My name is Hubert de Launay and I specialise in making and restoring instruments of the violin and viol family. In the past 10 years I have worked in several workshops in Europe on high quality instr
Trained at the school of Cremona by the luthiers Massimo Neggroni and Stefano Conia, Frédéric Desimpel continued his career and his training with Pascal Gilis in Brussels with whom he founded the Me
You play the violin, alto or cello. You do this because you have the talent, the right school of education and the idea how you want to make sound into music. Above all, you enjoy it.
The right
Erik Buys holds a degree in Social and Cultural Agogical Sciences from the Free University of Brussels (VUB).
After studying and conducting research in the Brussels Musical Instrument Museum, he speci
Gert Schrijvers was trained in the French violin making tradition
tradition and worked in Parisian workshops for many years.
In 1992, he settled in Hasselt as a restorer of fine stringed instruments.
Gijsbert was trained in the U.K. at the Newark school of violin making, and got his degree in 1991. During his school period he acquired work experience with Chaudiere in Montpellier and Kagi in Berli
Henk has Hietbrink in Arnhem Conservatory violin studies completed at Heinz Oberdorfer.
In subsequent years, he came into contact with the English sticks maker Brian Tunnicliffe, from whom he learned
De vorm en constructie van strijkinstrumenten boeide me al, nog voordat ik met vioolspel mijn interesse had verdiept. Toen ik hoorde van het bestaan van een opleiding muziekinstrumentenbouw in het Bel
Jaap Bolink – Hilversum
“Dat knokken hoor je terug in mijn vroegere instrumenten”
Jaap Bolink, geboren in Enschede op 7 februari 1946 als zoon van de kunstschilder-vioolbouwer Jan H
Jaap Bolink, born in Enschede on 7 February 1946, is the son of artist-violin maker Jan Hendrik Bolink. He made his first violin when he was thirteen. From 1963 until 1967 he followed a violin making
Jan Strick was first noticed by Jacques Bernard in 1977 for his commitment to and gift for violin-making, and followed his advice to train in France, at Mirecourt and Angers, in the purest French trad
The Frenchman François Tourte (1748–1835) is for bow makers what Stradivarius is for violin makers. He laid down the standard for the modern bow and was the first to use Pernambuco wood, which give
