Playing the cello I became interested in violinmaking through repairs which had to be done to my instrument.

  The profession's versatility - it consists of music, craft, artistic, historical as well as scientific aspects - seemed a challenge to me.

  Today, after more than 10 years of experience in repairing, restoring and making instruments, I can admit that making an instrument for people, who use it to express human emotions, and in the best case, create art, and with their music give pleasure to other people is the most beautiful experience in this profession.

  Of course I don´t want to underestimate the old masters - they indeed are my examples and my source of inspiration - but I sometimes get furious when I'm confronted with the myth that by definition "old is better than new", "expensive better than affordable".

  I agree completely with what a collegue of mine once said: "The old masterinstruments once were modern instruments and the better modern instruments, - the "antique ones of the future" - will play the same role as the old masterinstruments do now".

  Of course, it's difficult to make a good instrument, but it's always my supreme aim. With every piece of wellseasoned and excellent tonewood I ask myself again: "What have I got to do to achieve the desired sound?" A sound you have to catch hold of, but which at the same time remains so intangible. It's a lifelong search, and that's what makes this profession so fascinating.