Despite having only a primitive temporary workshop yet, after moving to France, I managed to finish a viola just in time for the competition. I'm quite happy that it was ranked as nr.19, under the circumstances.
The over all quality level of the instruments was, in my opinion, the best that I've seen so far in a violin making competition. I also like the trend towards a thinner and more delicate varnish, and more personality of expression - still with respect towards the old violin making traditions. It's obvious that luthiers across the globe have better access to information about the old Cremonese instruments than they've had before. I believe, like many collegues and musicians, that the level of violin making has never been as high as today.
My viola is in the center of the picture above.
There is of course the dilemma with competitions of this kind, just like with competitions for violinists. It's a matter of taste, and the time is limited for the evaluation of each instrument / musician. And you don't want to end up with all instruments / musicians sounding the same. I know that the issue of standardization and uniformity is a subject of discussion among musicians too. Luckily there are young, talented violinists out there with their own unique style, and I hope they get the credit and encouragement they deserve. There should be a place for both quality and diversity among both luthiers and musicians.
I had a great time at the opening of the exhibition. I made new friends, and I got a chance to talk to Peter Beare and Etienne Vatelot, both of whom expressed appreciation for my viola. Looking forward to more competitions / exhibitions next year, for instance the Triennale in Cremona.
Awards Concours Etienne Vatelot
Jury Concours Etienne Vatelot
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