Bio
Daphne Gerling enjoys an active career teaching, performing, and writing about the viola. She is Assistant Professor of Viola at the University of North Texas, and Secretary of the American Viola Society. As a board member of the AVS, she spearheads collaborations with partner organizations, and was the assistant coordinator of the 2022 American Viola Society Festival and 47th international Viola Congress. In this role she oversaw the AVS’s inaugural Exhibition of Modern Violas and Bows. She also served on the board the International Viola Society, and the Brazilian Viola Society. As a performer and teacher, Daphne’s travels have taken her to 30 universities around the United States, and to 14 countries overseas. She has been a summer fellow at Lincoln Center Education in New York, and performed on baroque viola with the Washington Bach Consort. Her dissertation, “Connecting Histories: Identity and Exoticism in the 1919 Viola Works of Ernest Bloch, Rebecca Clarke and Paul Hindemith (2007) led to her involvement in the 20/19 project. Her upcoming recording release featuring lesser known works by female composers active at the time of the 1919 Coolidge competition. Dr. Gerling studied viola, vocal performance, and historical musicology at Oberlin, CIM, and Rice. Her website is www.daphnegerling.com.

Colin Maki Bio
Equipped with a unique understanding of the subtleties of string playing, a comprehensive approach to the investment properties of antique instruments, as well as a keen understanding of the history of violin and bow making, Colin Maki has established a global network that includes distinguished artists, institutions, private collectors, and dealers alike.

Having trained as a professional violinist, Colin entered the world of fine and rare antique stringed instruments when he joined the firm of Carl Becker and Son in Chicago. While working closely with Carl F. Becker, he was immersed in the tradition of one of the great family dynasties of violinmaking and restoration. Ultimately, he spent nearly a decade with the Beckers and as Sales Manager handled the acquisition and sale of some of the finest examples by the great 17th and 18th Century masters.

More recently, Colin served as the Senior Specialist and Head of New York Operations for Tarisio Auctions. He was responsible for the acquisition of instruments and bows for both auction and private sale as well as compiling the catalogue for nine yearly New York auctions.

A student of the history of the trade, Colin set out to establish a thoroughly modern company steeped in the traditions of the great firms of the 19th and 20th Centuries. Rigorous scholarship, sensitivity to the demands of accomplished musicians, and a profound respect for the craft of lutherie remain the backbone of this vision.

Colin currently serves on the Board of Directors of the Violin Society of America and curates their yearly exhibition of rare instruments.

Stojan Jovanovic Bio
Education

• Bruckner University, Linz - Degree in violin studies - 2012

• Danube University Krems – pursuing a postgraduate degree in music management (estimated completion 2024)

Business Experience

• Product Manager – Thomastik-Infeld GmbH

  • R&D – collaborate with technical team to develop strings best suited for instrument and artistic tonal and playability needs.

  • Outreach – network with professional artists, artist/educators, and luthiers to recognize and discern market developments in different regions worldwide.

  • Business Development – helping luthiers and violin shop owners improve their local/regional market opportunities.

• Sales Manager – Brodman Pianos

  • Stimulate retail demand in Southeast Europe by identifying needs and articulating Brodman’s USPs to targeted customers.

Attila Pasztor Bio
Education

• Bruckner University, Linz - Degree in violin studies - 2012

• Danube University Krems – pursuing a postgraduate degree in music management (estimated completion 2024)

Business Experience

• Product Manager – Thomastik-Infeld GmbH

  • R&D – collaborate with technical team to develop strings best suited for instrument and artistic tonal and playability needs.

  • Outreach – network with professional artists, artist/educators, and luthiers to recognize and discern market developments in different regions worldwide.

  • Business Development – helping luthiers and violin shop owners improve their local/regional market opportunities.

• Sales Manager – Brodman Pianos

  • Stimulate retail demand in Southeast Europe by identifying needs and articulating Brodman’s USPs to targeted customers.

Tom Nania Bio
Tom Nania joined musical string manufacturer, D’Addario & Company, in 2021. Tom’s focus at D’Addario is orchestral string designr working under the guidance of Fan Tao. Tom is a lifelong guitar player turned maker and is co-proprietor of House of Luthiery alongside his wife, Becca. House of Luthiery designs and builds archtop guitars and conducts acoustics research of the archtop guitar. In 2021, “Archtop Guitar Dynamics” was published by the VSA Papers and is the first comprehensive acoustics study of the archtop guitar. Tom is an Affiliated Scholar with the Dept. of Physics and Astronomy at Indiana University South Bend, where he graduated with a B.S. in Physics and Mathematics in 2013. Tom worked in an acoustics lab at IUSB from 2011 – 2018 designing and fabricating piezo transducers for astrophysics research experiments at SNOLAB and Fermi National Accelerator Laboratory. Tom studied guitar making at the Galloup School of Guitar Building and Repair in Big Rapids, MI. In 2022, Tom received a grant from the VSA to design cost-effective measurement tools for instrument makers. Most recently, Tom joined a group of instrument researchers for the first Mondo Acustica workshop hosted by the Politicnico di Milano in Cremona, Italy.

Ed Mingo Bio
Ed Mingo has been working in the music wholesale industry since 1993 and over the years has become known as an orchestral string specialist. Ed started his career with a small music accessory wholesaler named Tone King Corporation picking orders, speaking with customers, and every other aspect of running a warehouse. After taking a position with Nordenholz, Ed discovered he had a special interest in orchestral strings and their construction while working with friend and mentor Bob Nordenholz. Using this extensive knowledge of strings and his strong relationships with violin makers, Ed worked as a product specialist, purchasing agent, marketing assistant, and sales manager at companies such as Connolly, Metropolitan Music and Coda Bow. Most recently Ed has proudly taken a position as the Marketing Manager USA for Pirastro Strings in Germany.

Ole Wichmann Bio

Coming Soon

Bio
I came to violin making with a long history of two merging interests; woodworking and music. With the good fortune of a well timed suggestion I left for Salt Lake City to enroll in violin making school in 1977. It is hard to believe I’ve been doing this for almost 40 years because I still get excited carving, shaping arches and corners, making scrolls, and bringing to life a new instrument. I work in a classical style, but have long since stopped directly copying and allowing myself to have my own style of work.

I have an active interest in understanding instrument acoustics. This has led to me to write several publications on the subject and others pertaining to the craft of violin making and repair. I live and work in Eugene, Oregon as a full time maker and restorer and on a daily basis, I try to apply what I have learned to instruments that come in for repairs, and strive to help them perform better for players. We often have large restoration projects in the workshop and I love the problem solving this kind of work demands.

It was exciting for me to compete in the VSA competitions in 1984 and 1986, when I won 3 gold medals. Though I can no longer compete as a "Hors Concours" maker, I find it easy to stay challenged and inspired. I’ve been a workmanship judge at two VSA competitions, and served two terms on the VSA board. I like being involved in the broader instrument community and try to contribute where I can. I’m also a member of the American Federation of Violin and Bow Makers and served on their board of directors for two terms. The friendships formed, have led to many working trips and conferences across the world that keep me interested and happy to be a violin maker.

Bio
Joe Robson [Violin Varnish Ltd.] makes varnishes, grounds and colors, and varnishes violins and violas in his shop in Trumansburg, New York. He graduated Hobart College with a degree in Philosophy and Political Science. Realizing the lack of paying jobs as a philosopher, he also learned carpentry while in college. Joe opened a cabinet shop in 1975. His work as a cabinetmaker led him to the study of traditional wood finishes. In 1992 Joe and his wife, Esther, established Tried & True Wood Finishes; a line of environmentally safe linseed oil furniture finishes that grew out of this research. They manufactured and sold these products for 22 years. In 1996 Joe was cooking varnish for a dining room set he had built, when a violin maker stopped in his shop to see a machine he had for sale. Smelling the varnish cooking the violin maker asked, “Why aren’t you doing this for us?” Since then Joe has been involved in the research, history, and development of finishes for the violin.

Joe has taught the understanding and application of violin varnishes for many years. He has taught students at the Chicago School of Violin Making and the North Bennett Street School. He organizes and teaches, with co-teachers Itzel Avila and Todd Goldenberg, Artistic and Practical Violin Varnishing, an annual workshop held at the Chicago School of Violin Making. He also conducts small group varnish workshops.

He is a member of the Violin Society of America and has presented numerous papers for their journal and as a speaker at the annual conventions. Joe is also a participant at the Oberlin Makers’ Workshop. He has presented his research to the American Federation of Violin and Bow Makers.

Joe has published several articles and editorial reviews for the Strad Magazine including “Scarlet Fever”: the research and development of the Stradivari Cochineal Varnish.

Bio
Yung Chin is one of the most internationally respected and sought after makers and dealers of fine bows. Before entering the universe of violins and bows he was studying to be a violinist. Among his teachers were George Zazofsky and Louis Krasner. Yung worked with the dean of American bow making William Salchow for seven years before opening his own shop in 1987. He has given numerous lectures about bows around the world and been a frequent judge at bow-making competitions.

Bio
Bruce Harvie is the owner and sole employee of Orcas Island Tonewoods, and has been milling woods for musical instruments for over 40 years. He mostly specializes in woods from the Pacific Northwest, but has also milled Red Spruce and Red Maple in New England. He has also traveled extensively throughout Europe, procuring European spruce and maple.His talk will touch on the sustainability of old growth species, the techniques used to mill violin wood400 years ago, and the future of tonewoods.

Bio
Nicolas Despiau joined the company after leaving school and worked for 17 years in the workshop where he gained valuable experience at all stages of the rigorous production process to make quality and consistent bridges. He is part of the 2nd generation of the family-run business and C.E.O. since 2015. Driven by his passion, he travels the world whenever possible to present and represent the Despiau brand.

Chris Ulbricht Bio
Chris Ulbricht is based in Indianapolis, IN where he owns and operates Indianapolis Violins (2003-present) with his wife Laura Barcelo. Chris began his training at the Violin Making School of America in Salt Lake City, and has continued his violin making education as a regular participant at the Oberlin Violin Maker’s workshop. Chris is a maker of violins, violas, cellos and has been exploring guitar construction this year.

Chris divides his days between shop-work, and new-making. In his spare time Chris enjoys playing music with friends, and traveling. Chris also serves on the VSA Board of Directors (2018-present) as co-chair of the program committee where he works with his colleagues to make each convention as interesting and fun as the last.

Kile Hill Bio
Kile Edward Hill, originally from Memphis, TN, was inspired and fascinated with string instruments as a child after watching a special program on PBS about Cremonese violin making. This led to his journey as a cellist, and ultimately a luthier. He began experimenting with violin making on his own time, while working as an organ builder at Richards, Fowkes, & Co.. In 2001 Kile moved to Salt Lake City, UT to attend The Violin Making School of America. During and after his studies at the VMSA, he worked as an assistant to Ryan Soltis. He also worked for Scoggins & Scoggins Violins providing set up and repair for the shop and customers, meanwhile continuing to make on his own time. In 2007, Kile moved to Atlanta, GA where he joined Voss Violins working with instrument set up, repairs, and also helped establish a workshop line of instruments focusing on violas and cellos. In 2014, Kile & his wife Leigha, moved to McMinnville, OR in the beautiful Willamette Valley. Kile has since established his own studio focusing on building violin family instruments, with a special focus on cellos.

Kathy Reilly Bio
Raised in Vermont, Kathleen Reilly co-owns Vermont Violins with her husband, Oren where she manages the manufacture of the V. Richelieu™ line of violins and violas, the American distribution of Sonowood (a sustainable wood alternative to ebony), and the Company’s other activities in instrument sales and restoration. The principles of environmental sustainability and community development have served as key guides for the business growth. Her education background includes the Oberlin Conservatory and College, studying Viola Performance and international Relations; a master’s degree in the Field Naturalist Program from the botany department at the University of Vermont, and lutherie courses with Hans Nebel and Horst Klaus. Her earliest employment focused on issues related to the international tropical timber trade and endangered species preservation at the Nature Conservancy and Friends of the Earth, and teaching viola and violin at the Monteverdi Music School. With her background in conservation and her love of music, she founded Vermont Violins with her husband in 1994. When the company began production of its own line of instruments, the V. Richelieu ™ violins and violas, she was eager to have her experience in environmental policy and preservation inform the manufacturing process. Vermont Violins incorporates long-term policies that conserve rare resources, including Pernambuco, ivory and ebony. Sustainable wood use is key to her manufacturing ethos…and the ethos of the company at large. A love of music and the natural world around her inspires her work every day. She lives in Vermont with her husband, musical son, dog, cat and two miniature donkeys.

Eben Bodach-Turner Bio
"My aim is to create bows that are both beautiful and exciting to play. All of my bows are entirely handmade in my East Montpelier, Vermont shop.

I made my first bow in 2000 with Lynn Armour Hannings. I am inspired by the beauty of the materials and the depth of the tradition. Like many makers today, I look to the master bow makers of the 18th and 19th century, particularly French, for context in my work.

In 2013 I began attending the Violin Society of America Bow Making Workshop at Oberlin College. Through this unique experience I have been very fortunate to learn from some of the finest bow makers in the world. I owe a great deal to their generosity. In 2022 I was honored to be named as the new Director of the Oberlin Bow Making Workshop.

In 2021, I became an elected member of the American Federation of Violin and Bow Makers (AFVBM).

In addition to making, I also offer professional bow rehair, repair and maintenance.

I live and work in Vermont, where I grew up. The hills and forests surrounding my home and shop offer continuous reminders that beautiful lines are rooted in nature. In addition, the creative people that are drawn to Vermont enrich my work and life." -E. Bodach-Turner

Bio
Andrew Carruthers trained at the Welsh School of Violin Making and Repair, and with Bein and Fushi, Chicago. In 1994 I opened my own workshop in Santa Rosa, California, providing restoration services to the violin trade, and building new instruments. Since 2015 I've making full time and have been using violinmaking as a way to explore the world.

Bio
Samuel Zygmuntowicz, violin maker, was already a prize-winning sculptor before beginning his instrument-making studies at age 13. Since 1985 he has made instruments by advance commission for performers such as Cho-Liang Lin, Joshua Bell, Maxim Vengerov, Yo-Yo Ma, Leila Josefowicz, Chad Hoopes and members of the Emerson String Quartet. The Harper Collins book The VIOLINMAKER documents his making of a violin for Eugene Drucker. He is a graduate of the SLC Violinmaking School and studied advanced making and restoration with Carl Becker and Rene Morel. In addition to his published studies of traditional violin making, he has worked closely with acoustic researchers, and is often on staff at both the Violinmaking and Violin Acoustics Workshops at Oberlin College. He is the Creative Director of Strad3D.org, under the direction of physicist George Bissinger, which featured the first 3D laser vibration studies of Stradivari and Guarneri violins. The Strad3D publication presented scientific and traditional expertise in a unified inquiry. He has presented his findings at chamber music festivals, conferences and museums throughout the USA, Europe and Australia. Sam lives in Brooklyn NY with his wife and sons and plays fiddle with a variety of performing folk music groups.

Bio
Paul Schuback was born in Barbados of the British West Indies. At the age of seven, he was living in Geneva, Switzerland, where he first began playing the violin. By age nine he had begun playing the cello in Paris, at the Rudolph Steiner School. He continued playing through high school in various groups and youth orchestras. At the age of fifteen Paul started an apprenticeship with René Morizot, the only violinmaker of the famous bow making family in Mirecourt, France. After three years, he went to the Mittenwald School, in Germany, for graduate work with Hern Hornsteiner and then returned to France for bow making with the Morizot frêre. In 1968, Paul moved to Salt lake City, Utah and worked with Peter Prier. He established his shop, Schuback Violin Shop, Inc., inPortland, Oregon in 1971. From 1976 through 1978, Paul received two gold medals at the Violin Society of America’s annual competition, also receiving four certificates of merit during that time. In 1984, he opened the Amati Violin Shop, in Houston, Texas.Paul has been a board member for the Violin Society of America for many years, as well as serving as a judge for a number of their competitions. Paul helped organize Portland as host city for three of their competitions. He is a member and past president of the International Society of Violin and Bow-Makers. Paul is a member of the American Federation of Violin and Bow Makers and was president of the Oregon chapter of O.S.T.A. for two years. Paul is also an active member of the Portland community. He has worked with the city Planning, Landmark and Design Review Committees. He is also an avid automobile and motorcycle enthusiast and has participated in weeklong rallies. Paul is most concerned with sound and playability through the set up of the instrument and fine adjustments. His studio in the Pearl District caters to the individual needs of the player and their instrument.

Bio
Philip J. Kass, AAA is a respected expert, appraiser, consultant and writer on fine classic stringed instruments and bows. From 1977 until 2002, he was an associate of William Moennig & Son, Ltd. of Philadelphia, where he handled many of the world’s great stringed instruments. His training in expertise came from William Moennig III, William Moennig Jr., and Dario D’Attili, and this he supplemented through his own independent travels, inquiries, and explorations. Since leaving the Moennig shop, he has worked primarily as an independent appraiser and consultant to both musicians and dealers in assessing fine instruments and bows for both buyer and seller. He is also one of the few Certified Appraisers currently working who has a specialty in stringed instruments and bows. Since 2006, he has also acted as Curator of the Musical Instrument Collection of the Curtis Institute of Music in Philadelphia. His most recent project has involved extensive research into the early violin makers of Mantua, on which he spoke at the 2014 VSA Convention, with a planned-for publication date of 2022. He contributed a number of essays to The American Violin, published in the spring of 2016 by theAFVBM, and an extensive variety of entries for the 2014 edition of Groves’ Encyclopedia of Music andMusicians, presently available on-line. Other recent publications include an essay on the workmanship of G. B. Guadagnini for the book that accompanied that exhibition in Parma in 2012, an essay on English bow makers in the book on bows and bow-making published by the Pau Brasil project, and a series of short biographical essays for Bottega Italiana, the book accompanying the 2013 exhibition in Cremona.He has also published a wide variety of articles on both violin and bow makers in The Strad, Strings, and the Journal of the Violin Society of America, and has been a guest lecturer to a wide variety of violin-related organizations. A member of the Violin Society of America since 1975, he served on its Board of Directors from 1976 to 2010, as Vice President from 1985 to 1997, and as President from 1997 until1999.

Mia Pixley Bio
Mia Pixley, Ph.D. is a mother, clinical psychologist, and artist who uses her cello, voice, and music performance to study and represent aspects of self and other, community, and the natural world. Whimsical and melancholic, Mia’s music gravitates toward the beauty hidden in sorrow, pain, and loss and this beauty’s potential to inspire curiosity, wonder, rebirth, and reconnection to ourselves, each other, and the natural world. Mia has a professional studies diploma in cello performance from San Francisco Conservatory of Music (Class of ‘18). She has performed on GRAMMY award winning albums and award winning off-Broadway musicals. She tours regularly with Windham Hill Winter Solstice Tour and collaborates with artists both in the SF Bay Area and NYC. Mia released her first full length album titled “Margaret in the Wild" July (2021) and a poem and music call and response project, "Passage" (April 2022). Mia cares about interconnectivity and nature.

Andrew Carruthers Bio
Andrew Carruthers trained at the Welsh School of Violin Making and Repair, and with Bein and Fushi, Chicago. In 1994 I opened my own workshop in Santa Rosa, California, providing restoration services to the violin trade, and building new instruments. Since 2015 I've making full time and have been using violinmaking as a way to explore the world.

Bio
Matthew is a restorer and instrument builder, and part owner of Grand Rapids Violins, LLC. As a string musician, he understands the unique requirements of his clientele and enjoys the process of finding and then meeting their needs. He has extensive background in the music industry, first as a player and then as a luthier. He received a Bachelor’s of Music from Grand Valley State University and a Master’s ofMusic in bass performance from the University of Cincinnati College-Conservatory of Music. He also has a degree in luthierie from the Violin Making School of America in Salt Lake City. Matthew spent a number of years working for Jerry Pasewicz in Raleigh, North Carolina. At the Pasewiczshop he carried out a wide variety of advanced restorations. He also spent a great deal of time working on sound adjustments with Jerry, who received his education in the workshop of René Morel of NewYork. Matthew also had the honor of serving a bow-making apprenticeship with Jerry. Even though he now lives in Grand Rapids, Matthew still keeps a working relationship with the Pasewicz shop, and has been writing articles on workshop procedure for their website.In recent years, Matthew has garnered a reputation for exacting work and high standards among his clientele and colleagues. He is constantly striving for excellence in his craft and continues to work closely with colleagues across the globe, through organizations such as the Violin Society of America and the Oberlin Violin Making and Restoration Workshops. As such, he is familiar with the most current techniques of the business. Having focused more on cello in recent years, Matthew now considers himself mostly a cellist, and he also plays piano, organ, and violin. When not in the shop, he enjoys spending time with his wife and daughter.

Bio
Mary Jane Kwan grew up in Austin, Texas, playing the cello in a quintet of musical sisters. Her interest in lutherie started in architecture school, building a mandolin and electric bass. Unsatisfied with designing buildings by mouse clicks, MJ enrolled at the Chicago School of Violin Making, where she was taught by Becky Elliott, Fred Thompson, and Henni Hahn. She learned setup and repair at the A440 Violin Shop, and later furthered her studies in restoration at Reuning & Son. She is the illustrator of several ridiculous violin making comics, and author of one serious article in the Strad Magazine. She swings a tiny measurement hammer for science at the Oberlin Acoustics Workshop, and co-hosts an acoustics discussion group for Women in Lutherie. MJ is stationed in Brooklyn and focuses on new making and research in the workshop of Samuel Zygmuntowicz.

Bio
Christopher Germain makes award winning stringed instruments in his studio in Philadelphia’s Center City. He is a 1985 graduate of the Chicago School of Violin Making. From 1985 to 1991 he worked for the Chicago workshops of Kenneth Warren & Son and Bein & Fushi, Inc., focusing on restoration work. In 1991, Mr. Germain established his own workshop, specializing in making copies of classical Italian violins, violas and cellos. In 1995, legendary restorer, Vahakn Nigogosian invited Mr. Germain to join him as his assistant at the Oberlin Restoration Workshop. Mr. Germain eventually became the Director of the workshop, which now brings together leading violin makers from around the world in an effort to share knowledge and insights within the craft. The Oberlin Workshop recently celebrated its 25^th anniversary under Mr. Germain’s leadership.

Mr. Germain has won numerous awards at international violin making competitions and has had articles published in the VSA Journal, the VSA Letters and other publications. In 2006, he organized The American Violin exhibition at the Library of Congress in Washington DC. He is co-author of the book, The American Violin (2016). He has spoken at many professional conferences and meetings, including the Oberlin Restoration, Making and Set-Up workshops, The American Federation of Violin and Bowmakers, the Violin Society of America and more. He has served on the governing boards of the VSA and the American Federation of Violin and Bowmakers, and has served as President of both organizations. Mr. Germain is also a member of L’Entente Internationale des Maitre Luthiers et Archetiers D’Art. He has served on the juries of a number of major International violin making competitions in the United States, Europe and Asia.

Nick Lloyd Bio
Nick Lloyd has built 58 doublebasses to date, including a bench copy of Edgar Meyer's Giovanni Battista Gabrielli. Physically he lives in rural Kentucky and electronically he lives at nicklloydbasses.com

Jim Ham Bio
James (Jim) Ham has been restoring and making string instruments and bows in Victoria, BC, Canada since 1972. He met bass virtuoso Gary Karr in 1979 and helped him with some repair issues on the famous Karr-Koussevitsky bass. Soon, many of Gary’s students and colleagues were bringing him instruments and bows to repair. With the opportunity to see and work on many of the most esteemed basses alongside other fine orchestral instruments, it became apparent to him that the bass was an underserved and underappreciated member of the orchestral string family. This led him to ask for and receive a commission to make a new bass for Gary Karr which was completed in 1995. This instrument was so successful that it remains Karr’s preferred concert instrument today and commissions followed from leading bass players worldwide. Jim enjoys innovating designs and methods for new-making and for restoration of fine instruments and bows, always respecting conservation of historical integrity. He received the Manning Innovation Award for “developing several innovative features for the double bass” in 2001 and the International Society of Bassists Lutherie Award in 2021. He has been an author and subject of articles in “The Strad”, “Strings”, “American Lutherie” and “Bass World” magazines. He has been a presenter at conventions of the Violin Society of America (VSA), the American Federation of Violin and Bowmakers (AFVBM) and the Guild of American Luthiers. The desire to raise the standard of making and repairing double basses to the same high level as other members of the orchestral string family led him to become the first director of the VSA Oberlin Bass Workshop in 2010. He has been a member of the VSA since 1980 and of the AFVBM since 2001.

David Weibe Bio
At the age of 20, David Wiebe began his training at the Violinmaking School in Mittenwald, Germany after which, he returned to his home in Nebraska and established his business in 1973. During his 30 years in Nebraska, he made instruments for Eric Bartlett, Samuel Mayes, Yehudi Menuhin, Zara Nelsova, Aldo Parisot, Leonard Rose, and Michael Tree, to name a few.

In 2002, David moved his home and business to Woodstock, New York where he continues to make violins, violas, cellos, and basses in a beautiful workshop on Glasco Turnpike. As a foundation for designing his own models, David’s violinmaking style is inspired and strongly influenced by the great 17th and 18th century Italian Masters.

His instruments are known for their powerful and characteristic tone, as well as his individual, personal and recognizable style of workmanship.

Bio
Daniel Temianka MD is a retired internist in Pasadena, California. He has devoted much of his time to developing the legacy of his late father, the great violinist, conductor and educator Henri Temianka. He is also a writer and semi-professional wood turner.

Bio
Matt Wehling first began bow work in 1991, inspired by watching a repairman take the top off his violin. Like many of his American contemporaries, his first studies were at week-long summer courses with Bill Salchow. However, Matt soon decided that to build top quality bows, he would have to quit his job and go to France to study with contemporary modern Masters. In 1995, Wehling spent eight months in the shop of Benoît Rolland in Vannes, Brittany, France. Monsieur Rolland was the first graduate of the renowned Mirecourt bow making school, studying under Bernard Ouchard. As a consequence of his work with Monsieur Rolland, Matt was asked to join the shop of Georges Tepho in Quimper, Brittany, France. Monsieur Tepho had also attended the Mirecourt school, studying under Ouchard and Roger Lotte. Matt worked with Monsieur Tepho until he left France in the Spring of 2001. “I am very thankful to Benoît forgiving me my basis of technique and my love for the work and history of French bow making. I am very grateful to Georges for helping me refine my technique, focus my goals, and translate the seriousness with which I learned to craft bows into being a true artisan.” Wehling spent the summer of 2001 working with bow makers in Port Townsend, Washington, before settling in Northfield, Minnesota, a small college town 45 minutes south of the Minneapolis/St. Paul metropolitan area. In 2010 Wehling received his 5th Gold Medal from the Violin Society of America (VSA), putting him into the elite “HorsConcours” category of makers who are no longer allowed to compete. He was subsequently asked to be a judge for that competition. In 2011 he became one of only a few people to win multiple awards in the City of Paris Etienne Vatelot Competition, garnering the First Prize for a cello bow and Second Prize for his violin bow. Wehling’s extended studies in France provide a unique background among contemporary American makers. He continues to spend a considerable portion of each year in France collaborating with colleagues.

Bio
Sofia Vettori was born in Fiesole in 1981 to accomplished luthier Paolo Vettori. She is the granddaughter of Dario Vettori. She began to take an interest in the world of music at a very early age, studying the violin first privately, then at the Cherubini Conservatory in Florence. In 2005, she received her diploma from the Mascagni Conservatory in Livorno under the guidance of Petru Horvath. She also studied the faculties of Literature at the University of Florence, studying the old Mesopotamian archeology. Here, she received her diploma in 2004. Sofia is a very talented violin maker, and she has produced several instruments in her family’s workshop. She prefers a traditional appearance, often following the technique and aesthetic of Guarneri del Gesù and G.B. Guandagnini. She has researched the old formulas of varnish from old manuscripts of her grandfather Dario.Sofia’s instruments have a remarkable and unique quality of sound, and a beautiful and sophisticated appearance. She tracks the production of her instruments with photographs and notes compiled into unique books, and affords each instrument a unique personality and name. Selections from these books can be viewed on each of her instrument pages.

Alex Wilson Bio
Alex Wilson serves as a Woodworking Instructor at the Violin Making School of America. In addition to teaching, Alex continues his own new making and restoration work at his studio in Salt Lake City. Alex has participated in the Oberlin Violinmakers Workshop as well as the Oberlin Restoration Workshop. He was first trained in violinmaking at VMSA, graduating Cum Laude in 2012. Alex gained shop experience with Peter Prier and Sons Violins where he rose to the position of Shop Foreman. Prior to pursuing violin making, he earned a BA in Music Theory/Composition from Guilford College and an MA focused in Ethnomusicology from The University of Chicago. Alex enjoys working directly with advanced musicians to help their instruments reach their fullest potential, and he values the opportunity at VMSA to help train future generations of violin makers.

Charles Woolf Bio
Fifty years ago the Violin Making School of America was founded by Peter Prier in Salt Lake City, UT. It was the first violin making school in the US and has educated and trained generations of violin makers. Director Charles Woolf and Woodworking Instructor Alex Wilson will be discussing the past and present of the VMSA.