Christian Urbita , luthier in Cordes, currently dedicated solely to violin construction. " The violin is the instrument of the string quartet the most difficult to make it sound ."
The tradition in music, this is the last misinterpretation " said Toscanini.
" In violin was too copied without understanding ." Christian Urbita
These wood working according to its quality , its density, its heterogeneity , its elasticity, its energy. Different parameters are thus to be considered in order to give life to the violin . At the musician image that is to listen to his violin luthier should be listening to the wood.
- The origins of the work of observation and study the restoration of Stradivarius and Guarneri del Gesu
Professional career of Christian Urbita
Passionate about drawing, sculpture and music , instrument making it possible to combine these three passions. The choice not to follow training in producing new contemporary instruments but restoration is the result of an observation: the current manufacturing techniques violins fail to equal the great masters of the XVII, manufacturing tradition being lost.
The restoration of Stradivarius and Guarneri del Gesu instead allows to soak and study these exceptional instruments, to understand their acoustic operation.
This learning that lasted ten years, began in Germany in Stuttgart where the musical tradition is intense with master luthier Bernhard Franke, and in parallel to the prestigious school of Mittenwald with Rudolph Masurat in Lübeck. It continued in the famous workshop W. E. Hill & Sons in England where I have been in contact and restored many Stradivarius and Guarneri del Gesu.
Twenty years of research workshop were then required before developing a violin manufacturing technique that allows to understand the design of the great violins. During the same period, the leadership of festival music sky and the creation of the European workshop of violin and bow makers also made it possible to better define the relationship luthiers and musicians and our respective expectations. At these meetings for ten years, thirty violin and bow a dozen different musicians and fifty countries exchanged their experience.
- The exchange with the composers and soloists
The current design of the violin was thus born of the fruitful exchange with composers in residence at the sky on Music Festival ; Olivier Greif , Henri Dutilleux, Philippe Hersant , György Kurtág , Thierry Escaich , Thomas Adès , Christian Lauba and soloists Augustin Dumay , Renaud Capuçon , Laurent Korcia , Sarah Nemtanu Julien Chauvin, Matthew Trusler.
The musicians gave me an awareness of the complexity of the sound of the violin : the musician creates his own sound when in symbiosis with his instrument.
Composers brought me an awareness in the way of understanding creativity resonant qualities of the instrument with Henri Dutilleux, ability to impregnate a model to better overcome and break free with Philippe Hersant and Thierry Escaich , György Kurtág with rigor .
Contact with artists and musicians is vital to design an instrument of contemporary style that falls within the duration and beyond the mere aesthetic innovation.
The violin XXs is based on a stylistic approach in copying the great masters of XVIIs , even as Guarneri and Stradivari were transformed in the nineteenth century .
"The tradition in music, this is the last misinterpretation. " Toscanini. the modern violin proportions based on old violins changed. In the nineteenth century , many makers have sought to match or exceed the Stradivarius and Guarneri del Gesu by modifying the shape sometimes extravagantly .
It is therefore important to make a modern violin giving it balanced proportions ; geometric proportions directly related to audio.
The meeting with the violin Guarneri del Gesu Augustin Dumay has prospects these twenty years of research to give first tracks of development of a new violin manufacturing approach and create the sound of the violin for XXIth today's musicians based on the conception of the great masters of the past.