Your choice
Do you want to touch people's hearts with your music? Do you want to convey your emotions supported by your instrument?
New instruments are designed and built to meet the needs of today's musicians. While building on the experience of ancient makers, contemporary makers can use new insights and materials to optimise the qualities of their instruments for today's needs. There is no need to pay for collector's price to own an exceptionally good instrument.
My Mission
My mission is to make instruments that have the power in them to reveal and amplify your emotions. Instruments that help you touch the hearts of your audience. Instruments that give easily but also challenge you to further explore the extend of the range of colours and dynamics.
What I Do
I make originals in which you will find many traces of the knowledge of the masters of the past. I search for my own quality and colours of sound: a colleague told me years ago that she could recognise my instruments by their voices.
Passion
Making an instrument is an art - as is making music. The language of the music you play may be centuries old, and yet it is YOU who conveys the emotions the composer tried to put down on paper. You can't disconnect it from the past or the present. It is YOU that we hear now. It is not a copy of the past.
Making an instrument is very similar. Ancient makers created instruments for which music was composed. And they adapted the instruments to the needs of the compositions. I use the accumulated experience of centuries of famous makers. I am not simply copying the past. I create my own own designs. I use real, high quality tonewoods from trees that sometimes that sometimes began their lives when the old makers were still alive. I use a knife and chisel to carve the curves that determine the quality, colours and infinite depth of sound of an instrument. I use my hands, my fingers, my eyes and my ears to shape the resonance and resistance of the to shape the resonance and resistance of the wood plates to release the to reveal the hidden colours of sound.
Bernhard Zanders, a long time successful master violin maker from Nettetal (DE), my teacher, coach and mentor, taught me the traditional craft. He also taught me how to look at the shapes, curves and arches of many different schools and incorporate them into my own work.
Hands, body and mind
“These ancient instruments can have a tremendous depth and breadth of sound, but it often takes all of your skills and concentration to make them work.”
Making music, playing an instrument is your pleasure and perhaps your profession? Hours of daily practice build your skills on the instrument: 20% is talent, 80% is hard work. However, by making repetitive movements in stressful situations, you run the risk of overloading your body. It's something we don't want to talk about for fear of losing ourselves. Let's hope you don't recognise it. But what impact might this have on your performance now, or in the future? How do you connect with people when you need to focus on your instrument or your posture to obtain the sound you want while avoiding pain? Wouldn't it be nice to solve this problem, or better still, prevent it? The mere thought that many famous soloists have played your precious old instrument will not help you. But a modern, well-built instrument will!
Bespoke instruments can be made to fit your body perfectly. For violists, it is quite common to find different sizes in all dimensions, as the viola is not as standardised as the violin and cello. Why not design violins and cellos with similar solutions? Not by making children's models, but by making full-size models playable for your hands and arms?
What Musicians Say?
After spending hours on five of my celli: “How come that all your -and I mean all- your instruments are so good, have an intense, even sound and are so responsive to my bow on all strings wherever I play on them?”
Alexander Warenberg
Award winning cellist
As soon as I started playing, I felt the blanket of sound wrap around me with such a warmth... The cellos projected with such beauty and natural sang: I especially loved the cello with the poplar back and gut C and G string! They all had unique qualities that make each one have its distinct personality
Sydney Lee
Korean-American cellist
So wunderschöne Celli!! Keine Neubauton, sonder charactervolle Instrumente - feine elegante Töne mit breitem kraftvollen Klang - ein Traum!
Cellist Karl
Visiting Kronberg festival 2019
Good sound, pretty comfortable to play, warm sonority escpecially on C and G strings.
Léo Guiguen
Rutesheim 2019
Das Goffriller-Model-Cello hat so viel Klangvolumen der den Raum füllt, aber vor allem auch einen sehr warmen, persönlichen Schmelz im Klang hat. Ein wunderbares Cello, auf dem man sich beim spielen wohl fühlt.