments, their parts and tools retrieved from his workshop are now held in the Museum of Folk Music Instrument in Szydłowiec (inv. no. MLIM 1081–1099, MLIM/MS 1103–1106). He was buried in Lublin. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Z. Szulc, Słownik lutników polskich (Poznań 1953); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); The Luthier’s Art. in Poland 1954-2004, ed. M. Waller (Poznań 2004); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007, Bydgoszcz 2019)

Capela, António

António Capela (b. 25 May 1932 in Anta Espinho, Portugal), son and pupil of Domingos Capela (1904–1976). Thanks to a scholarship from the Calouste Gulbenkian Foundation, he apprenticed with Etienn Vatelot in Paris in 1961 studying restoration and later with the Morizot brothers in Mirecourt learning the art of violin making. Thanks to the same scholarship he studied at the Violin Making School in Cremona with Pietro Sgarabotta and Sacconi in 1964–1966. His instruments are well known all over the world. He makes violins after Stradivari’s and Amati’s models, but mainly after a Gasparo da Salo from the Wurlitzer Collection, as well as Stradivari and Montagnana models from the collection of the National Conservatory of Portugal. He was awarded at the International Quartets Competition in Liège in 1963, the Cremona competition (1966, 1967, 1969) and the H. Wieniawski competition in Poznań, winning Second Prize (First was not awarded) in 1967 and all main prizes together with his father Domingos in 1972. He runs a workshop in his family town of Anta. His son, Joaquim António, is also a violin maker. Bibliography: W. L. F. v. Lütgendorff (T. Drescher), Die Geigen und Lautenmacher, (Frankfurt a. Main 1990) p. 85; http://upmagazine-tap.com/en/pt_artigos/capela-the-violin-maker/# (2016-10-11)

Capela, Domingos Ferreira

Domingos Ferreira Capela (b. 25 May 1904 in Anta, Espinho, Portugal; d. 12 Nov. 1976 in the same place) was a cooper, furniture maker, and self-taught violin maker. In 1824 he began repairing violins for local bands and musicians. He then went on to construct new instruments. His first violins were made from materials of lesser quality. With time, he perfected his craft and selection of wood to the point of winning First and Second Prizes at the 1972 International H. Wieniawski Violin Making Competition in Poznań. (His son and pupil António won Third and Fourth Prize at the same competition.) He build over 200 instruments based on classical models by Stradivari, Amati, Guarnerius del Gesu and Stainer. He applied printed labels reading: Domingos F. Capela, ANTA-ESPINHO-PORTUGAL, ANO 19(74) and stamped CAPELA PORTUGAL inside on the back. Bibliography: R. Vannes, Dictionnaire Universel des Luthiers, vol. 2, (Bruxelles 1954), p. 9; W. L. F. v. Lütgendorff (T. Drescher), Die Geigen und Lautenmacher, (Frankfurt a. Main 1990), p. 85

Coratti, Ivano

Czernik-Gracka, Andrzej

Andrzej Czernik-Gracka (b. 1 Mar. 1963 in Zakopane) has been interested in wood processing since his childhood. He started out in his father’s workshop, then studied lutherie at the A. Kenar State Secondary School of Art in Zakopane, graduating in 1983. He also consulted Franciszek and Stanisław Marduła, Jan Łacka and Andrzej Janik. He practiced in a renowned violin making firm in the USA from 2004 to 2005. He runs his own atelier in Bukowina Tatrzańska. He built around 200 instruments, violins, violas and cellos, highland bowed instruments, bows and historical instruments with carved heads. He was a finalist of the 1996 International H. Wieniawski Violin Making Competition in Poznań, and took part in a lutherie exhibition in Hradec Králové in 1985, a post-competition exhibition in Poznań in 1996, the Artistic Lutherie of Podhale exhibition in Zakopane in 2000, as well as exhibitions in Książ and Kraków in 2007. He applies handwritten labels: Andrzej Czernik Gracka / Bukowina Tatrzańska 2003 r. Member of the Polish Union of Artist Violin Makers since 1987. Bibliography: Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004), p. 71; http://www.andrzejczernik.pl/pl/home-7 (06.12.2016)

Czurczak, Michał

Michał Czurczak, musician, educator, self-taught violinmaker, member of the Polish Union of Artist Violin Makers since 1955, b. 28 Oct. 1896 village Gwoździanka near Rzeszow, d. 31 Jan. 1985 Wrocław, son of a farmer Basil and Eve. After graduating from junior high school in Krakow deported to Hungary and incorporated into the army. After 1918 he finished conservatory in Lviv, where 1920-1945 worked as a teatcher. Interested in violimaking since childhood he consulted, among others, Władysław Baczyński, as well as Józef Radzikowski from Łódź, Antoni Karolkowski from Warsaw and Stanisław Niewczyk from Poznań. After 1945 worked in the Lower Silesian Factory of Luthier Instruments in Lubin, then in a cooperative violimaking workshop in Wroclaw, where he opened his own studio in 1951. At the same time, he was a violist of the Wroclaw Opera and a violin teacher at a music school. Initially, he modeled his works on Stradivari and Guarnerim del Gesu, then created his own model. He experimented in the field of acoustic solutions and varnishing technology. He built 290 instruments, including 267 Violins, 15 violas and 8 cellos. He used spirit lacquer in shades of golden to dark brown. His violin was exhibited after 1945 at the Poznań International Fair, 1949 at the exhibition in Musical Instrument Museum in Poznan, 1966 at the exhibition „Polish musical instruments” in Warsaw (viola 1964, violin 1966). He used hand-drawn labels: Wrocław 1955 / Michal Czurczak op. 87; Michal Czurczak, op. 286 / Wrocław 1977. Decorated, among others, with Gold Cross of Merit (1980). Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza, (Bydgoszcz 1989); The Luthier’s Art. in Poland 1954-2004, ed. M. Walter, (Poznań 2004); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników działających za granicą do 1950 roku, 2. ed., (Bydgoszcz 2019).

Dederer, Ulrike

After completing her secondary education in 1989, Ulrike Dederer (b. 1969 in Stuttgart) began four-year studies at the International Violin Making School in Cremona under Vincenzo Bissoloti. In the last year of her studies she practiced in the atelier of Francesco Bissoloti. After graduation in 1993 she passed her journeyman exam in Mittenwald. For the next four years she practiced with the Jecklin firm in Zürich, learning basic techniques of reparation and restoration of violins and bows. She subsequently broadened her knowledge and experience in that field, working seven years in the Machold firm in Vienna from 1993 onwards. She consulted, among others, the well-known bow constructor Thomas Gerbeth. She passed her master craftsman exam in Innsbruck in 2002. In 2005 she moved with her family to Zürich, where she opened her own atelier. Since 2008 she has been making new instruments in the modern and baroque style, drawing on traditional technologies used by the Cremona’s masters. She has also consulted Francois Denis, Koen Padding, Roger Hargrave, Sam Zygmuntovicz and other colleagues. Her instruments won prizes at a range of international violin making competitions: she was a finalist and came first in the sound quality category in Prague in 1993, she won Third Prize at the 2011 H. Wieniawski competition in Poznań, reached the finals of the Etienne Vatelot competition in Paris the same year, and was awarded First Prize in the viola category at the 2012 Stradivari competition (triennial) in Cremona. In 2016 she served as a juror at the International H. Wieniawski Violin Making Competition in Poznań. She is a member of the Swiss Association of Violin Makers (SVGB). Bibliography: http://dederer.ch/violins/tag/kachel/; http://dederer.ch/violins/ (accessed 2016-12-03)

Derazey, Honoré

Ferrari, Giuseppe

Giuseppe Ferrari (b. 5 Oct. 1900, Ferrara, Italy; d. 1970 in the same place) was an accountant and bank director. A student of the local G. Frescobaldi conservatory under Gino Neri, he later earned a degree in economics. He often visited a local workshop run by Ettore Sofritti where he befriended Anselmo Gotti and became his pupil. After 25 years he returned to his home town and deepened his violin making knowledge. He made his first violin in 1949 and opened a workshop in Rome in the same year. In 1955 he had already made 30 violins, 2 viols and a cello. His instruments were inspired by the Neapolitan school along with the models of Guarneri, Montagna, Amati and Stradivari. At the 1953 Milan exhibition he showed a violin which was highly appreciated for its finishing and sound. At the 1865 Cremona Biennale he exhibited a violin, viol and a cello. Used handwritten labels reading Ferrari Giuseppe da Ferrara / fece in Roma 1953. Bibliography: R. Vannes, Dictionnaire Universel des Luthiers, vol. 2 (Bruxelles 1959), pp. 14-15

Gagliano, Gennaro (Januario)

Gennaro (Januario) Gagliano (b. c.1680 (1700?) in Naples; d. after 1768 (1763?) in the same place), second son and student of Alessandro Gagliano, possibly the best, certainly the most versatile, craftsman of the family. He used many models, mostly based on Amati and Stradivari’s instruments. His violins were meticulously finished, with perfect varnish, and a beautiful, loud sound. Not many instruments signed by him have survived (Januario Gagliano Filius / Alexandri fecit Napoli 1728) but there are many unsigned copies of the old masters he made sometimes imitating the original label as well. Bibliography: W. Kamiński, Gagliano, in: Encyklopedia muzyczna PWM, vol. efg, ed. E. Dziębowska (Kraków 1987), p. 210; C. Beare, Gagliano, in: The Grove Dictionary of Musical Instruments, 2nd ed., ed. L. Libin, vol. 2 (Oxford 2014), p. 370

Gagliano, Raffaele i Antonio

Raffaele (b. c.1790; died Dec. 1857) and Antonio II (b. after 1790; d. 27 May 1860) Gagliano, sons and pupils of Giovanni, brothers of Nicola, from the  famous multigenerational violin making family, active in Naples during the first half of the 19th c. They also worked independently. Most of their instruments seem to have been made hurriedly (they competed with instruments made in Germany and Bohemia using the domestic system) and not from the best tonewood; they have slapdash carved scrolls and instead of purfling on the back they a scratched out and painted imitation. Yet, they still amaze with their beautiful sound following from the family’s traditional construction model perfected over many centuries. They applied printed labels reading RAFFAELE ed ANTONIO GAGLIANO / Quodam Giovanni Napoli 18.. (Rafaele & Antonio Gagliano, sons of Giovanni, Neapol 18…). Bibliography: W. L. F. von Lüttgendorf, Die Geigen- und Lautenmacher vom Mittelarter bis zur Gegenwart (Frankfurt AM Main 1922), pp. 153-156; Ch. Beare, Gagliano, in: The Grove Dictionary of Musical Instruments, 2nd ed., ed. L. Libin, vol. 2 (Oxford 2014), p. 370

Gąsienica “Makowski”, Władysław

Władysław Gąsienica “Makowski” (b. 10 July 1935 in Murzasichle near Zakopane; d. 11 Oct. 1993 in Kraków). Having completed the Secondary School of Music in Katowice, he developed an interest in violin making during the 1960s. He trained with Józef Świrek in Katowice (1969–1973), then under Franciszek Marduła in Zakopane and Piotr Kubas in Kraków. In 1976 he opened his own workshop in Kraków. He dealt in correcting, maintenance and repairs yet mostly focused on making instruments. Overall, he built over 40 stringed instruments, including around 10 violas. Initially drawing from A. Stradivari’s style, from 1976 he started to channel J. Guarneri del Gesu, especially his 1735 models. He used oil-alcoholic varnishes in saturated colours: mainly gold-cherry and gold-brown hues. In 1977 he took part in the 5th H. Wieniawski International Violin Making Competition in Poznań, receiving a diploma for participation in the second round. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989);Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004)

Głogowski Roman

Roman Tomasz Głogowski (b. 20 Nov. 1962 in Nowy Targ) studied violin making at the atelier of Andrzej Bednarski in his home town (1982–1987). He also trained at the A. Kenar State Art School in Zakopane (1982–1984). He ran his own atelier in the village of Ząb near Poronin, in the Tatra mountains.  He made over 170 instruments, including over 125 violins, some violas, and over 8 cellos. At the 1987 National A. Stradivari Violin Making Competition in Poznań his violin was awarded Fourth Prize, while at the 1994 W. Kamiński competition in Poznań he won First Prize in the ½ violin category. He also took part in the International H. Wieniawski Violin Making Competition in Poznań in 1991 (second stage) and in 2001 (finalist, 13th place). He showed his instruments at the 2000 exhibition Artistic Lutherie of Podhale. He applies handwritten labels: Roman Głogowski / Ząb 2003 r. Member of the Polish Union of Artist Violin Makers since 1984. Bibliography: Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004), p. 79

Gobetti, Francesco?

Francesco Gobetti (baptised 4 Jan. 1675 in Udine, Italy; d. 10 July 1723 in Venice), originally a shoemaker, he became an apprentice of luthier Matteo Goffriller after 1702 and practiced as violin maker until 1717, when he retired for health reasons. Despite a short career and a small number of instruments produced, he became one of the most eminent violin makers of the Venice school. In addition to his own models, he also made excellent copies of other makers’ models. Bibliography: C. Beare, Gobetti Francesco, in: The Grove Dictionary of Musical Instruments, ed. L. Libin, vol. 2, (Oxford ²2014), pp. 439–440

Gosiewski, Eugeniusz Tomasz

Eugeniusz Tomasz Gosiewski (b. 21 Dec. 1901 in Warsaw; died 10 Nov. 1974 in Warsaw), engineer, self-taught violin maker, son of Antoni and Wanda. He studied at Warsaw Polytechnic and the School of Trade and Commerce, graduating in 1926 and 1927, respectively. In 1933–39 he was employed at Państwowe Zakłady Inżynierii (State Engineering Works), an arms industry holding and the main Polish manufacturer of vehicles, and in 1954–1968 at the Union of Institutes for Professional Excellence. He started learning violin making in 1925 from professional literature and by consulting well-known violin makers: D. Didczenko, T. Panufnik, J. Rymwid-Mickiewicz, and F. K. Pruszak. From 1953 on he worked as professional violin maker, corrector and conservator. He built over 45 instruments, mostly violins and a few violas. He was laureate of the 1st National Violin Making Competition in 1955, and took part in the 1st H. Wieniawski International Violin Making Competition in Poznań (1957), where one of his instruments received Fourth Prize and a medal awarded by the International String Quartet Competition in Liège, while another received an award from the Poznań Philharmonic. He showed a 1962 violin at the 1966 “Polish Musical Instruments” exhibition in Warsaw. He used printed labels, e.g. E. Gosiewski / Warszawa 19(56). A recipient of the Gold Cross of Merit. The Music Instrument Museum in Poznań holds a violin made by Marcin Groblicz (inv. no. MNP Id 2005) labelled Gosiewski Eug. naprawiał Warszawa 1954 [Repaired by Gosiewski Eug. Warsaw 1954]. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Z. Szulc, Słownik lutników polskich (Poznań 1953); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007)

Groblicz, Marcin

Marcin Groblicz (b. c.1674 in Kraków?; d. 21 Jan.[?] 1745 in Lvov; fell ill in 1744), luthier, violinist, turner, decorator, and alchemist of noble descent from Lithuania. Records place him in Poznań between c.1688 and c.1706 (e.g. as a member of an ensemble of the St. Mary Magdalene’s collegiate church); on 3 Apr. 1706 temporarily in Leszno; then in Kraków from c.1712 to c.1722 (where he is mentioned in municipal records in 1715, 1716 and 1722); in Wrocław in 1721; from c.1723 to c.1733 in Warsaw; c.1733–45 in Lviv, as well as Leżajsk and Jarosław. On 6 Sep. 1701 he undertook to teach a son of a Poznań-based bricklayer Kasper Kintzel “the manual skills involved in various liberated arts”, yet sent the youngster home before 1706 as the father’s refused to pay 200 florins in tuition fee. He also taught Jan Wilkowski in Warsaw. On 3 July 1706 G. worked as decorator in Leszno (silver plating). In 1720 in Kraków (?) he accepted a downpayment from a Mr Mieszkowski for a violin commissioned by a duke’s ensemble and made a tobacco pipe shank for a Mr Kołłątaj (also by Mieszkowski’s agency). He made violin cases, walking sticks made of viburnum wood and dyes, offered silver plating services, and delivered tortoises. He built furniture doors covered in lacquerware and chinoiserie adornments labelled M. GROBLICZ POLONUS CRACOVIAE 1721 (also known as a panel painting titled St. Ignatius of Loyola and the Eye of Providence and held by the National Museum in Kraków since 1924), blue altar columns for the Benedictine church in Lviv (7 Sept. 1738), and worked as decorator in Jarosław (22 Apr. 1739), Leżajsk (1739), and Lviv (10 July 1739). He was also actively interested in glassblowing, gun smithery, metallurgy, and medicine. He mixed his own copal varnish. Extant instruments by G. were made in Warsaw in 1710, 1732, 1735 (ca. 1730?) and 1738. The Musical Instrument Museum in Poznań holds a violin made by G. in 1738 (inv. no. MNP-I.487) and one made in Kraków in 1719 (MNP-I.468). Held in private collections are a viola da gamba labelled Ad.M.D.G. W krakowie / Marcin Groblicz 1720 and a sourdine signed MARCIN GROBLICZ / Sługa J.K. Imci. Another sourdine attributed to G. from in the first quarter of the 18^th century is held by the Royal College of Music in London (inv. no. RCM 55). The National Museum in Warsaw possesses a photograph of a violin and a 1922 watercolour drawing (by Bohdan Marconi) of a head and F-holes of an instrument owned by a Mr Moszkowski in Warsaw (?) made by G. in the 17^th century. The Glinka Museum of Musical Culture in Moscow holds two violins by G. from the first half of the 18th century (inv. nos. MИ-1949 and MИ-2036/I). A violin by “a student to Groblicz” is mentioned in an inventory of the Warsaw Augustinian convent of 1752. In 1999 Wojciech Boberski of the Polish Academy of Sciences’ Institute of Art discovered G.’s notebook in the manuscript section of the Wróblewski Library in Vilnius. Kept for around 33 years, it includes more than 180 different kinds of alchemic, chemical, medical, painting, violin making and other recipes devised by G. and others, as well as a chinoiserie drawing, a drawing of a stringed instrument’s rosette, a drawing of a bracing of a stringed instrument or a piece of furniture, and a sketch of an industrial furnace. G. married Katarzyna (b. c.1692; d. after 1752) c.1707 in Wrocław. Bibliography: Z. Szulc, Słownik lutników polskich, Poznań 1953; W. Kamiński, Groblicz, in: Encyklopedia muzyczna PWM, t. efg, red. E. Dziębowska (Kraków 1987), pp. 485–486; A. Krupska, Zapomniane receptury z pierwszej połowy XVIII wieku mistrza różnych sztuk Marcina Groblicza (Warszawa 2010); Polska szkoła lutnicza. Instrumenty Grobliczów i Dankwartów, ed. P. Frankowski, cz. 1 (Poznań 2016), pp. 18–20, and elsewhere; information obtained from Wojciech Boberski and Alicja Knast

Guadagnini I, Lorenzo?

Lorenzo Guadagnini I (senior) (b. 22 Dec. 1685 in Cerignale, Piacenza; d. 15 June 1746 in Piacenza) was the oldest of the Guadanini (formerly Guagnini) violin making family. He was considered the most outstanding representative of the Cremona school and a long-standing pupil of Antonio Stradivari, yet the latter claim is now questioned because of a lack of evidence. Also, many instruments with his labels could have been made by other prominent violin makers, such as Carlo and Francesco Mategazza from Milan or Gaspare Lorenzini from Piacenza. His son Giovanni Battista (1711–1786) is now considered as the most outstanding violin maker in the Guadanini family. Bibliography: C. Beare, Ph.J. Kass, D. Rosengard, Guadagnini, in: The Grove Dictionary of Musical Instruments, ed. L. Libin, vol. 2, (Oxford ²2014), p. 481; W. Kamiński, Guadagnini, in: Encyklopedia muzyczna PWM, t. efg, ed. E. Dziębowska, (Kraków 1987), pp. 497–498

Guarneri, Pietro (I) Giovanni

Pietro (I) Giovanni Guarneri, also referred to as Pietro [Petrus Guarnerius] of Mantua to distinguish him from his nephew, Pietro (II) of Venice (b. 18 Feb. 1655 in Cremona; d. 26 March 1720 in Mantua), son and pupil of Andrea G. and Anna Maria di Orceli, older brother of Giuseppe G. He moved to Mantua in 1679 (1683?), where he ran his workshop and simultaneously worked as a musician at the duke Ferdinand Carlo Gonzaga’s court. (He was a solo violinist and viol player with the ducal orchestra.) In 1698 he returned to Cremona, and ca.1700 relocated back to Mantua. His instruments are related in style to N. Amati’s and A. Stradivari’s models, yet have individual features, such as very convex plates, wide grooves, deeply carved corners, characteristic f-holes, and a noble chamber sound. They are highly valued, though rare: it is assumed he made only about 50 violins and one cello. There are no violas attributed to him. He did not apply his own labels while working with his father. Later he used printed labels: Revisto e coretto da me Pietro Guarneri / Cremonese in Mantova 16(97); Petrus Guarnerius Cremonensis fecit / Mantua sub tit: Sanctae Teresiae, 16(..). In 1677 he married Caterina Sassagni, with whom he had a son, Andrea Francesco (b. 1678). Subsequently, he married Lucia Guidi Borani (4 May 1694), and had five children, none of whom continued in his trade. Bibliography: W. L. F. v. Lütgendorff, Die Geigen und Lautenmacher (Frankfurt a. Main 1922), p. 187; (T. Drescher) 1990, pp. 455–457; W. Kamiński, Guarneri, in: Encyklopedia muzyczna PWM, t. efg, ed. E. Dziębowska (Kraków 1987), p. 501; Ch. Beare/C. Chiesa, D. Rosengard, Guarneri, in: The Grove Dictionary of Musical Instruments, 2nd ed., ed. L. Libin, vol. 2, Oxford 2014 p. 485

Guarneri, Pietro III?

Gütter, Kurt Arno

Kurt Arno Gütter (b. 27 Oct. 1894 in Markneukirchen; d. 6 May 1991 in the same place), son and pupil of guitar maker Heinrich Ludwig, 1909–12 apprentice to Oskar Bernhard Heinel, 1913–14 journeyman employed by Max Schlesinger in Dresden and 1915–21 by Heinrich Thedore Heberlein in Markneukirchen. There he opened his own workshop on 8 Feb. 1921 and became a master craftsman next year. He had a son, Konrad Albert (b. 4 Aug. 1927; d. 22 Nov. 1992), who was his pupil, co-worker, and guitar maker running  his own workshop from 1955. G. built mostly after Italian models. He used printed labels, e.g. Kurt Gütter / Markneukirchen / Made in Germany / Copie: Joseph Guarnerius / GK [intertwined initials]. Bibliography: R. Vannes, Dictionnaire Universel des Luthiers, vol. 1 (Bruxelles 1951), p. 141; W. L. F. von Lüttgendorf, Die Geigen- und Lautenmacher vom Mittelarter bis zur Gegenwart (Tutzing 1990), p. 224

Hoof, Alphons Van

Hulinzky, Tomáš Ondřej

Hulinzky, Tomáš Ondřej, b. 12 Dec. 1731 Prague, d. 11 May 1788 there, son of the labourer and lumberjack Matěj and Eva born Pogerová, pupil of Johann Ulrich Eberle. From 12 Dec. 1776 citizen of the New Town in Prague. In his works, you can see the influence not only of his master but also of Joseph Anton Laske, among others in the harps, lutes, and violas he made. He used a beautiful red and red brown varnish on a yellow primer. He decorated instruments, especially viols, with ivory and tortoiseshell, and used printed labels decorated with a griffin holding a lute: THOMAS HULINTZKY. / Pragæ Anno 177(79), and written: Thomas Andres / Hulinsky fecit Prag 1763. Married 25 Nov. 1760 in Prague (New Town) with a widow Katerina Matusvá – witness J. U. Eberle. Bibliography: Karel Jalovec, Die Geigen und Lautenmacher, Praha, 1965; idem: Encyclopedia of Violin Makers, London 1968; Willibald Leo Frh. v. Lütgendorff, Die Geigen und Lautenmacher von Mittelalter bis zur Gegenwart, Frankfurt am Main 1922.

Janik, Andrzej

Andrzej Janik, b. 25 March 1939 Zakopane, d. 9 April 2005 there. He studied violinmaking at the local State High School of Fine Arts, graduating in 1959, and then, after completing Pedagogical Studies, taught violinmaking in the years 1962-1975 at the Technical School of Violin Making in Nowy Targ. At the same time, he practiced in the studio of Franciszek Marduła in the years 1962-1965, and in Chicago (USA) in the years 1986-1988. He opened his own studio in Nowy Targ in 1963, moved to Zakopane in 1994. He built over 100 violins, 37 violas, 2 cellos and 27 classical guitars, as well as, occasionally, highland folk instruments. He used handwritten labels: Andrzej Janik / Zakopane 2003 r. He participated in the Z. Szulc National Violin-Making Competition in 1979 in Poznań (3^rd prize and distinction for special sound qualities), as well as in several international competitions and was a finalist in the competitions in Cremona in 1982 in the violin category, in Hradec Králové in 1987 – viola, in Moscow in 1990 – viola. As a juror, he participated in the H. Wieniawski International Violin-Making Competition in Poznań in 2001, as well as in national competitions (1987, 2001). A member of the Polish Union of Art Violin Makers since 1963. On his initiative, cyclical exhibitions of Podhale violinmakers were organised. Bibliography: The Luthier’s Art. in Poland 1954-2004, ed. M. Waller, (Poznań 2004), pp. 90, 93.

Jasiurkowski, Tadeusz

Tadeusz Jasiurkowski, b. 21 Jan. 1952 Nowy Sącz. 1967-1972 student of the Technical High School of Violin Making in Nowy Targ, then employee of the Lower Silesian Violin Instrument Factory in Lubin until 1979, when he opened his own workshop. As a conservator, he collaborates with French luthiers and creates his own instruments: over 132 violins, 24 violas and 8 cellos. He was a finalist in many national and international violin-making competitions in Hradec Králové (1985), Poznań (H. Wieniawski competition 1991, 1996 – 7^th place, W. Kamiński competition 1999 – 3^rd prize in the ¾ violin category), Moscow (P. Tchaikovsky competition 2002 – 6^th place in the violin category and 6^th in the viola category), as well as competitions in Mittenwald, Paris and Cremona. Juror of the W. Kamiński competition in 2009. Member of the Polish Union of Art Violin Makers since 1981. He uses printed cards: Tadeusz Jasiurkowski / Lubin 2004 r. Bibliography: The Luthier’s Art. in Poland 1954-2004, ed. M. Waller, (Poznań 2004), pp. 91, 96; http://artystalutnik.pl/ (retrieved 21/09/2024)

Joo, Jaromír

Jaromír Joo (b. 14 Apr. 1952 in České Budějovice), son of Bohumir and Bedřiška. He was educated at a school in Sedloňov and studied the violin in Nové Město nad Metují. He then trained with a violin making cooperative „Cremona” in Luby, Cheb district, and under leading Czech violin makers such as F. Pavlicek (Prague, four years), M. Cardy (Velký Osek, 1978–1979), V. Pilar (Hradec Králové, 1980–1981). He also practiced at ateliers in  Canada, Switzerland and France. He was admitted to the Circle of Czech Master Violin Makers in 1980. Next year his violin was awarded Third Prize and a golden medal for the best quality from the Polish Union of Artist Violin Makers at the International H. Wieniawski Violin Making Competition in Poznań. He won Fifth Prize at the 1982 A. Stradivari competition in Cremona. At the 1985 competition in Hradec Králové his viola was awarded Third Prize and bronze medal for sound (in the national qualifications, the instrument won Second Prize, a golden and bronze medal for execution, and a silver medal for sound);. In 1989 in Hradec Králové he received Sixth Prize and a finalist’s diploma. He was a juror at the 2001 International H. Wieniawski Violin Making Competition in Poznań. He runs his own atelier in Náchod. Until 2006 he also had a workshop in Quesada, Spain, where he still teaches violin making. He is a founder of the International V. Metelka Violin Making Competition held since 1997, first in Náchod and since 2012 in Prague. He applies printed labels: Jaromír Joo Náchod / Faciebat Anno 18(..) [initials JJ in a circle]. Bibliography: V. Pilař, F. Šrámek, Umění houslařů, (Praha 1986), pp. 118, 250; http://www.violinwatch.com/m5821002.html (12.07.2016)

Kacprzak, Mariusz

Kamiński, Włodzimierz

Wlodzimierz Kaminski, b. 12 Jan. 1930 Gniezno, d. 9 April 1993 Poznan. Musicologist, organologist, luthier. 1950-1954 studied musicology at the University of Poznan, where in 1962 he defended his doctorate on musical instrument history on Polish lands. Since 1951 employed at the Musical Instrument Museum in Poznań, since 1962 as its curator. 1992 he received the title of professor of musical arts. His initiative resulted in the development of luthier education at the high school and university level in Poznan. Author of, among others, books on musical instruments on Polish lands, Polish violin, luthiery and numerous articles. Co-editor of the magazine „Lutnictwo”. Juror of international violinmaking competitions, among others in Cremona, Hradec Králové, Sofia and Moscow, chairman of the jury of the H. Wieniawski International Violin Making Competition in Poznań and Z. Szulc National Violin Making Competition. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Z. Szulc, Słownik lutników polskich (Poznań 1953); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); The Luthier’s Art. in Poland 1954-2004, ed. M. Waller (Poznań 2004).

Karolkowski, Antoni

Antoni Karolkowski (b. 9 Apr. 1906 in Warsaw; d. 25 Dec. 1983 in the same place), a founding member of the Polish Union of Artist Violin Makers and the union’s secretary from I970 to 1976; son of Antoni and Bronisława neé Gąsiorkiewicz. A self-taught violin maker, at the beginning of his career, he made use of advice from the Warsaw violin maker J. Rymwid-Mickiewicz as well as Feliks K. Pruszak. From 1935 he ran his own luthier’s workshop in Warsaw, after WWII located at ul. Miła 1. At first he offered conservation and adjustment services. He built several dozen violins and a viola. His violins produce a characteristic round sound and are finished with golden-yellow and golden-red spirit varnishes. He took part in the exhibition The Violin in Poland organized in I952 at the National Museum in Poznań and Polish Musical Instrument in Warsaw 1966 (showcasing his violin from 1960). He applied handwritten labels (Antoni Karolkowski / Zrobił w Warszawie / 1952 roku) and printed ones (ANTONI KAROLKOWSKI / WARSZAWA / ROK 19..). He also stamped his name near the endpin: A. KAROLKOWSKI. From 1945 to 1976 he adjusted and maintained instruments for the Academy of Music in Warsaw. Married in 1939, he had a son born in 1956. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007)

Karoń, Jan

Kasprzycki, Bogdan Leszek

Bogdan Leszek Kasprzycki, b. 8 March 1951 in Wołów. He graduated from the Academy of Mining and Metallurgy in Kraków in 1978. In the years 1978-1991 he worked at the Mining Plants of the Copper Mining and Metallurgy Plant in Lubin. He began learning violin-making in the workshop of Krzysztof Mróz in 1983, and in the years 1985-1986 he continued it in the workshop of Tadeusz Słodyczka. In 1991 he completed a course for experts organised by the ZPAL. His portfolio includes 65 violins, 15 violas and 6 cellos. In order to commemorate the turn of the millennium, he made a quartet of instruments signed with a label: ‘Quartet Milenium 2000’ and the number 2000 on the heads of the instruments. Awarded in the W. Kamiński National Violin-Making Competition in Poznań in 1994 – 2^nd Prize in the viola category, 4^th place in the ½ violin category; in the 1999 competition – 4^th place in the ¾ violin category; in the International P. Tchaikovsky Violin Making Competition in Moscow in 1994 – 5^th place in the viola category, in 1998 3^rd Prize and a bronze medal in the violin category, 8^th place in the viola category, in 2002 3^rd place and a bronze medal in the viola category. In 1995 he took part in the “Polish Art of Violin Making” exhibition accompanying the 13^th International Chopin Competition. Interested in the issue of tuning soundboards, presenting results of his experiments at Polish national violin making seminars. Member of the Polisch Union of Artist Violin Makers since 1986, in the years 1997-2001 member of the Board. Bibliography: Archive of the Polish Union of Artist Violin Makers (ZPAL); The Luthier’s Art. in Poland 1954-2004, ed. M. Walter, (Poznań 2004).

Kegel, Zbigniew

Zbigniew Kegel (b. 2 Feb. 1960 in Poznań) studied lutherie at the M. Karłowicz Secondary Music School in Poznań (1975–1979) and under Andrzej Łapa at the I. J. Paderewski Academy of Music in Poznań. He received his master’s degree in 1984, having presented a violin and rebec of his own production as well as a thesis on problems connected with constructing bowed instruments in the Middle Ages written under the supervision of Professor W. Kamiński. Since 1982 he has been working as conservator of stringed bowed instruments at the M. Karłowicz Secondary Music School in Poznań. His output comprises over 50 violins, 6 violas, a guitar, a cittern, 2 violas da gamba, a lute and 5 bows. At the A. Stradivari National Violin Making Competition in Poznań in 1987 he received a special prize for varnish. He also took part in the second round of the International H. Wieniawski Violin Making Competition in Poznań in 1986 and reached the competition’s final in 1991. A member of the Polish Union of Artist Violin Makers since 1982.

Kijanka, Norbert Adam

Norbert Adam Kijanka (b. 11 Aug 1968 in Łódź) studied violin making in the stringed instrument making class at the M. Karłowicz Secondary School of Music in Poznań (1983–1987) and with Professor Włodzimierz Kamiński at the I. J. Paderewski Academy of Music in Poznań, from which he graduated in 1992. For his master degree he submitted two violins and a thesis on the life and work of Bartolomeo Giuseppe Guarneri del Gesù. In 1992 he trained for several months at the workshop of W. & H. Bünnagel in Cologne. Later in 1992 he opened his own workshop in Łódź. He made over 50 violins, five violas, a cittern and two violin bows. He took part in the Z. Szulc Polish National Violin Making Competition in 1987 and 1999, finishing as a finalist in the ¾ violin category. He also successfully competed in the H. Wieniawski International Violin Making Competition in Poznań: in 1991 he won the eight place, a medal awarded by the juror A. Capela, and the prize of the Association of German Violin Makers for the youngest Polish finalist; followed by Second Prize in 2001. He was awarded the gold medal for producing a violin with the best sound quality at the 2nd V. Metelka International Violin Making Competition in Náchod (2004). In 1993 he presented a paper on the output of Bartolomeo Giuseppe Guarneri del Gesù to the Polish National Seminar on Stringed Instrument Making. In 2011 he was a juror of the H. Wieniawski Competition. A member of Polish Union of Artist Violin Makers since 1988, he also joined the Association of German Violin Makers in 2006. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Polska sztuka lutnicza 1954-2004, red. M. Waller, Poznań 2004

Kikuta, Hiroshi

Hiroshi Kikuta (b. 1961 in Nagoya, Japan) initially worked as a mixer of classical music for the Japanese television channel NHK. Fascinated with sound of the violin, he began constructing the instruments after modern Cremona models. In 2001 he enrolled in the International Violin Making School in Cremona, where he subsequently studied under Nicolas Razari and Lorenzo Marchi, graduating with honours in 2004. Thanks to a special scholarship, he continued his studies under N. Razari, working on his own style. In 2009, together with Akira Takahashi, he opened his own atelier in Cremona. He was awarded prizes at the following international violin making competitions: H. Wieniawski competition in Poznań (2006 – First Prize and a medal for the best sound), P. Tchaikovsky competition in Moscow (2007 – First Prize), the Triennale competition in Cremona (2009 – seventh place in viola category;2012 – fifth place in viola category), and Violino Arvensis in Dolný Kubín, Slovakia (2013 – bronze medal and a special prize for the best technology applied). Bibliography: http://www.kansai-violinmakers.jp/members/member_kikuta.html (accessed: 26 Dec. 2016)

Kim, Min Sung

Klier, Franz Joseph

Franz Joseph Klier (b. 12 Apr. 1901 in Schönbach; d. 1962? Bubenreuth, Germany), son of Josef; pupil of Josef Schuster in Schönbach-Graz. He became a journeyman in 1921. He then worked in Hamburg: from 1921 to 1923 with Georg Winterling (Schreiber & Lugert) and from 1923 to 1925 under Rudolf Schuster. He opened his own workshop in Schönbach in 1925; worked one year in Kassel in 1928 and passed the master craftsman exam in Markneukirchen in 1929. After WWII, in 1946, he settled in Tennenlohe near Erlangen, then moved to the nearby Bubenreuth in 1951. He became the head of the local guild in 1947. He made violins after classical models. Bibliography: W. L. F. v. Lütgendorff (Ergänzungsband, T. Drescher), Die Geigen und Lautenmacher, (Frankfurt a. Main 1990), p. 320

Kmiecik, Tadeusz Wojciech

Tadeusz Wojciech Kmiecik (b. 27 July 1952 in Cedry Wielkie, Gdańsk). He attended the Technical School of Stringed Instrument Making in Nowy Targ, which he finished in 1972. For the next year he honed his violin making skills in the workshop of Franciszek Marduła in Zakopane, subsequently opening his own violin making workshop in Budy Łańcuckie. (He moved to nearby to Łańcut in 1992). For many years he has been associated as a luthier with the International Music Courses organized during the summer months in Łańcut. Besides carrying out conservation work, he also builds instruments. His creative output comprises over 130 violins, 20 violas, 30 cellos and 50 bows. He has taken part in the international violin making competitions in Cremona, Mittenwald, Moscow, Paris and Poznań. He has displayed his instruments at competition exhibitions and also in Łańcut, Warsaw and Zakopane. He uses handwritten labels: Tadeusz W. KMIECIK / Budy Łańcuckie / ŁAŃCUT A D 2003. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004)

Kochergin, Anatolij

Anatoly Kochergin (b. 10 March 1930 in Moscow) started to work at the Moscow Experimental Instrument Workshop at the age of fourteen. He studied violin making with the Russian master S. Dobrov, and broadened his experience working with Etienne Vatelot in France. In 1957 he became chief musical instrument conservator at the Moscow Conservatory, and since 1976 has headed the unique musical instrument workshop at the State Collection. He is a laureate of numerous domestic and international violin making competitions: in 1966 he came in first at the International P. Tchaikovsky Competition in Moscow and in 1981 he won Fifth Prize of the H. Wieniawski Competition in Poznań, where he was also awarded a medal by Polish Union of Artist Violin Makers for producing a violin with the best sound quality. Currently, he is a highly valued instrument conservator enjoying recognition at home and abroad, and is often invited to sit on juries of international violin making competitions (e.g. in 2006 in Poznań). Bibliography: 11th International Henryk Wieniawski Violin Maker Competition, Poznań 7-13 May 2006 (Poznań 2006), p. 10

Kretzschmann, Udo

Król, Stanisław

Stanisław Król (b. 13 Sept. 1963 in Zakopane) learned violin making in the stringed instrument making class of the A. Kenar State Secondary School of Art in Zakopane (1978–1983), and subsequently collaborated with Jan Łacek and Władysław Gąsienica “Makowski””. In 1988 he graduated from the Academy of Fine Arts in Kraków. He ran his own workshop in Zakopane. His output comprises over 150 violins, some 15 violas and 15 cellos. In 1985 he took part in the First International Luthiers’ Competition in Hradec Králové (former Czechoslovakia) in the viola category, and has thrice participated in the H. Wieniawski International Violin Making Competition in Poznań: in 1986 he was awarded a silver plaque from the Italian National Artistic Lutherie Association of Cremona for the youngest Polish competitor; in 1991 he won Third Prize (two violins in the final); and in 2001he received a diploma for participation in the second round. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL)

Królikowski, Adam Jan

Adam Jan Królikowski (b. 13 Dec. 1907 in Żywiec, where he died on 18 Aug. 1992), son of Czesław and Rozalia née Pantoflińska. Having completed a secondary school, he worked in his mother’s textile shop. After her death he ran the business himself until WWII, when it was confiscated and Królikowski resettled. A self-taught violin maker, he referred to professional literature and consulted Józef Choleksa and the traditional stringed instrument maker Wiktor Szweda. He built his first instrument at the age of 17 after the J. U. Eberle model, and produced around a few more by 1939. He resumed violin making after 1945. From 1945 to 1954 he worked as electrician, technician and in administration in Żywiec, then was arrested. After his release in 1954 he concentrated solely on violin making, mostly after the Stradivari model. He built over 90 violins, violas, cellos, quartets and historical instruments. He used spirit varnishes and oil-based varnishes combined with etheric oils in golden-orange shades. He also offered conservation and adjustment services. He used printed labels: ADAM JAN KRÓLIKOWSKI ŻYWIEC / WYKONAŁ W ROKU 19… He was a member of the violin makers section of the H. Wieniawski Musical Society in Poznań and of amateurish choirs. At the 1966 Polish Musical Instruments exhibition in Warsaw he showed his violin from 1960. He had a son, Andrzej Michał (b. 15 Sept. 1947 in Żywiec), also a violin maker. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza, (Bydgoszcz 1989); Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku, (Szczecin 2007)

Krupa, Antoni Józef

Antoni Józef Krupa (b. 17 Feb. 1948 in Zakopane) learned violin making in the Technical School of Stringed Instrument Making in Nowy Targ, which he completed in 1967. From 1969 to 1973 he studied at the wood processing department of the Academy of Agriculture in Poznań. He wrote his MA thesis on transient vibration in factory timber for spruce resonance piano bottoms under the supervision of Professor Helena Harajda. From 1973 to 1978 he worked as a specialist in instrument conservation at the Museum of Musical Instruments in Poznań. In 1973 he also started teaching the stringed instrument making class at the M. Karłowicz State Secondary School of Music in Poznań. Since 1978 he has worked at the I. J. Paderewski Academy of Music in Poznań, successively holding the following posts: 1978 – senior lecturer; 1985 – reader; 1993 – assistant professor; since 1993 – director of the Department of Artistic Lutherie. In 1998 he was awarded the title of Professor of Musical Arts. He has also completed specialist courses organized by the Polish Union of Artist Violin Makers (l99l, Poznań; 1992, Warsaw). He has made over 250 instruments, including around 210 violins, 27 violas, 11 cellos, a string quartet and three early instruments: a baroque violin, a lira da braccio (copy of an instrument by Giovanni d’Andrea, Verona 1511) and a renaissance lute. He has taken part in two editions of the Z. Szulc Polish National Violin Making Competition in Poznań, winning Second and Fourth prizes in 1979 and First Prize Summa cum Laude for a l/2 violin and viola in 1984. In 1982 he reached the second round of the 3rd A. Stradivari International Violin Making Competition in Cremona. He has participated four times in the H. Wieniawski International Violin Making Competition in Poznań: in 1977 he reached the second round; in 1996 he was a finalist; 1991 in he placed fourth and won a medal from the Polish Union of Violin Makers for the highest quality of tone. He has displayed his instruments in a number of exhibitions: 1979 – The 25th Anniversary of the Polish Association of Artist Violin Makers in Warsaw; 1983 – The 10th Anniversary of the Teaching of Violin Making in Poznań; 1988 – The Luthiers’ Art in Poland, Museum of Musical Culture in Moscow. He chaired the jury of the 1st W. Kamiński Polish National Violin Making Competition in Poznań (1994) and sat on the jury of the 9th H. Wieniawski International Violin Making Competition in Poznań (1996). The principal themes of his papers presented to the Polish national seminars on stringed instrument making have been issues connected with the style of the instruments of A. Stradivari, the use of geometrical methods in the construction of violin models, and the string quartet. Married to Irena (violin maker) he has two sons violin makers: Marcin Andrzej (b. 1977) and Krzysztof Adam (b. 1979). Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004)

Krupa, Krzysztof Adam

Adam Krupa Krzysztof, b. Jan. 5, 1979 Poznań, son and student of Antoni. He attended the violin class of the H. Wieniawski Primary Music School in Poznań since 1986, and the violin-making class of the M. Karłowicz High School of Music there since 1994. Later, from 1998 to 2003, he studied violin making under the supervision of prof. Andrzej Łapa at the I. J. Paderewski Academy of Music in Poznań, where he obtained a master’s degree in art based on the cellos he built, a baroque bow and thesis on Cello in the works of Domenico Montagnana and other representatives of the Venetian school in the 18th century. He teaches violinmaking at the High School of Music in Poznań and runs a studio there with his father and brother. He built over 45 instruments, including violins, violas, cellos, baroque violins and viola da gamba, using printed cards: Krzysztof Krupa / fecit Poznań anno. He participated in many nationwide violin-making competitions: W. Kamiński in Poznań 1994, 1999 – 3^rd prize in the ½ violin category, distinctions in the ¾ and full violin category, 2004 – 1^st prize; and international: in Paris 1999, Cremona 2000, 2003, Mittenwald 2001, Poznań 2001, 2016 – finalist, Moscow 2004 – 2^nd prize and silver medal for cello, as well as in Baltimore, Dolný Kubin and Manchester, 2024 VSA competition in Indianapolis – distinction for cello sound values. In 2003 and 2007 he received a scholarship from the Minister of Culture and Art. Member of the Polish Union of Art Violin Makers since 1999 and American Violin Makers Association since 2006. Bibliography: http://www.krupaviolin.com/index2.php?s=pracownia (retrieved 09.25.2024); http://www.skrzypce.instrumenty.edu.pl/pl/luthiers/luthiers (retrieved 09.25.2024); The Luthier’s Art. in Poland 1954-2004, ed. M. Waller, (Poznań 2004), pp. 118-119.

Krupa, Marcin Andrzej

Marcin Andrzej Krupa, b. 28 VII 1977 Poznań, son and pupil of Antoni, 1992-1996 student of the luthier class of the M. Karłowicz Music High School in Poznan, later student in Andrzej Łapa class at the I.I. Paderewski Academy of Music there. 2002 he obtained a master’s degree based on his violin and bow, and a written thesis entitled Bow maintenance. 2001-2002 he practiced in the Berlin studio of the bow maker Gregor Walbrodt. He built over 25 instruments (violins, violas, cello, lyre da braccio, viola da gamba) and over 50 violin, viola and cello bows. He use printed labels: Marcin Krupa / figlio di Antonio / Poznań anno (2009) / MK. Awarded at many luthier competitions: 1998 and 2002 P. Tchaikovsky International Competition in Moscow, 1999 National Luthier Competition in Poznan, 2001 International H. Wieniawski Competition in Poznan, 2004 International Competition in London, 2004 W. Kamiński National Competition in Poznan, 2004 International Competition in Paris, 2005 and 2010 International Competition in Mittenwald, 2006 and 2015 International A. Stradivari Competition in Cremona, 2006 International Competition in Baltimore, 2009 „Eufonia” competition in Sofia and Brussels, 2013 International Competition in Beijing, 2018 International Competition in Cleveland. He works in a family studio in Poznan with his father and brother, as well as an assistant at the Luthier Department of the Academy of Music in Poznan. Member of Polish Union of Art Violin Makers since 1998. Bibliography: http://www.krupaviolin.com/index2.php?s=pracownia (retrieved 09.25.2024); http://www.skrzypce.instrumenty.edu.pl/pl/luthiers/luthiers (retrieved 09.25.2024); The Luthier’s Art. in Poland 1954-2004, ed. M. Waller, (Poznań 2004), pp. 118-119.

Kubas, Piotr

Piotr Kubas (b. 21 June 1906 in Węgierka near Pruchnik; d. 28 Dec. 1978 in Kraków) learned violin making in Kraków in the workshop of J. Zając and under G. Häussler. He became a master craftsman in 1930. From 1929 to 1970 he ran his own workshop of instrument adjustment and conservation called „Lutnia” [Lute] at ul. Św. Tomasza 30 (26), moved to ul. Poselska 13 after WWII. From 1950 he also worked as instrument conservation specialist for the Kraków Philharmonic. In total, he built 45 violins and a viola. He produced his first instrument in 1935 and his last six after 1970. He took part in violin making exhibitions and competitions. At The Violin in Poland exhibition in 1952 in Poznań he presented a violin and a viola. In the 3rd H. Wieniawski International Violin Making Competition (Poznań, 1967) his instrument won Third Prize. Earlier he participated in the same competition as a juror in 1957. In 1975 he was honored for his creative output in the domain of violin making with the Award of the Ministry of Culture and the Arts. A founding member of the Polish Union of Artist Violin Makers, he was active in many of the union’s committees. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Z. Szulc, Słownik lutników polskich (Poznań 1953); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007); information provided by Ernest Kubala and Barbara Ostafin from Kraków; Poland’s National Digital Archive possesses photographs of the violin maker and his workshop from 1944, inv. no. 2-6686-1 to 12

Kukulski, Eugeniusz

Eugeniusz Kukulski (b. 8 Nov. 1888 in Biecz, Lesser Poland; murdered in Katyń in 1940), self-thought violin maker; colonel of the Polish Army; son of Franciszek and Bronisława née Dyląg. He graduated from the Faculty of Law of the Jagiellonian University in Kraków. He fought the 1920 war with Soviet Russia holding the rank of captain and serving as the commander of the armored train „Hallerczyk” and commander of the antiaircraft battery during the Warsaw Battle. Later he served in the First, Third and Twelve Heavy Artillery Regiment, than (having been promoted to lieutenant colonel) as deputy commander of the Sixteen Heavy Artillery Regiment in Grudziądz (1927–1928) and commander of the Replenishment District Headquarters in Piotrków from 31 May 1929. Having retired, he settled in Kraków, where he was awarded Second Prize for his violin at a 1936 violin exhibition. Married to Stefania née Sikorski, he had a son Janusz. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Z. Szulc, Słownik lutników polskich (Poznań 1953); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007); Rocznik oficerski 1928, Ministerstwo Spraw Wojskowych, Warszawa 1928, p. 390; Centralne Archiwum Wojskowe, Akta Personalne 12882

Kurkowski, Stanisław

Stanislaw Kurkowski, b. 20 July 1954 in Zakopane. He graduated from the Technical School of Violin Making in Nowy Targ in 1976 and then practiced for four years in the studio of Franciszek Marduła in Zakopane, and later two years in the Jan Santman studio in the Netherlands. He has run his own violinmaking workshop in Kraków since 1981. His creative output includes over 200 instruments, including around 150 violins, around 40 violas and around 15 cellos. He also carries out the correction and conservation of instruments. Winner of Second Prize for cello in the First National Z. Szulc Violin Making Competition in Poznań in 1979. He holds diplomas of participation in the second stage of international violin making competitions: in 1979 in the A. Stradivari completion in Cremona, in 1981, 1986, 1991, 1996 in the VI, VII, VIII and IX H. Wieniawski Violin Making Competition in Poznań. In 1994, he presented his instruments at an exhibition and concert on the 40th anniversary of the Polish Union of Artist Violin Makers in Warsaw. Member of the Union since 1976. Bibliography: Archive of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza, (Bydgoszcz 1989); The Luthier’s Art. in Poland 1954-2004, ed. M. Walter, (Poznań 2004).

Lang, Albert

Albert Lang (b. ca. 1909 in Schönbach) graduated from the violin making school of the „Cremona” Luthier Cooperative at Luby u Chebu (formerly Schönbach) in Czechoslovakia. He was awarded Fourth Prize at the 1957 H. Wieniawski International Violin Making Competition in Poznań. Later, he worked for the Höfner firm in Hagenau, Bavaria, where he trained violin maker Lothar Semmlinger in the 1960s.

Lemarie, L.

Loska, Robert Wojciech

Robert Wojciech Loska (b. 22 April 1966 in Zabrze) completed the State Secondary School of Music in Gliwice (violin class) in 1985, and two years later took up violin making studies at the I.J. Paderewski Academy of Music in Poznań. In 1992 he was awarded his Master of Arts degree in artistic violin making based on a thesis The Violins Produced by Antonio Stradivari in the years 1700-1716 written under the supervision of Professor W. Kamiński. He also presented two instruments: a violin built based on his own model and a baroque one. His output comprises over 80 instruments, including over 60 violins, 12 violas, two cellos and a guitar. In 2001 he won Third Prize at the 10th H. Wieniawski International Violin Making Competition in Poznań and the prize for scoring the highest point total for two instruments. He achieved further successes in 2003 at the 10th A. Stradivari International Violin Making Competition in Cremona: fifth place for a violin and ninth place for a viola. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); Polska sztuka lutnicza 1954-2004, ed. M. Waller, Poznań 2004

Łukasz, Wojciech

Wojciech Łukasz (b. 24 Aug. 1962 in Nowy Targ), studied violin making at the M. Karłowicz State Secondary School of Music in Poznań (1992–1996) and the I.J. Paderewski Music Academy in Poznań under Antoni Krupa. Graduated after presenting a baroque viola and chitarrone, as well as a thesis on Decoration in European instruments as a basis for attribution in 1987. Since 1988 he has been a conservator at the Polish National Opera in Warsaw. He built over 79 instruments, including violins, violas, baroque cellos, lutes, guitars, theorbas, chitarrones and bows. His instruments were awarded at two Polish national violin making competitions: the Student Violin Making Competition in Poznań (1983 – First Prize for a 1/2 violin) and the W. Kamiński Polish National Violin Making Competition in Poznań (1994 – Gio Batta Massini of Cremona’s silver plaque for the instrument bearing most characteristics of the Italian style). He also participated in international competitions: the H. Wieniawski in w Poznań (1991 – Sixth Prize, 1996 – Ninth Prize); the Mittenwald competition (1993 – Fifth Prize in violin category, 1997 – Sixth Prize in viola category); the V. Metelka competition in Náchod (1997 – golden medal for the highest sound quality); and the P. Tchaikovsky competition in Moscow (1998 – First Prize in violin category). He was a juror at the 1999 W. Kamiński  violin making competition and the 2001, 2011, and 2016 H. Wieniawski  violin making competition. Member the Union of Polish Artist Violin Makers since 1983. He applies printed labels: Wojciech Łukasz / Warszawa 2003; WOJCIECH ŁUKASZ / Warszawa 1998. Bibliography: Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004), pp. 137–138;
http://www.wojciechlukasz.com/biografia.html (access: 8 Dec. 2016); http://www.wieniawski.pl/wojciech_lukasz.html (access: 8 Dec. 2016)

Mantovani, Nadia

Nadia Mantovani (b. 13 Feb. 1960 in Descenazo del Garda, Italy) studied at the International Violin Making School in Cremona under Giorgio Scholari and Gio Batta Morassi (1974–1978), then practiced for two years at the school’s workshop, before opening her own atelier. In 1982 she also started teaching at the Violin Making School in Milan. She specializes in historical instruments, mostly viols. At the 1981 H. Wieniawski International Violin Making Competition in Poznań she was awarded Second Prize and the special prize of juror Antonio Capela for the best young maker. Bibliography: W.L. v. Lütgendorff, T. Drescher, Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart, Vol. 3 (Tutzing 1990), p. 387; http://www.wieniawski-competition.com/konkurs-lutniczy/en/vi_l_08a-2/ (access: 27.02.2017)

Marchi, Lorenzo

Lorenzo Marchi (b. 24 Dec. 1950 in Siena, Italy) was interested in music from an early age: he was a guitarist in a local band and began studying classical guitar. Driven by a desire to make his own instrument, he made contact with a violin maker in Florence. Following his advice, Marchi began studying violin making in the International Violinmaking Institute in Cremona in 1974, graduating in 1978 under Gio Batta Morassi’s supervision. Subsequently, he opened his own atelier and started teaching violin making at the Cremona institute. In 1978–1982 he was also an assistant to Walter Leoni while the latter led evening courses of guitar making (which became his specialty), financed by the local administration. He repairs and makes violins, violas, cellos, as well as baroque, transitional and classic guitars, and occasional viola da gambas, lutes, mandolins and hurdy-gurdies. In 1980 he was among the founding members of the Italian Violinmaking Association (ALI), later becoming involved in the work of the professional luthiers’ section as the secretary and president (1999). He is also a member of the European Association of Master Violin and Bow Makers (AEL) and its international equivalent, the Entente. He received awards and honorable mentions in various violin making competitions, among others at the 1986 H. Wieniawski Violin Making Competition in Poznań. He still teaches at the violin making institute in Cremona and runs his atelier there. Bibliography: http://www.cremonaviolins.com/en/violinmaker/lorenzo-marchi-en/ (access: 27.02.2017); http://www.associazioneali.it/en/socien/marchi-lorenzo-40.html# (access: 27.02.2017)

Marduła, Franciszek „Gał”

Franciszek ”Gał” Marduła (b. 27 July 1909 in Poronin near Zakopane; d.  29 Nov. 2007 in Zakopane), violin maker and artist carpenter; son of Józef, a carpenter and graduate of the Wood Processing School in Zakopane, and Ludwika née Gutt ”Mostowy”. He first worked at his father’s workshop, designing and building Podhale-style furniture and silver jewelry. Conscripted to serve in Border Protection Corps, he participated in the defense of Lublin, where he was taken prisoner. He was subsequently held in Stalag IV-B Mühlberg and Stalag IV-A Elsterhorst. He taught himself the basics of violin making, then trained under Andrzej Bednarz. He built his first violin in 1928. His creative output comprises around 6500 instruments: violins, violas, cellos, double basses, guitars, and historical instruments such as violas da gamba and violas d’amore. He was also one of a few luthiers in Poland to produce bows. After WWII violin making became the greatest passion of his life. In 1945 he opened his own workshop in Zakopane at ul. Kościeliska 44, which still operates today with his son Stanislaw at the helm. Initially, he built instruments based on the Stradivari and Guarneri del Gesu models. After 1956 he used his own models. He applied handwritten labels reading Wykonał / Franciszek Marduła „Gał” / Zakopane / rok 1955 [Made by / Franciszek Marduła ”Gal” / Zakopane / 1955]; Franciszek Marduła / Zakopane 1984 r. From 1952 onwards he combined his creative work with teaching, initially at the School of Art in Zakopane (lutherie program), and from 1959 to 1972, when he retired, at the Technical School of String Instrument Making in Nowy Targ founded on his initiative and thanks to his efforts. An important part of his work involves the conservation of instruments. He has taken part in many violin making competitions, achieving many artistic successes: fifth honorary mention at the 1st National Violin Making Competition Warsaw in 1955; Grand Silver Medal at the International Viola Exhibition in Ascoli Piceno, Italy in 1959; finalist in 1967 and 1972 at the International String Quartet Competition in Liège (he participated in 1960, 1963, 1967 and 1972); Fifth Prize at the H. Wieniawski International Violin Making Competition in Poznań (he participated in 1957, 1967, 1977 and 1981); seventh place in 1982 in the cello category at the A. Stradivari International Violin Making Competition in Cremona (he participated in 1979, 1982, 1985). In 1979 he served as honorary chair of the 1st  Z. Szulc Polish National Violin Making Competition in Poznań. He presented his work at five individual exhibitions: in 1979 in Frankfurt and Zakopane (BWA), in 1988 at the A. Glinka Museum of Musical Culture in Moscow, in 1995 at the Warsaw Philharmonic, and in 1998 at the exhibition The Passions of Franciszek Marduła at Willa Koliba in Zakopane. He also showcased his instruments at collective exhibitions, including Polish Musical Instruments held in Warsaw in 1957; The Artistic Violin Making of the Podhale Region organized by the Polish Union of Artist Violin Makers in Zakopane in 2000, and a joint exhibition of his and his son’s instruments held in Zakopane in 2002 (revived a year later in Ciechanów and Ostrołęka). He willingly passed on his knowledge and experience at Polish national seminars on stringed instrument making. Many Polish and foreign luthiers have received training in his workshop. In 2003 he celebrated 75 years of his creative work. A member of the Polish Union of Artist Violin Makers from 1955, he held many functions in the union’s administration. In 1988 the union awarded him the title of Honorary Fellow for his outstanding artistic achievements, his pedagogic and educational work, and his active community work. He was an avid skier who participated in numerous Polish Skiing Championships and the 1939 World Skiing Championships (FIS). He was also an active gymnast, member of the Sokół Gymnastics Society and its honorary chairman. His another passion was sport shooting. For his social, sporting, organizational and artistic activities he was honored with numerous regional, ministerial and state awards, including the Silver Cross of Merit and the Polish Union of Artist Violin Makers Annual Award in 1980. His son Stanisław (b. 29 Feb. 1952) is also a violin maker. Buried in the Pęksowy Brzyzk Cemetery. Bibliography: Archives of the Polish Union of Artist Violin Makers; A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007); F. M. „Gał” (advertising brochure) (Zakopane 1998); T. M. Lisek, Mistrz Franciszek Marduła (Kraków 2007)

Matsuda, Tetsuo

Tetsuo Matsuda (b. 21 May 1945 in Hadachi near Akita, Japan) took up violin making relatively late. He was already twenty when he found his way to a guitar workshop in Chai, where he stayed ten years. In 1977 he went to Italy and studied the violin making craft in Cremona for four years, which soon brought him a string of spectacular successes. The first was Fifth Prize at the 1981 International H. Wieniawski Violin Making Competition in Poznań. In the following year the artist received two silver medals for violin and viola at the International A. Stradivari Competition in Cremona, and in 1984 was awarded two gold medals also for violin and viola at the International Violin Society of America International Violin Making Competition. Since 1983 Tetsuo Matsuda has been living in the United States, where he first worked for W. H. Lee in Chicago, IL. In 1993 he opened his own workshop in Skokie, IL, then moved to Barrington, IL, in 1998. He was a jury member at the 11th International H. Wieniawski Violin Making Competition in Poznań in 2006. Bibliography: 11th International Henryk Wieniawski Violin Maker Competition, Poznań 7-13 May 2006 (Poznań 2006), p. 10

Mochizuki, Shinya

Shinya Mochizuki, currently based in the town of Oyama (Tochigi prefecture on Honshu island), Japan, he previously worked in Tokyo; member of the Japan String Instrument Makers Association; awarded Fourth Prize at the 1986 H. Wieniawski International Violin Making Competition in Poznań.  He showed his violin at the 2000 Stringed Instrument Fair in Tokyo. He applies calligraphic labels: Shinya Mochizuki / Tokyo Japan / 1986.

Morassi, Simeone

Simeone Morassi (b. 13 Mar. 1966 in Cremona), son and student of Giovanni Battista. He was introduced to the world of music and artistic woodworking as a child in his father’s workshop. In 1984 he graduated from the International Violin Making School of Cremona  and the Udine Conservatory of Music as violinist. Morassi entered numerous international violin making competitions, winning First Prize and Gold Medal at the H. Wieniawski in Poznan, Poland in 1996, in Mittenwald, Germany in 1989, Esztergom, Hungary in 2000, and Nachod, the Czech Republic in 2004. In addition, he has received various special prizes for the best varnish, best workmanship, and best sound quality. Simeone Morassi sat on the juries of the following violin making competitions: Poznań in 2004; Helsinki, Finland in 2004; Luby, the Czech Republic in 2005; Queretaro, Mexico in 2005; Dolný Kubín, Slovakia in 2006. He took part in exhibitions held in Tokyo, Seoul, Taipei, Paris, Frankfurt, Helsinki.

Mróz Krzysztof

Krzysztof Mróz (b. 11 Nov. 1953 in Radków) completed the Technical School of Stringed Instrument Making in Nowy Targ. In 1973 he took up employment at the Lower Silesia Stringed Instrument Factory in Lubin. At the same time he trained under Mieczysław Bielański in Wrocław. His output comprises over 200 violins, around 100 violas and 40 cellos. He has also carried out complicated conservation work on many instruments and bows. In 1979 he took part in the 1st Z. Szulc Polish National Violin Making Competition in Poznań, taking seventh place. Two years later he moved to Wrocław, where he opened his own workshop. He took part in a succession of Polish national competitions, reaching the second round in 1984; placing fifth in 1987; and winning First Prize for a violin in 1994. Since 1981 he has regularly participated in successive editions of the H. Wieniawski International Violin Making Competition in Poznań: in 1986 he was awarded a diploma for participation in the second round; in  l991 he reached the finals; in 1996 one of his violins won First Prize and gold medal, another was awarded Third Prize and bronze medal, while he also received a Silver Fan award from Japanese juror Soroku Murata and special prize from Czech juror Tomas Pilař for the best Pole in the competition. He has also entered into numerous European violin making competitions (Cremona, Hradec Krá1ové, Mittenwald, Manchester, Moscow, Paris, Prague), becoming a finalist (violin) in Mittenwald in 1989, taking fifth place (viola) in Prague in 1993, sixth place in (viola) in the P. Tchaikovsky Competition in Moscow in 1998 and fourth place (viola) in the same competition in 2002. In 1989 he was invited to sit on the jury of the 3rd Z. Szulc Polish National Violin Making Competition in Poznań. He has also delivered a number of papers and lectures on violin making, including to the Polish National Seminar on Stringed Instrument Making in Boleslawów (1998) and the Festival of Science in Wrocław (2000). Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL)

Müller, Harry

Nella, Raphael?

Nella, Raphael? Raffaele (Raphael) Nella, or Raffaele Della (also interpreted as Ravanelli or Rafanelli), a little-known Italian violinmaker from Brescia. There are a few instruments known with labels reading „Nella Raphael / Brescia 16–” from 1659, 1672, built according to the G.P. Maggini model, with double purfling, one-piece bottom and golden-brown varnish. Bibliography: L.F. v. Lütgendorff, Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, (Frankfurt am Main 1922), Bd. 2, p. 348; K. Jalovec, Italian violin makers, (London 1958), p. 287; J. Dilworth, www.amati.com/maker/nella-raffaele/ (retrieved 05.07.2017)

Nowobilski, Mieczysław

Mieczysław Nowobilski, Polish Fourth Prize winner (equal with Gao Tong Tong from China) at the 1996 H. Wieniawski International Violin Making Competition in Poznań. There is no information of his activity as luthier from that point on.

Pancerz, Andrzej

Andrzej Pancerz (b. 1973 in Korzenna near Nowy Sącz) studied the cello at the primary school of music in Zakopane and – parallelly – violin making at the A. Kenar Secondary School of Art in Zakopane (1988–1993). After practicing with Adam Stelmach in Limanowa for a year, he began studying lutherie at the I.J. Paderewski Academy of Music in Poznań. In the meantime, he practiced in Belgium for one year. At the 2001 H. Wieniawski International Violin Making Competition in Poznań his violin was awarded a medal of the H. Wieniawski Society for the best sound qualities. Since 2002 he has lived in Biecz, where he makes violins, paints and works as an instructor at the Ceramic Therapy Workshop. Bibliography: http://www.biecz.pl/asp/pl_start.asp?typ=13&menu=7&dzialy=7&akcja=artykul&artykul=94 (accessed: 16 Jan. 2017)

Panormo, Vincenzo

Vincenzo (Trusiano) Panormo, called the Old Panormo (b. 30 Nov. 1734 (?) in the village of Monreale, near Palermo; d. 19 March 1813 in London), violin and woodwind instrument maker; son of Gaspare Trusiano, a guitar maker known to have worked in Palermo from the 1740s onwards and Anna; brother of woodwind instrument makers Francesco, Rosario Giovanni and Giuseppe. He had great technical skills, and traded in describing various instruments, mostly violins, cellos, double basses and oboes already from the age 16. He was probably shortly trained by Bergonzi in Cremona. After 1754, certainly before 1767, the Trusiano family left Sicily and moved to Naples, where Vincenzo cooperated with the Gagliano violin makers family. There, Vincenzo and his siblings started using the name Panormo (from “Panormus” meaning Palermo in Latin) first alongside, then instead of Trusiano; the new name was used also by their children. In 1772 Vincenzo went to England for the first time, yet before 1773 he moved to Marseille, and later to Paris. In 1789, escaping the revolution, he moved with his sons to Dublin, where he cooperated with Thomas Perry and made beautiful instruments from maple billiard tables. He settled in London after 1791. From 1797 to 1798 he retuned to Ireland and cooperated with the violin maker Richard Tobin in Cork. His violins, cellos, double basses, as well as guitars gained wide recognition for their clear Italian sound, and were highly appreciated by instrument teachers. He mostly copied Stradivari and Amati models. He is recognized also for his introduction of elements of Italian violin making to the English craft. The Palermo Musical Conservatory possesses a double bass with the inscription Vincenzo Trusiano / fecit Panormi / 1752 made by the luthier at the age of 10. Also extant are oboes signed: Vinc / Panormo. His printed labels from the Paris period were often copied by other makers. In London he used handwritten labels: vincenzo Panormo italiano / fecit in londini Anno 1774. Many of his instruments circulate without labels, and some only with the name burnt at the top of the back or on the lower lining. He had violin making sons: Joseph (b. 1767; d.1837), George (b. 1776; d. 1852), Louis (b. 1784; d. 1862), as well as grandsons: Eduard Ferdinand (b. 1812; d.1891) and George Louis (b. 1814, d.1877). Bibliography: G. P. di Stefano, Documentary Evidence Concerning the Early History of Vincenzo Trusiano and the Panormo Family of Instrument Makers in Italy, Journal of the  Violin Society of America, VSA Papers (Fall 2014), Vol. XXIV, No. 2. pp. 51–61; W. L. F. v. Lütgendorff (T. Drescher), Die Geigen und Lautenmacher, (Frankfurt a. Main 1990), pp. 455-457; Ch. Beare, J. Dilworth, Ph. J. Kass, Panormo, in: The Grove Dictionary of Musical Instruments, ed. L. Libin, vol. 4, (Oxford ²2014), p. 17

Park, Ji Hwan

Ji Hwan Park (b. 19 Nov. 1982 in Daejeon, South Korea), studied violin making at the International Violin Making School (IPIAL) in Cremona under the guidance of Massimo Negroni (2005–2010). After graduation he studied one more year under Michele Drobner. Currently, he is running his own atelier in Cremona. He was awarded a bronze medal for viola at the 2010 Pisogne Italian National Competition, a silver medal for violin and best sound at the same competition in 2011, sixth prize for violin at the 5^th Arvensis competition in Slovakia (2013), honorable mention for violin at the 14^th Cremona Triennial Competition (2015), and first and second prizes for violins at the  2016 H. Wieniawski International Violin Making Competition in Poznań.

Pawlikowska, Danuta Ewa

Danuta Ewa Pawlikowska, b. 16 March 1971 Nowy Targ. 1986-1991 student of the violin making class of the A. Kenar State High School of Fine Arts in Zakopane, graduated with distinction (diploma work – cello ¾) as a fine arts technician with a specialisation in artistic violin making. Then she apprenticed for 6 years with her uncle Jan Pawlikowski in Kraków. She has run her own studio in Kraków since 1995. She has built over 32 violins, 23 violas and 2 cellos. In 1999 she won 1^st and 2^nd prize in the violin ½ category at the 2^nd National W. Kamiński Violin Making Competition in Poznań. She has successfully participated in international competitions: 2001 in the 10^th H. Wieniawski Competition in Poznań (two violins in the 2^nd stage); 2002 – in the 4^th P. Tchaikovsky Competition in Moscow – 3^rd prize for violin, a diploma and prize for the highest sound quality, 7^th place in the viola category; in the 10^th A. Stradivari Violin Making Competition in Cremona – 2^nd prize in the viola category (the first prize was not awarded). In 2002, she presented her viola at an exhibition of graduates’ works at her Fine Arts High School in Zakopane on the 125^th anniversary of the school’s foundation. She uses printed violin-making cards: D/P Danuta Pawlikowska / Kraków Anno 200(3). Member of the Polish Union of Art Violin Makers since 1998. Bibliography: The Luthier’s Art. in Poland 1954-2004, ed. M. Waller, (Poznań 2004), pp. 164, 167; https://www.danutapawlikowska.com/ (retrieved 21.09.2024)

Pawlikowska, Janina

Janina Pawlikowska, b. 23 V 1982 Cracow, daughter and student of Jan, graduated from the violin class at the Music High School in Krakow, a student of father Jan since 2001, studied violin making at the Academy of Music. I.I. Paderewski in Poznan since 2002. She took part in the Wł. Kamiński Violin Making Competition in Poznań in 2004, making it to the finals with a violin and two violas, where she won first place for her viola. She made over 20 violins and 3 violas. Member of the Polish Union of Art Violin Makers since 2005.

Pawlikowski, Jan

Jan Pawlikowski (b. 2 Jan. 1943 in Maruszyn near Nowy Targ) studied violin making at the Technical School of Stringed Instrument Making in Nowy Targ (1959–1964), and the violin at a secondary school of music (1964–1069). Next, he studied the viola at the Kraków Academy of Music, yet dropped out in 1970. In 1965–1966, thanks to a Ministry of Culture scholarship, he practiced restoration at Piotr Kubas’s violin making workshop in Kraków and at the Music Instrument Museum in Poznań. Soon afterwards, in 1967, he opened his own workshop in a building belonging to the Academy of Music in Kraków. In 1972–1973 he worked for Robert Kagan’s firm in Chicago. After coming back to Poland, he opened a workshop in Kraków and simultaneously took over as the instrument maintenance specialist for the Kraków Philharmonic after the late P. Kubas. He was awarded First prize for a cello at the Z. Szulc Luthier’s Competition in Poznań in 1979, a special prize of the magazine Hudebni Nastroje for two violins at the same competition in 1981. He also reached the final of the 1982 A. Stradivari Competition in Cremona and received a bronze medal for a violin at the 1983 Luthier’s Competition in Sofia. He was a juror at many violin making competitions, including in Moscow, Hradec Kralowe, Prague and Poznań. He applies printed labels with the inscription: Jan Pawlikowski / (zbudował) / KRAKÓW‧ANNO DOMINI 20(..) [signature] flanked by the images of St. Mary’s Basilica in Kraków and the highlander fiddle (złóbcoki). He runs the workshop together with his daughter Janina, also a violin maker. Bibliography: The luthier’s Art in Poland 1954-2004, ed. M. Waller, (Poznań 2004), p. 163; http://pawlikowscy.com.pl/[17 Oct. 2016]

Piegendorfer, Georg

Georg Piegendorfer (b. 9 Feb. 1849 in Ergoldsbach; d. 26 July 1906 in Augsburg), one of the best Bavarian violin makers. He played music and learnt artistic carpentry from an early age. He worked as a journeyman in various places. In 1866, when the Prussian-Austrian war broke out, he voluntarily joined the Bavarian infantry and served as a signaler in the rifle company. After peace was established, he stayed in the army as a musician in a military band. Demobilized in 1869, he enlisted again and stayed as an oboist until 1871. Later he shortly worked as a carpenter but soon became a French horn player in a theater orchestra, with which he toured Germany and Austria. In 1874 he repaired his colleague’s violin so well that the latter encouraged him to take up violin making and got him the well-known Adoph Welltengel book to learn from. Keen to proceed in the profession, P. studied other violin making books and worked as a volunteer at the Christian Edler workshop in Frankfurt throughout 1875. The following year he made the first violin of his own design. Having made fast progress, he became the conservator with the Municipal Orchestra of Augsburg in 1879. He get married and opened his own workshop in 1880. Having gained recognition in the new trade, he could afford to give up his career in music. He soon took over A. Scherlein’s well-known store of string music instruments and started to make violins on a larger scale, to that end employing two journeyman. He built instruments patterned after Stradivari and Guarneri models, using good old wood and good yellow varnish. He applied printed labels: Gg. Piegendorfer / fec. in Augsburg (1898). He also authored the book Die schwäbischen Geigenbauer vom Jahre 1600 bis auf unsere Zeit, Leipzig 1895. Bibliography: W. L. F. v. Lütgendorff, Die Geigen und Lautenmacher, (Frankfurt a. Main 1922). p. 384

Pielaszek, Piotr

Pielaszek Piotr, b. 16 III 1992 Poznań, son and pupil of Marek, as well as the cello class at the E. Młynarski Elementary Music School in Warsaw and then the violin making class of Jan Mazurek at the J. Elsner Secondary Music School in Poznań. He continued his studies at the Department of Artistic Violin Making at the J. Paderewski Academy of Music in Poznań under the supervision of Andrzej Łapa. He practiced in France at the Pascal Camurat bow studio in Montpellier in 2013, and in 2014 at the Marcus Klimke studio in Angers, where he became his assistant in 2015, as well as an assistant to Andrea Frandsen in Les Ponts de Ce the following year. Since 2018, he has been running his own studio, first in Sevilla, later in Poznań. Awarded at numerous national and international competitions: in Mittenwald 2014 – 7^th place in the violin category, in Poznań 2016 – 4^th place and the medal of the H. Wieniawski Musical Society for the highest rated sound values ​​of the instrument, a special Jakub Niewczyk prize for the highest classified students of the Academy of Music in Poznań, and a special Jan Špidlen prize; in Cleveland, Ohio 2016 – a silver medal in the violin category, in Prague 2017 – 1^st place and a gold medal for the violin, 1^st place and a gold medal for the one-day snail carving competition; in Mittenwald 2018 – a gold medal for the viola, Cleveland – two silver medals for the violin and the viola; in Poznań at the H. Wieniawski Competition 2021 – a gold medal for the “Dali” violin, a silver medal for the “Selva” violin, a special prize for the sound properties of the “Dali” violin; in Cremona at „Il Triennale” 2021 – silver medal for violin, finalist in the viola category, special prize named after Simone Fernando Sacconi, Annaheim (USA) 2022 gold medal for violin-making in the quartet category, Mirecourt 2023 – special prize of the violin-making jury, Cremona 2024 for viola – bronze medal and the Walter Stauffer Musicology Center’s gold medal for the best sound qualities at the A. Stradivari competition, 2024 VSA competition in Indianapolis – distinction for violin sound lute values. Bibliography: https://bdafineviolins.au/bda_team/piotr-pielaszek/ [retrieved 25.08.2024]; http://www.skrzypce.instrumenty.edu.pl/pl/lutnicy/lutnicy [retrieved 25.08.2024].

Pilař Tomáš

Tomáš Pilař (b. 22 Feb. 1954 in Hradec Králové) comes from a multigenerational violin making family: he is a son and pupil of Vladimír (b. 1926) and Eva, née Niesnerov. He was also trained by his grandfather Karl (b. 1899; d. 1985), under whose guidance he begun restoring and repairing instruments. He has been playing the violin and cello since his childhood. In 1973 he joined military service and worked as violin maker in Prague. In 175, having completed the service, he returned to Hradec Králové and has been working in the family workshop henceforth. He also practiced making bows at R. Herbert Leicht’s workshop in Hohendorf near Makneukrichen (1977) and at C. Hans Karl Schmidt’s workshop in Dresden (1981). Soon he gained recognition as a bow maker and restorer. He made violins after Stradivari’s 1718 model and a Guarneri model. His instruments were awarded many prizes at international and national violin making competitions, including those in Cremona (silver medal, 1976), Poznań (Golden Groblicz Award for the greatest individuality, 1977), the USA (Fifth Prize, 1980), and Hradec Králové (three golden medals for a viola and the instrument with the best tone, 1985). In 1977 he was awarded the title of “Exemplary worker of culture” by the Czech minister of culture. He was a juror at the 1996 International H. Wieniawski Violin Making Competition in Poznań. He has a daughter, Šárka, who independently makes violins in the family workshop. Bibliography: V. Pilař, F. Šrámek, Umění houslařů (Praha 1986), pp. 75, 78–79, 149

Pilař, Vladimír

Vladimír Pilař (b. 20 April 1926 in Hradec Králové), son and pupil of violin maker Karl P. (1899–1985) and Vlasta née Schöblova, member of a multigenerational family of luthiers from Staré Paky. He studied the violin under Professor Karl Hřsel and the flute under Professor Zdeňek Stoklasa, playing in amateur symphony and opera orchestras and chamber ensembles in his free time. From 1941 to 1945 he studied violin making with his father, then worked for him until 1958. Next year he became a member of the Polish Union of  Artist Violin Makers, and has been active in its management since 1970. He is also a member of the union’s German counterpart (Verband der deutschen Geigenbauer) and of an expert committee of the National Gallery in Prague. He built first instruments after his father’s models, and later mostly after Italian masters (A. Stradivari’s “Campo Selice” from 1710, and Guarneri del Gesù’s instrument from 1718). His instruments were awarded at the International Quartets Competition in Liège in 1957, 1960 and 1963; the 1962 International H. Wieniawski Violin Making Competition in Poznań, where he took First Prize. Highly appreciated around the world, he sat on juries of a range of international competitions and co-authored a study on Czech violin making, Umění houslařů. He worked at the family atelier in Hradec Králové together with his son and grand-daughter. Married in 1950 to Eva Niesnerov, he had two sons, Petr (b. 1951) and Tomáš (see entry); in 1975 he married his second wife, Emilia Čihulkova. Bibliography: V. Pilař, F. Šrámek, Umění houslařů, (Praha 1986), pp. 149–151

Piórko, Jerzy

Jerzy Piorko, born 25 III 1955 in Kocudzy, Lubelskie Voivodeship. 1869-1974 he studied violin making at the Technical High School in Nowy Targ, and then took a job at the Lower Silesian Factory of Violin Instruments in Lubin (employed there until 1982). He opened his studio in Lubin in 1882. 1989-1990 (9 months), and in 1992 (4 months) he completed his violin-making training in Joseph Kun’s studio in Ottawa, Canada. He made over 370 instruments, including 300 violins, 50 violas, and 20 cellos. Participant and laureate of many violin-making competitions: 1984 – Z. Szulc Competition in Poznań, 1985 – International  Competition in Hradec Králové, 1986 – H. Wieniawski International in Poznań, 1987 – International Sofia, Kazanluk, A. Stradivari National in Poznań;  1991 – H. Wieniawski International in Poznań, 1994 – P. Tchaikovsky International in Moscow. Member of the Polish Union of Artists Violin Makers since 1980, since 1991 – member of its Qualification Commission. Bibliography: Archive of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza, (Bydgoszcz 1989); The Luthier’s Art. in Poland 1954-2004, ed. M. Walter, (Poznań 2004).

Pötzl, Josef

Josef Pötzl (b. 3 Oct. 1908 in Schönbach, renamed Luby in 1945, Cheb district; d. 1998), son and pupil of violin maker František (b. 1874; d. 1915) and Maria, née Fischer; excellent violin maker, musician and painter. He also studied under Gustav Dietl in Schönbach (1922–1925), a local art school (for eight years) and the local State Violin Making School (1925–1926). After becoming a journeyman in 1925, he worked for a year for Dietl and until 1928 for Otto Schuster. Having completed military service (1928–1930), he opened his own workshop in Nýrsko, in the Bohemian Forest (Šumava), which he then moved to Hranice in Moravia (1935–1945). After the war  he returned to Schönbach and worked as an instructor, was the headmaster of the local violin making school, and ran his own workshop from 1950. He used Stradivari and Guarneri models but mostly his own designs, making instruments with big, powerful sound. He also worked as renovator and corrector. His instruments won prizes at the violin making competitions in Prague (second prize, 1954), Poznań (third prize, 1957), Ascoli Piceno (silver medal), and Liège (special prize for sound, 1960). In 1981 he was presented with a state award for artistic achievements. Violin making traditions are continued by his son Jan (b. 1946) and grandson David (b. 1975). Bibliography: V. Pilař, F. Šrámek, Umění houslařů (Praha 1986) pp. 77, 81, 153

Pruszak, Feliks Konstanty

Feliks Konstanty Pruszak, b. 3 Nov. 1883 in Butejki, Volhynia; d. 26 Jan. 196l in Płudy near Warsaw, son of Konstanty (b. 1856; d. 1940), a civil servant of noble origin (Leliwa coat of arms) and Józefa Jadwiga, née Śliwińska (b. 1861; d. 1927). One of the best Polish violin makers. In 1898 he completed a primary school in Warsaw and began learning violin making in Markneukirchen under the well-known master Ludwig Dörffel. He passed his journeyman’s examination there in 1902. From 1902 to 1908 he was practicing in Budapest (?). In 1908 he settled in Warsaw and opened his own workshop at 62 Nowy Świat St. Soon he became a highly regarded conservator and leading expert in stringed instruments. He also built new instruments. In 1939 most of his workshop and collection of historical instruments were destroyed. After 1945 he worked in the ”Ton” Cooperative of Musical Instruments in Warsaw. Propagator of the idea of giving lutnictwo the rank of artistic craft. Co-initiator of the creation of the State Collection of Luthier Instruments. He initiated and conducted several luthier courses at the State High School of Fine Arts in Zakopane. One of the initiators of the founding of the High School for the Construction of Luthier Instruments in Nowy Targ. Consultant to the Chamber of Crafts in the field of craft improvement. He modeled himself on the late-Cremonese school (preferred model J. B. Guadagnini of 1752), using a greasy varnish with an admixture of essential oils, in golden-orange shades. In total, he built over 300 violins, 12 violas, 20 cellos, mainly in the interwar period. He used handwritten labels in Latin and Polish (Feliks Konstanty Pruszak / Warsaw 1904; Feliks Konstanty Pruszak Pludy near Warsaw 1938-1949). Among those who played his instrument were S. Barevich, T. Vronsky, O. Straszynski. A. Karolkowski was his pupil. In 1952 he took part in the exhibition The Violin in Poland organized at the National Museum in Poznań. He was chair of the jury of the 1^st National Violin Making Competition in Warsaw in 1955 and honorary chair of the jury of the 1^st International H. Wieniawski Violin Making Competition in Poznań in 1957. He was a master craftsman and the guild head (after 1936?); later a founding member and the first president of the Polish Union of Artist Violin Makers, a post he held until his death. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); The Luthier’s Art. in Poland 1954-2004, ed. M. Waller (Poznań 2004); B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007)

Quenoil, René

René Quenoil, ur. 8 VII 1921 Paryż, syn i uczeń Victora Q. oraz Amédée Dieudonné w Mirecourt. Praktykował rok u Rogera i Maxa Millantów, rok u Marcela Vatelota, 8 lat u Emila Françoisa, lutnika Konserwatorium Paryskiego. W 1948 r. usamodzielnił się w Paryżu z pracownią przy bulwarze de Clichy 60, od 1976 przy Rue de Liège 39, gdzie przejął atelier Jeana Paula Fritscha. Ceniony jako restaurator (m.in. dla Muzeum Paryża). Do 1985 wykonał ponad 65 skrzypiec, 56 altówek i 4 wiolonczele. Nagrodzony w 1949 r. dyplomem zasługi na konkursie w Hadze za skrzypce i wiolonczelę, drugą nagrodą na Konkursie Lutniczym im. H. Wieniawskiego w Poznaniu w 1957 r. (w 1981 r. był jurorem tego konkursu), złotym medalem na konkursie w Paryżu w 1965 r., a także wielką francuską nagrodą artystyczną (Grand Prix des Métiers d’Art S.E.M.A.) w 1981 r. i Orderem Sztuki i Literatury (Chevalier de l’Ordre des Arts et des Lettres) w 1982 r. Bibliografia: R. Vannes, Dictionnaire Universel des Luthiers, t. 1, Bruxelles 1951, s. 290, t. 3, 1985, s. 59; W.L. v. Lütgendorff, T. Drescher, Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, t. 3, Tutzing 1990, s. 492

Rataj, Mieczysław

Mieczysław Rataj, born July 28, 1960 in Bochnia. He studied violinmaking in the years 1981-1983 as an unenrolled student at the A. Kenar State High School of Fine Arts in Zakopane under the supervision of Jan Łacek (classes in the theory and history of violinmaking under the supervision of Stanisław Marduła and Józef Bartoszek). In 1985, he opened his own workshop in Kraków in 1985. He has built over 55 instruments, including violins, violas, cellos (also in the Baroque version) and viola da gamba (a treble model by Richard Mears, a 7-string bass viola model by Nicolas Bertrand from 1720 and others). He deals with corrections, repairs and reconstructions of instruments. He is also interested in Polish folk instruments and non-European ones, including correcting the charango (South America – Andes region), saz (Turkey), sitar (India). In 1987 he took part in the A. Stradivari National Violin Making Competition, winning the 5th prize in the ¾ violin category, and in the 2nd international P. Tchaikovsky Competition in Moscow (1994), taking the 8th place. Participant in competitions in Mittenwald 2001, London 2004 and Poznań 2011. In 2012 he won the 2nd prize in the 1st National Violin Making Competition for the best sound of a violin in Lublin. One of the donors of violins for the Fryderyk Chopin University of Music in Warsaw during the exhibition of instruments of Podhale violinmakers in 2012. Currently he works with his son Filip, teaching him the art of violin making. Member of Polish Union of Art Violin Makers since 1986. Bibliography: Polish violin-making art 1954-2004, ed. M. Waller (Poznań 2004).

Rocchi, Sesto

Różak, Michał

Michał Różak (b. 24 Nov. 1969 in Zakopane) attended the stringed instrument making class of the A. Kenar State Secondary School of Art in Zakopane from 1984 to 1989, subsequently completing a violin making program at the I. J. Paderewski Academy of Music in Poznań. He was awarded his Master of Arts degree after presenting two violins and a thesis on Franciszek Marduła’s life and work. He produces both bowed and plucked string instruments (violins and violas as well as guitars and lutes). He has taken part in the following violin making  competitions: the 1999 W. Kamiński Polish National Competition in Poznań (First Prize in the 3/4 violin category); the 1996 and 2001 International H. Wieniawski Competition in Poznań (diploma for participation in the second round); the 2001 International Competition in Mittenwald (diploma for participation in the second round); the 2002 International Tchaikovsky Competition in Moscow (tenth place in the viola category). A member of the Polish Union of Artist Violin Makers since 1998.

Rudert, Henryk Krzysztof (I)

Henryk Krzysztof Rudert (I), , violin maker, musician, composer, b. 1811 Korneuburg (Austria), d. 3 April 1862 Warsaw, son and student of Jan Michał (I) violinmaker, and Anna Katarzyna b. Sandner, brother of Jan Michał (II) violinmaker. Also a student of J. Bielawski’s violin class at the Department of Music of the University of Warsaw around 1821-1822. From around 1828 he collaborated with his father, from 1833 he ran his own workshop and store in Warsaw. He was one of the best violinmakers in Congress Poland. His instruments were distinguished by beautiful finishes, clean, red-yellow varnish, decorated with inlays, marquetry and woodcarving. The guitars had convex bottoms. He used printed labels. At the Warsaw industrial exhibition of 1838, he presented a Spanish guitar made of maple and spruce wood, inlaid with ivory, with a neck inlaid with silver and with a „tuning mechanism”, and a viola with a bow made of Pernambuco wood. At the next exhibition in 1841, he presented rosin, a violin modeled on Amati with Italian varnish, and a guitar decorated with wood and ivory inlay, which delighted everyone with its beautiful, full tone (R. himself showed off on it), and was rewarded with praise (the guitar was purchased by the governor of the Kingdom). At the exhibition in 1845 he presented a quartet (a large and a small violin model and a viola inlaid in the style of the Brescia school, a cello made of local wood with a screw attached neck decorated with a bas-relief, silver-bound bows, a 3/4 violin and a Spanish guitar. In 1845, R. was listed as violins keeper of the Warsaw Theatre Orchestra. At the world exhibition in London in 1851, his violin (“small”) made of domestic wood, decorated with woodcarving, bow and rosin were awarded a commemorative gold medal. Also in Moscow in 1853, his violins and bows were awarded a small silver medal. At the Warsaw exhibition in 1857, his string quintet, a violin modelled on Guarneri with a portrait of Paganini on the bottom plate, a mandolin, a philomela, a zither, an 11-string guitar with 2 necks (a bass guitar, previously prepared for the 10-string guitar competition in Brussels, inlaid with floral motifs, with the edges of the soundhole inlaid with mother-of-pearl, the top plate and neck inlaid with ivory), a violin bass string wound with a bullion and rosin were awarded a small silver medal. He also presented a canta viola instrument based on Chojnacki’s idea, who played it, with an unusual structure and metal strings. 1858 he made a bow with a case to order, presented on 26 June to the conductor of the Berlin orchestra, Emanuel Bach, by the local Evangelical-Augsburg community. At the end of that year, based on the idea of ​​the Parisian luthier La Prevotte, he built a violin in the shape of a flat box, which was tested by A. Kątski (the experiment was unsuccessful). 1861 he offered tuning forks according to a new tuning, about a half tone higher than the previous one. Before 1862, according to the idea and commission of Konstanty J., a music lover from Lublin, he made a guitar-cello – a cross between a guitar and a cello, with 6 strings on the bridge and 4 resonant strings under the bridge – a string instrument with a guitar sound (a variant of the Viennese arpeggione by J. G. Staufer from 1824). At the London exhibition in 1862, his violin after Guarneri, decorated with the image of St. Cecilia (patron saint of musicians and music), a violin after Stradivari, decorated with woodcarving and an inscription informing about its purpose for the exhibition, a viola and a cello (the quartet of musicians testing the instruments, consisting of Studziński, Nowak, Mystkowski and Eisig, rated them very highly), a double bass with bows and rosin, and a zither were awarded a gold medal. R.’s instruments achieved very high prices not only because of their external decoration, but also because of their excellent sound (especially cellos and guitars). His cello was played by, among others, J. Szabliński, and the violin by N. Biernacki, H. Wieniawski and A. Kątski. R. received letters of commendation from, among others, K. Lipiński (1841), Serwe (A. F. Servais?), Sivory (?), A. Artot, A. Piatti, O. Bull and others. He was also an excellent musician – viola player and guitarist (“he often played the viola in quartets and similar collective-salon music”). Around 1841, he was a musician at the National Theatre. He founded a somewhat unknown musical association. He composed short pieces, e.g. Mazur for piano, dedicated to Amelia Fraget (published by I. Klukowski in 1849). Buried in the Evangelical-Augsburg cemetery and the funeral gathered crowds of admirers. In the following days, the Warsaw photographer Wilnow sold portraits of R. Married 2 July 1833 in Warsaw with Krystyna née Bautz, b. c. 1806 Warsaw, daughter of florist Karol and Joanna from d. Roessler, daughter of Henrietta Ludwika, b. 9 V 1834, married to his former employee (?) Hermann Henry Schuster, who ran his father-in-law’s company after his death under the name Herman Schuster, formerly Henry R. The instruments awarded in London in 1862 were presented at Warsaw exhibitions in 1888 (quintet and philomela) and 1889 (violin decorated with woodcarving). A Spanish guitar from around 1841, found in the interwar years in the Belweder Palace, was shown in 1931 at the November Uprising Exhibition and transferred to the National Museum in Warsaw (after the war, only its case survived, as did a Salzburg zither made before 1841). The Museum of Instruments in Poznań also owns a R. violin (3/4, with the Warsaw Mermaid carved at the top on the bottom, the signature at the bottom: HENRYK RUDERT / w / WARSZAWIE / 1850; both bas-reliefs surrounded by a plant wreath) and others from 1860, as well as a double bass from 1847 (inv. no. MNP-I. D.80, Id-171/671, MNP-I.727, 629, 459). At the Berlin auction of Antoni Kolasiński’s collection in 1917, a psaltery with a label R. was offered (triangular, 31.5 x 50 cm, veneered with rosewood, inlaid with string on the edges, with a round sound hole and 29 strings). The National Museum in Krośniewice (Poland) has a ¾ violin with a case and a label: Henri Rudert / fecit a Varsoviae 1842. The State Collection of Luthier Instruments includes a cello made for a teenage Warsaw virtuoso of the instrument, Adam Hermann, in 1850, and the Museum of Instruments in St. Petersburg has a guitar-lyre from before 1845 (inv. no. 1096). A violin from 1857, with Paganini’s likeness on the bottom board, was on sale in the 1960s in the USA. The R. viola was owned by the violinist Władysław Crumer. There are also known labels: Henricus Rudertus / correxit Varsoviae anno 18(47); …18(53) [a violin preserved in the State Collection attributed to N. Amati from 1670]; …18(54) [a violin preserved in the State Collection attributed to Guadagnini, copy of Stradivari from 1705]; A (18) [lyre] (47) / Warszawa HENRYK RUDERT Ulica Długa 545; HENRICUS RUDERT / fecit, Varsoviae Anno 18(60); oval stamp (in the zither): HENRYK RUDERT w Warszawie / Ul. Długa № 315. Bibliography: B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników działających za granicą do 1950 roku, 2 ed., (Bydgoszcz 2019), pp. 183-185; Vladimir Koshelev, Naucznyj katalog, v. I, Chordofony szczipkovyje, (St. Petersburg 2014), p. 164; http://www.skrzypce.instrumenty.edu.pl [retrieved 10.02.2017].

Rymwid-Mickiewicz, Józef

Józef Rymwid-Mickiewicz, b. 1869 Preli in the Vitebsk Governorate (now Preili, Lithuania), d. 1940 Warsaw. Student of Vladimir Vasyl Ivanov in St. Petersburg, then instrument keeper in the studio of Ernest Geisser at the local conservatory. After living in Moscow and Kiev, he ran a studio in Odessa from 1897, 40 Khersonskaya St., from around 1906 at 27 Zhukovskaya St., from 1919 in Warsaw, 22 Widok St., from around 1927 at 6 Grodzieńska St., apt. 12, also noted 16 Lipowa St., apt. 52. He built violins based on models by Stradivari, Guarneri del Gesu and his own, with masterly finish and a resonant sound. He preferred large, low-vaulted models. He used thinly applied yellowish and red-yellow varnish. He made excellent bows as well as strings. He also gained fame as a repairer (including the repair of the 1935 Groblicz violin belonging to Stanisław Ciepielowski from Warsaw, currently owned by Music Instrument Museum in Poznań, inventory number MNP I 391). He used printed labels: Józef Rymwid-Mickiewicz / Robił w Odessie R. 1… M; as well as handwritten: Rep. J. R.-Mickiewicz / w Warszawie r. 1935. Awarded an honorary diploma at the World Exhibition in Antwerp in 1894. At the World Exhibition in New York in 1939 he presented two inlaid violins. Music Instrument Museum in Poznań owns his violin from the early 20^th century (inventory no. MNP-I/704), and the State Museum of Music in Moscow his cello from 1902 (inventory no. МИ-2781). Bibliography: Zdzisław Szulc, Słownik lutników polskich, (Poznań 1953); Beniamin Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku, (Szczecin 2007, Bydgoszcz 2019); inf. by Denis Lazarev.

Scandroglio, Alessandro

Alessandro Scandroglio (b. 27 Apr. 1979 in Castellanza, Italy) studied the violin at the Luigi Majno secondary school under Simona Gilardi from 1987 to 2000, then at the G. Puccini Istituto Musicale Pareggiato in Gallarate under Ruggero Marchesi, taking up the viola as well. Meanwhile, he obtained a diploma at the School of Arts in Varese, where he first became interested in wood carving. From 1997 to 2000 he studied violin making at the Scuola Internazionale di Liuteria in Parma under Renato Scrollavezza and varnishing under Marco Imer Piccinotti. After obtaining the diploma, he became an independent violin maker and opened his own workshop in Casorate Sempione. In the same year he started his apprenticeship with M. I. Piccinotti, later becoming his collaborator. Under Mr Piccinotti’s guidance Alessandro Scandroglio started to search for a personal style and ideal sound. Now he is able to obtain the desired tonal effect, while his instruments are appreciated by musicians all over the world and soloists from important Italian orchestras. They were awarded Third Prize at the 2006 International Violin Making Competition in Poznań, as well as prizes for the youngest laureate and the youngest participant.

Scrollavezza, Renato

Renato Scrovalezza (b. 14 April 1927 in Castelnuovo Fogliani, Piacenza), initially self-taught (he built his first violin at 16), he enrolled in the Violin Making School in Cremona in 1951. After graduation, he opened his own workshop in Parma in 1955. He is a doyen of 20th-century Italian violin making. He taught lutherie in the A. Boito Conservatory in Parma and the Violin Making School in Milano from 1975 to 1983. In 1980 he stopped making instruments and started studying lutherie from an academic perspective. He was the curator of the Guarneri’s „Cannone” violin, formerly belonging to N. Paganini, in Genoa in 1988–2000. He is credited with making 220 violins, 60 violas, 39 cellos, 3 double basses, 2 violas d’amore, a viella, a viola da gamba, a pochette and a hundred or so classical guitars. He was awarded prizes at the violin making competitions in Rome (1956), Ancona (1957 & 1958), Pegli (1960), Ascoli Piceno (1959), Poznań (1962 & 1967; served as a juror in 1972 & 1977), Liège (1963 & 1966), and Cremona (1963 & 1965). He also received many honorary and commemorative awards. His daughter and pupil Elisa (b. 1967) took over his atelier. Bibliography: W. L. F. v. Lütgendorff (T. Drescher), Die Geigen und Lautenmacher, (Frankfurt a. Main 1990), p. 550

Sikora, Bogdan

Słodyczka, Tadeusz

Tadeusz Słodyczka (b. 5 May 1954 in Dukla) was raised in a highland family living on Mount Gubałówka, in Zakopane. He learned violin making at the Technical School of Stringed Instrument Making in Nowy Targ, which he finished in 1974. In the same year he took up work at the Lower Silesia Stringed Instrument Factory in Lubin. He simultaneously pursued his artistic learning, building first classical guitars, and later bowed string instruments. In 1984 he started working independently. He spent his holiday time gaining further experience as a violin maker under Franciszek Marduła in Zakopane. He also trained for a few months in other workshops: with Volker Blay in Dortmund (1987, 1988), Joseph Kun in Ottawa (1989–1990, l992); Gio Batta Morassi in Cremona (1998 and 1999, as well as special courses organized by the Polish Union of Artist Violin Makers – Poznań, 1991; Warsaw, 1992). He ran his own workshop in Lubin. His creative output to date comprises over 200 instruments: around 150 violins, 44 violas, 6 cellos, a viola d’amore and 2 bows. His instruments have repeatedly won prizes at Polish national violin making competitions, including the Z. Szulc competition in Poznań (1984), the A. Stradivari competition in Poznań (1987), and the W. Kamiński competition in Poznań (1994, 2004). He may also boast successes at international competitions such as the H. Wieniawski competition in Poznań (1986, 1991), the competitions in Sofia-Kazanluk (1987), Hradec Králové (1988), Mittenwald (1988, 1993), Paris (1991), and Prague (1993), the Tchaikovsky competition in Moscow (1994, 1998, 2002), the A. Stradivari competition in Cremona (1994, 2000), the V. Metelka Luthiers’ Festival in  Náchod (1997, 2012), and the B. Warchal competition in Dolný Kubín (2013). He has presented his instruments at 18 post-competition exhibitions, the International Instrument Fair in Frankfurt (1980), in Carlisle, USA (1992), and at The Polish Art of Lutherie exhibition in Warsaw (1995). He was many times a juror at Polish national violin making competitions (e.g. the W. Kamiński competition in Poznań), as well as international events (V. Metelka competition in Náchod, H. Wieniawski competition in Poznań, A. Stradivari competition in Cremona and B. Warchal competition in Dolný Kubín). He shared his experiences and observations from professional sojourns abroad with Polish violin makers at national seminars on stringed instrument making, and gave papers on contemporary violin making in the United States, Canada and Italy. He has been an indefatigable propagator of the art of violin making: he initiated a popular series of meetings on The Secrets of Violin Making and still gives talks on violin making for the inhabitants of Lubin. That is also where he organized a concert marking the 25^th anniversary of his creative work in 1999. A member of the Polish Union of Artist Violin Makers since 1978, he has actively participated on its governing bodies and committees. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL);A. Kucharska, Współczesna polska sztuka lutnicza, (Bydgoszcz 1989);Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004)

Špidlen, Přemysl Otakar

Přemysl Otakar Špidlen (b. 18 June 1920 in Prague; d. 6 Jan. 2010 in the same place), representative of the third generation of an excellent violin making family: son and pupil of Otakar František (b. 1896; d. 1958) and Maria, née Blovské; grandson of František (b. 1867; d.1916). As an avid skier he was a member of Czechoslovakia’s national team in his young years (1946–1948). He studied the violin at the Prague Conservatory and violin making under his father. He quickly achieved renown as a violin maker, corrector and restorer. Already in 1947 he obtained the highest position among his nationals at the International Violin Making Competition in The Hague. He was awarded golden medals at the International Quartet Competition in Liège in 1960 and 1963, First and Third Prize at the International H. Wieniawski Violin Making Competition in Poznań in 1962, and Second Prize (First Prize was not awarded) in 1967. He has been a member of the Czech Union of Artist Violin Makers since in founding in 1958, the German Verband der deutschen Geigenbauer, as well as the international Entente internationale des maitres luthiers et aqrchetiers d’art. His son Jan Baptista (b. 1967) and grandson are also violin makers. Bibliography: V. Pilař, F. Šrámek, Umění houslařů, (Praha 1986) pp. 167–168, 348

Stalmierska, Honorata

Honorata Stalmierska (b. 12 Dec. 1960 in Stargard Szczeciński, Poland) completed a violin making class at the M. Karłowicz State Secondary School of Music in Poznań in 1979 and luthier studies under Andrzej Łapa at the city’s I.J. Paderewski Academy of Music in 1984 (presenting a violin made by herself and a thesis on the classification and typology of f-holes, written under the supervision of W. Kamiński). In 1984 she became a teacher at her secondary  school and a professor at her alma mater. She received her Ph.D. in 1993 and a postdoctoral degree in 1998. She made over a hundred instruments, including violins, violas, a pochette, a viola d’amore, a viola da gamba, a classic and a historic guitar. She participated in: the H. Wieniawski Violin Making Competition in Poznań in 1986, 1991, 1996 and 2002, a similar competition in Sofia in 1983 (winning a prize for the youngest participant), and the 1998 P. Tchaikovsky competition in Moscow (Ninth Prize in the viola category). She presented and wrote many papers on lutherie and is a coauthor of the book Polska szkoła lutnicza. Instrumenty Grobliczów i Dankwartów [Polish School of Violin Making: Instruments by the Groblicz and Dankwart Masters], part 1, ed. P. Frankowski, (Poznań 2016). She applies handwritten calligraphic labels reading: Honorata Stalmierska / Poznań 2002.  Member of the Union of Polish Artist Violin Makers since 1983. Bibliography: Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004), p. 190

Stańko, Stanisław Józef

Stanisław Józef Stańko, b. 24 X 1910 Rzeszów, d. 18 V 2003 there. Self-taught violinmaker. A graduate of the high music school in the violin class and the law faculty at the Jagiellonian University in Krakow. Before the World War II, he was a bank clerk, after the war a violin teacher at the music school and a violist at the Rzeszow Philharmonic 1945-1954. He built only new instruments – about 150, including over 120 violins, a dozen violas, and 10 cellos. Originally, he followed T. Panufnik’s models, then developed his own and returned to the stylistic concepts of A. Stradivari. He used handwritten labels: Ad M.D.C. / Stanisław Stańko / 1982. He was a participant of international violinmaking competitions, including all editions of the H. Wieniawski Competition in Poznan, and the A. Stradivari Competition in Cremona in 1979. Member of the Union of Polish Art Violin Makers since 1957, where he held various functions in the Management Board. Bibliography: Archive of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza, (Bydgoszcz 1989); The Luthier’s Art. in Poland 1954-2004, ed. M. Walter, (Poznań 2004).

Świrek, Barbara

Barbara Świrek (b. 4 Dec. 1947 in Katowice), a mining engineer by trade, she learned violin making under the guidance of her father-in-law Józef Świrek from l974–to 1978. Since 1980, together with her husband Rajmund Świrek, she has run a violin making workshop in Katowice. In the years 1983–1985 she worked as conservator of stringed instruments in state primary and secondary schools of music in Katowice. She builds violins, violas and cellos. In 1997 she took part in the 8th A. Stradivari International Violin Making Competition in Cremona. She has given two papers to Polish national seminars: on stringed instrument making in Hungary and on the principles behind the care and conservation of stringed instruments. Bibliography: Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004)

Świrek, Józef

Józef Świrek (b. 5 Feb. 1899 in Poradów near Miechów; d. 24 Oct. 1978 in Katowice), having completed a secondary school in Kraków and military service, he studied the violin at the Kraków Music Institute. He had been interested in lutherie since his childhood. As an autodidact he presented his violin at the 1936 Violin Exhibition in Kraków and was ranked tenth overall and first among amateurs, winning an apprenticeship with Albert Caress and Emil François in Paris in 1937/8. He spent World War II at his home village of Poradów. On 27 July 1945 he passed the guild master exam and opened his own atelier in Katowice at ul. Batorego 3. He was also a maintainer of the Silesian Philharmonic and the Academy of Music (1953–76). He made violins after Cremona models with visible influences of the French school, applying handwritten labels: Józef Świrek / Poradów, 1943 r.; Józef Świrek / Katowice, 1949 r.  His instruments were presented at the exhibitions in Poznań in 1949 (two of his violins took first places) and in 1952 (exhibition “Violins in Poland”; presented a violin and a quartet after Stradivari’s Greffulhe; the violin was bought as a prize for the best Polish violinist at the H. Wieniawski International Violin Competition in Poznań, Wanda Wiłkomirska), the 1957 H. Wieniawski International Violin Making Competition in Poznań (honourable mention; from 1962 on he served as a juror at all subsequent competitions until his death), the International Quartet Competition in Liège in 1954, 1960, 1972 (silver medal), the 1966 Warsaw exhibition „Polish Musical Instruments” (presented his violin from 1943). Together with. W. Kamiński they wrote: Lutnictwo. Wstęp do sztuki lutniczej (Lutherie. An introduction to the art of violin making), Kraków 1972. He was a founding member of the Union of Polish Artist Violin Makers (1954) and its vice-chairman. Married to Łucja née Kolska (30 Apr. 1944), he had a son and pupil Rajmund (b. 1945) and a daughter and pupil Aleksandra Mańka (b. 1950). The Music Instrument Museum in Poznań possesses his violin from 1937 (Katowice-Kraków), inv. no. MNP-I.864. Bibliography: W.L. v. Lütgendorff (T. Drescher), Die Geigen und Lautenmacher, (Frankfurt a. Main 1990), p. 602; Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004), pp 198, 200; B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku, (Szczecin 2007), p. 224

Testore, Carlo Antonio

Carlo Antonio Testore (b. c.1687;  d. c.1765) was the older son and pupil of Carl Giuseppe T. He worked in Milan, initially with his father, later independently from his “Sign of the Eagle” workshop on Contrada Larga. His instruments are less carefully finished than his father’s works, made of good tonewood, with golden-yellow varnish, patterned after N. Amati, Guarneri and Stradivari models. All the same, they have qualities of the works of G. Grancino, his father’s teacher. He applied printed labels: Carlo Antonio Testore figlio maggiore /  del fù Carlo Giuseppe in Contrada lar / ga al segno dell’Aquila Milano 17(40); Carlo Antonio Testore figlio maggiore /  del fù Carlo Giuseppe in Contrada lar / ga al segno dell’Aquila Milano 17(41). He also burned his brand (a double-headed eagle under a crown / C.A.T.) in a circle on the back inside. At the end of his life he worked with his son Giovanni. Bibliography: W. L. F. von Lüttgendorf, Die Geigen- und Lautenmacher vom Mittelarter bis zur Gegenwart, (Frankfurt am Main 1922), p. 508

Truszczynski (Troszczynski), Szymon

Truszczynski (Troszczynski) Szymon, violinmaker („Artist of Musical Instruments”, „Fabricator of Instruments”, „Instrumentary”), b. about 1787, d. after 1857, son of Jacob and Constance b. Sadowska, brother (?) Karol violinmaker. Initially, he made living from the farm after parents, in the village in the Błonie district, from about 1818 he ran a workshop in Warsaw (perhaps together with his brother), 2318 Dzika St., in 1826 at 1063 Królewska St., in 1828 at 543 Długa St., in 1834 at 6 Świętojanska St. in 1840 at 2557 Mariensztat St., in 1841 at 1293 Nowy Świat St., in 1842 at 2665 Sowia St., in 1843 at 2711 Malarska St., in 1851 at 1363 Jasna St. At the Warsaw crafts exhibition in 1828 he presented violin „from an old tree, which according to the application is to be 367 years old”. Known as the reperator of all string instruments. He used printed oval labels: SZYMON TRUSZCZYŃSKI / robił / w Warszawie Mca R. 18(35). His violin from 1830 was presented at the Warsaw Music Exhibition1888. Married to Kunegunda b. Wojciechowska, daughter of Bartholomew and Rozalia, b. ca. 1787, d. before 1840, married again on 30 April 1840 with Emilia b. Wisniewska, b. ca. 1820 Warsaw, daughter of Michael and Franciszka, had about nine children. Bibliography: Kurier Warszawski, 1834, no. 291, p. 1610; Beniamin Vogel, Instrumenty muzyczne w Kulturze Królestwa Polskiego, Kraków 1980, p. 214; Beniamin Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników działających za granicą do 1950 roku, 2. ed., (Bydgoszcz 2019), p. 214.

Trzaska, Antoni

Tusk, Józef

Józef Tusk (b. 23 Mar. 1907 in Gdańsk; d. 26 June 1987), son of Józef and Augustyna, née Adamczyk. He finished a primary school in Gdańsk in 1921; received a seaman’s book in 1923, and took evening classes in art painting in 1924–1925 while being employed with the Polish Post Office. In 1926–1939 and 1945–1948 he was employed with the Polish State Railways, among others as a telegraphist. Arrested by the Gestapo on 1 Sept. 1939, he was a forced laborer from 1 Sept. 1939 (19 March 1940?) to 26 Aug. 1942 in concentration camps in Stutthof and Neuengamme. On 2 Aug. 1944 he was forcefully enlisted in the Wehrmacht; on 24 Nov. he escaped and joined the Polish Armed Forces. He returned home on 15 Oct. 1945. A self-taught violin maker, he built his first violins in 1924, and from 1934 extended his knowledge in the workshop of Emil Neumann in Gdańsk, making a violin after a Steiner model. He made his next violin in a concentration camp. In 1949 he opened his own workshop in Gdańsk as a corrector, conservator and maker of new instruments. His creative output comprises 150 violins (commissioned, among others, by K. Kulka), 10 violas, cellos and around 12 classical guitars (commissioned, among others, by M. Rodowicz, Cz Niemen and S. Krajewski). He was a prize-winner of the 1st Polish National Violin Making Competition in 1955. At the 1966 exhibition Polish Musical Instruments in Warsaw he presented his violin from 1965. He used handwritten labels: Józef Tusk / Sopot / Anno 1955. As an activist of Polish organizations in Gdańsk before Word War Two, he was awarded two Polish state honors after the war: the Victory and Freedom Medal in 1946 and the Meritorious Service to Culture Medal in 1979. Married to Julianna, he had five children: Jan, Donald Franciszek (b. 1930), Eleonora Maria Gurkowska (b. 1932), Ewa Maria (b. 1934), Bronisław (b. 1935) and  Rajmund Leon (b. 1936). Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL);  Z. Szulc, Słownik lutników polskich (Poznań 1953); A. Kucharska, Współczesna polska sztuka lutnicza, (Bydgoszcz 1989);Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004);B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007)

Ulitsky, Igor W.

Igor W. Ulitsky (b. 1961 Moldova), completed a technical school (1979) and a music school in Tiraspol (1986). In 1996 he graduated from the music conservatory in Kishinev, where he also had been learning violin making in Herman Kastrubin’s atelier since 1982. From 1986 to 1996 he was an employee and manager of the conservatory’s bowed instruments maintenance workshop. In 1988 he was awarded the title of People’s Artist of the USSR. In 1995 he practiced violin making at the Gio Batta Morassi studio in Cremona. The following year he started his own workshop in Moscow, making new instruments (violins, viols and cellos). He is an expert in bowed instruments and conservator with the State Collection of Unique Music Instruments of Russia. His violins were awarded the Grand Prix at the 1st National Music Instrument Competition in Kishinev in 1993; a honorable mention at the 10th International Tchaikovsky Competition; a golden medal, diploma and a special prize of the Russian Luthiers Union at the 1998 Tchaikovsky competition. At the 2001International H. Wieniawski Violin Making Competition in Poznań he received First Prize, a medal from the Polish Union of Artist Violin Makers for the best artisanry, a Silver Fan award from the director of the violin making school in Tokyo for the best violin maker. He is a member of the Russian Violin Makers’ Union.

Vávra, Josef

Josef Vávra (b. 4 Nov. 1912 in Martin, Slovakia; d. 1998 in Luby, Czechoslovakia), son of Štěpan and Veronika (née Hrušková), member of a known multi-generational family of violin makers. In 1927–1931 he trained with his uncle Jan Baptista Vávra (1870–1937), then worked for him for two more years, and later for his cousin Alfons F. Vávra (1901–1957) in Prague from 1934 until the end of World War II. Subsequently, he moved to Luby (Schönbach) to establish his own atelier. In 1946–1959 he taught at the International Violin Making School in Cremona. He made instruments after Guarneri’s and – less frequently – Stradivari’s models. By 1976 he had made ca. 350 instruments, including four quartets, fifteen violas, and five cellos. From 1945 on, he applied burned signatures: Josef Vávra Luby, plus a handwritten signature. He also used printed labels with a trademark (a tuning fork crossed with a violin with a leafy branch in the background), the inscription: JOSEF VÁVRA /  LUBY / fecit anno 19 (59); or: VÁVRA JOSEF / houslař / Luby – 19(57) on the left and and the stamp: JOSEF VAVRA / HOUSLAR. He received prizes at international violin making competitions in Prague (1954), Poznań (1957 – Second Prize, First not awarded), Ascola-Piaceno (1959), Liège (1960). He was granted the title of Meritorious Culture Worker in 1981. Bibliography: V. Pilař, F. Šrámek, Umění houslařů, (Praha 1986) pp. 172, 354; http://www.wieniawski-competition.com/konkurs-lutniczy/en/aktualnosci/galeria-fotografii/ (access: 9 Apr. 2017)

Voigt, Jochen

Jochen Voigt (b. 1948 (?) in Markneukirchen), son and pupil of Werner Voigt. He became a master luthier and worked independently in Makneukirchen. In 1986 he moved to Munich. Awarded in violin making competitions in Mittenwald, Poznań (1981 – Fourth Prize) and Kassel. He showed his instruments at the exhibitions in Munich, Vienna, Paris, Tokyo, Sydney and Frankfurt am Main. Bibliography: W. L. F. von Lüttgendorf, Die Geigen- und Lautenmacher vom Mittelarter bis zur Gegenwart, (Tutzing 1990), p. 659; http://www.geigenbau-voigt.de/ (23.02.2017); http://www.corilon.com/shop/en/item1485_2.html (23.02.2017)

Voigt, Werner

Werner Voigt (b. 25 Feb. 1911 in Markneukirchen), son of Johannes Martin, pupil of Hermann Reichel of Markneukirchen (1927–1929), then journeyman with Henry Werro in Bern (until 1935), Hans Leistner in Nuremberg (1936–1937) and Köchendorfer in Stuttgart (1937–1938). In 1938 he became a master luthier in Markneukirchen, where he then worked in the well-known atelier of M. & G. Voigt. In 1939 he was employed again by Werro in Bern. After the war, he rejoined the M. & G. Voigt firm in Markneukirchen; in 1952 he took it over. Bibliography: W. L. F. von Lüttgendorf, Die Geigen- und Lautenmacher vom Mittelarter bis zur Gegenwart, (Tutzing 1990), p. 660

Vuillaume, Jean-Baptiste

Jean-Baptiste Vuillaume (b. 7 Oct. 1798 Mirecourt; d. 19 Mar. 1875 Paris) was one of the most outstanding French violin makers, collectors and instrument merchants, son and pupil of Claude-Françis V (b. 1772; d. 1834), member of a multigenerational family of luthiers. From 1818 he worked for F. Chanot in Paris. In 1821 he took up employment with N. A. Lété (son-in-law of violin maker François-Louisa Pique), becoming his partner in 1825. His first violin is dated 1823. In 1827 he started to create copies of old Italian masters’ instruments, winning a silver medal at a national exhibition in Paris in 1828 and establishing his own company. Having carried out in-depth studies of old masters’ instruments, he gained fame as Europe’s best expert in the field and earned a substantial fortune trading them. He built altogether ca. 3000 instruments, first in French masters’ style ( (N. Lupot and F.-L. Pique). After 1830 he made faithful copies of famous violins (by Stradivari, including copies of “Messiah”, Guarneri, Amati, Maggini), gaining extraordinary visual and acoustic effects. He was in close contacts with well known Italian collector L. Tarisi, whose priceless collection he bought after the owner’s death in 1854. He built imitations of violins singed “Caspar Tieffenbrucker”, starting the mistaken belief that that luthier had been the first violin maker whereas in reality he built only lutes. He also made cheaper, school instruments, never forgetting about excellent finishing, and excellent bows, too. His instruments won many accolades, including prizes at the world exhibitions in London in 1851 and Paris in 1855. He was honored with the Legion of Honor in 1851. He constructed experimental instruments as well, for example a pedal double bass measuring over three meters in height, an enlarged viola, or a bow with a metal stick. Bibliography: R. Wieczorek, Villaume Jean-Baptiste, in: Encyklopedia muzyczna PWM, ed. E. Dziębowska, vol. t-v, (Kraków 2009), pp. 317-318; C. Beare, J. Liivoja-Lorius/P. J. Kass, Villaume Jean-Baptiste, in: The Grove Dictionary of Musical Instruments, 2nd ed., ed. L. Libin, vol. 5, (Oxford 2014) pp. 270-271

Vuillaume, Sebastien

Sebastien Vuillaume (b. 18 June 1835 Mirecourt; d. 17 Nov. 1875 Paris), son and pupil of Claude-Francois, nephew of Jean-Baptiste, last member of the Parisian dynasty of violin makers. He worked for his famous uncle and later opened his own workshop at 27 Boulevard Bonne Nouvelle. His perfect violins and bows, of a similar quality as his uncle’s, where awarded medals at the 1867 and 1868 exhibitions. After his death, his journeyman Nestor-Dominique Audinot took the workshop over. He applied printed labels reading Sebastien Vuillaume a Paris / 27. Boulevard Bonne-Novelle [with S†V in a double circle]. In 1859 he married the daughter of violin maker Dominique Peccatte. Bibliography.: W. L. F. v. Lütgendorff, Die Geigen und Lautenmacher, (Frankfurt a. Main 1922), p. 547

Wayda, Antoni

Antoni Wayda (b. 5 Dec. 1915 Przemyśl; d. 23 March 1978 Warsaw) was a civil servant and self-taught violin maker. After completing a primary school and military service in Lviv, he worked with the local department of the State Fire Service. From 1952 lived in Warsaw, where he was a senior officer with the State Fire Service’s headquarters from 1957. Interested in violin making, since 1934 he had remained in close contact with Lviv masters, mainly Leon Greipner as well as Adam Kościelecki, Franciszek Kopański and Grzegorz Wójtyszyn. After the war he returned to his hobby, this time using input from Jan Karoń and Eugeniusz Gosiewski. He built violins only, mostly after Stradivari and other Cremona’s masters, with well applied red-brown oil varnish. His instruments are made with great skill, from the best tonewood and have artistically finished scrolls. After 1960 his violins were valued at 125 pounds in England. Bibliography: B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989);Polska sztuka lutnicza 1954-2004, ed. M. Waller, (Poznań 2004)

Węgrzyn, Krzysztof Wincenty

Krzysztof Wincenty Węgrzyn (b. 18 July 1954 in Zakopane) learned violin making at the Technical School of Stringed Instrument Making in Nowy Targ, which he finished in 1974, subsequently taking up employment in the Lower Silesia Stringed Instrument Manufacturers in Lubin. In 1976 and 1977 he trained as a violin maker for several months in the workshop of Franciszek Marduła in Zakopane, and in 1979 under Mieczysław Bielański in Wroclaw. He has built over 350 violins, 47 violas and 10 cellos. He specializes in the manufacture of violins for children and young musicians. He has successfully taken part in several Polish national and international competitions in Poznań, such as the Z. Szulc competition (1979, 1984, 1989), A. Stradivari competition (1987), W. Kamiński competition (1994), H. Wieniawski competition (1981, 1986, 1991, 1996), as well as the Tchaikovsky competition in Moscow (1990, 1994), and similar competitions in Sofia (1982), Cremona (1988), Mittenwald (1989), Hradec Králové (1989) and Náchod (1997). He has given many lectures on the subject of violin making accompanying national and international violin competitions in Wrocław and Zielona Góra. He has also held a series of talks with pupils in primary schools of music across the country about the building, conservation and maintenance of bowed string instruments. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004)

Wielbut, Jerzy Edward

Jerzy Edward Wielbut (b. 11 Jan. 1936 in Smolugi near Brańsk; d. 4 Oct. 1990 in Warsaw), son of Zygmunt and Germana, née Miłkowska, of noble origin (Wąż coat of arms). In 1964 he finished a secondary school of music in Warsaw, having studied the double bass. From 1965 to 1968 he studied violin making under Jan Zajewski. He made his first instrument in 1968. Until 1979 he also worked as a musician in a symphony orchestra and chamber ensembles, as well as in the Polish Radio and Television Orchestra. In 1979 he left for Mexico, where he was active until 1981 as a musician and violin maker (making double bass bows among others). In total he built over 40 instruments, including violins, violas and cellos, as well as bows. Also dealt in correcting and restoring instruments. He was a juror of the 5h H. Wieniawski International Violin Making Competition in Poznań in 1977. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL); A. Kucharska, Współczesna polska sztuka lutnicza (Bydgoszcz 1989); Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004); Information from the family.

Wojcik, Miroslaw

Miroslaw Wojcik, b. 2 Feb. 1968 in Bielsko Biala, graduated from the local primary music school and two grades of the Music High School in the violin class, then viola. Later a student of the A. Kenar Technical High School in Zakopane (education interrupted in the fourth grade for personal reasons) and a collaborator of luthier Jerzy Troszczyński. Member of the Polish Union of Art Violin Makers since 1991.

Wyka, Marian Michał

Marian Michał Wyka (b. 16 Sept. 1901 in Sadkowa Górna, in the Suwałki region; d. 4 Dec. 1963 in Warsaw) learnt violin making by himself, consulting available professional literature and collaborating with the Warsaw makers A. Różycki and A. Kostelecki (1925–1939). He studied at Warsaw Polytechnic, and worked as a professional bank clerk. He used handwritten labels: Marian Wyka / budował w Warszawie w 19… After World War Two, from 1953 onwards, he was adviser to the Musical Industry Union. He won First and Second Prize at the Polish National Violin Making Competition in Warsaw in 1955. He twice sat on the jury of the International String Quartet Competition in Liège (1957 and 1960), and was a honorary member of the Italian Artistic Violin Making Union (ANLAI). A founding member of the Polish Union of Artist Violin Makers, and secretary of the Executive Board from 1954 to 1963. It was under his initiative that the Collection of Stringed Instruments of the Ministry of Culture and the Arts was established. Bibliography: Archives of the Polish Union of Artist Violin Makers (ZPAL);  Z. Szulc, Słownik lutników polskich (Poznań 1953); A. Kucharska, Współczesna polska sztuka lutnicza, (Bydgoszcz 1989);Polska sztuka lutnicza 1954-2004, ed. M. Waller (Poznań 2004);B. Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku (Szczecin 2007)

Zajewski, Mamert

Mamert Zajewski, violinmaker and piano maker, b. 1882, died after 1960 Bydgoszcz (?), son and pupil of violinmaker. Built his first violin before 1900. From the end of the 19^th century to 1955 he ran a violin and piano workshop in Vilnius, at 4 Skopówka St., from about 1934 at 27 Wileńska St., from about 1960 in Bydgoszcz. Rewarded a great gold medal at the II North Fair in Vilnius 1930. He built about 150 violin instruments. He had a son Jan (1913-1991), a piano and violinmaker. Bibliography: Benjamin Vogel, Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników działających za granicą do 1950 roku, 2 ed. (Bydgoszcz 2019).

Zawisza, Janusz

Janusz Zawisza (b. 27 Oct. 1947 in Turaszówka near Krosno; d. 10 Dec. 1980 in Warsaw) studied violin making in the Technical School of the Stringed Instrument Making in Nowy Targ (1964–1969). He practiced at Józef Bartoszek’s and Stanisław Marduła’s ateliers in 1970. Later he worked at the Aviation Repairing Plant in Krosno (1971–1975). From 1975 he ran his own violin making atelier in Rymanów Zdrój. He applied handwritten calligraphic labels: ROK BUDOWY 1980 / JANUSZ ZAWISZA / RYMANÓW ZDRÓJ. Bibliography: Polska sztuka lutnicza 1954-2004, red. M. Waller, (Poznań 2004), p. 218

Zorzi, Valentino de

Valentino de Zorzi (b. 1837 in Vittorio Veneto, Treviso; d. 1916 in Florence) was a fighter in Garibaldi’s army, then a blacksmith and armorer in Bologna. In 1880 he opened a blacksmithing and carpentry workshop in Pistoia. A self-taught violin maker, he made his first violin to an order from a local music instrument collector and music lover, count Vieri Ganucci Cancellieri. He moved to Florence in 1885 and worked on via del Corso with Silvio Paoletti, who later took over the workshop. He made violins using his own model and patterned after Stradivari and Stainer. He also built plucked string instruments. He invented the so-called contraviolino as well as the harp-guitar (18 strings, five-octave range). He applied handwritten labels reading: Valentinus De Zorzi / Cenetensi Venetum fecit / Florentiae A 1880. no. 7., and featuring initials V.D.Z. burnt in different places. He was awarded a golden medal at the 1881 Milan exhibition, silver medal at the 1888 Bologna exhibition, honorable mentions in Pistoia, Tolone and Marseille in 1899, and a grand honorable prize at the 1890 Paris exhibition. Bibliography: W.L. v. Lütgendorff, Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, (Frankfurt a. Main 1922), p. 101