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20 December 2011

J.S.Bach, 6 Suites for Violoncello Solo performed by violin-maker Dmitry Badiarov

J.S.Bach, 6 Suites for Violoncello Solo.
performed by Dmitry Badiarov
Violoncello da spalla by Dmitry Badiarov

Double CD -- 21 EUR (VAT may apply, shipping : 2.50 EUR)

"Like" our violoncello da spalla FB page and get a discounted price - 15 EUR (VAT may apply).

10 December 2011

Farewell to the violin's remarkable anniversaries

modern violin by
Dmitry Badiarov, 2011

In retrospective, recalling the events of 2006. The first mentioning of the violin with the modern tuning is that of Jambe de Fer, 1556 (Epitome musical...). Remarkable, isn't it?

3-stringed violins, or viole da braccio, existed before and after, and even mentioned in Cerone a few years after Monteverdi's Orfeo - the first fully fledged

25 November 2011

PRESS-RELEASE : Mad Music Decease

for immediate release
The Hague, 25 November 2011
Contact: Dmitry Badiarov +31 6 1125 7695


Aquila Corde Armoniche Srl - one of the major producers of gut-strings closed the production on the 14th of November.

The Strad - the major magazine covering news related to the violin announced the news on their website on the 15th.

News quickly spread over the social networks and lead to the wave of panic calls from musicians worldwide trying to buy out whatever remaining stocks of gut strings available for sale. Hardly surprising - no strings, no music.

The cessation of production by Aquila was caused by the EU legislation restricting and effectively banning the use of raw gut materials on the territory of the EU due to BSE fears.

Aquila Corde tried to persuade the EU law-makers to review the law since 2006 and exempt the string-makers from the ban: if sausages have not been outlawed why should musical strings - which are not food - suffer? To this day  EU ministries remained deaf.

Aquila is not the first to stop the production of gut strings. Sofracob, the French company which

20 November 2011

Two petitions to the EU government urging to save the Early Music

Baroque Violin string with Aquila Strings, including the
copper powder loaded string for the music of the 17th century
rediscovered and brought to perfection by Aquila Corde. 

Two on-line petitions are published and are collecting signatures.

Follow the links, sign the petitions and share them with all your contacts now.

19 November 2011

Severe Early Music Crisis caused by the EU laws

We are going through a severe Early Music crisis caused by the EU laws and the major producer of gut strings stopping production on the 15th of November.

The third day of panic phone calls from musicians : I regret to inform all gut-string players that our stock of Aquila gut strings is over. We have been trying to get gut strings from

31 October 2011

iPhone model for a baroque violoncello da spalla

A few weeks ago I have been to a concert in Belgium.

Big orchestra, many soloists... In addition to the bass violin there was also a viola da spalla player.

After the concert I congratulated the spallist with her impressive playing and asked what was the source of her instrument.

26 October 2011

The unpublished violins

The unpublished earlier baroque violin no.62 and the ornamented violin both made in 2009.


Very unfortunately, earlier in my career I never paid enough attention to documenting my work photographically so pictures of a large number of instruments are not available. Additionally, many of the earliest violins were even not properly labeled.

20 October 2011

VIDEO: Setting the sound-post into the new violin

Rainy day, birds singing in the park outside the studio, no apprentice in the studio today and only a few clients visited during the day. 

Strung this brand new "modern" violin (no.74) with gut strings  "Tricolore" g and d', and synthetic and metal "Evah" a' and e''. It sounds well, however my varnish - although it is only one very thin layer - takes about a year to dry. The instrument can be used immediately - for example, Ryo Terakado used one of his two Badiarov violins, the brand new then a violin with the grotesque ornament in one of his recordings, however the sound will ripen gradually, as the varnish gets drier and the instrument get's played-in. 

I will certainly play it in for a few days from now on and make the necessary adjustments, if any. 
It is almost always rainy or stormy when I string a new violin. Feels like the last days of autumn, soon - no birds singing till the spring.

19 October 2011

VIDEO: Viola da spalla - difficult made easy

The muses of Musicology and Performance practice do not like to cross the roads. They are too different. When they meet they are rarely happy. Both are busy. There is time either for one or for another but rarely for both. When I wrote my 40 pages article about the viola da spalla for the Galpin Society Journal I knew this. Actually I wrote it for myself however I still wanted the message get through to a larger group of performing musicians, not to just musicologists. After all, violin-makers do not make instruments for musicologists (sorry!)

So, some time after the article was published, I thought about a 5 minutes entertaining video (here it is below)

5 October 2011

Learning the craft of violin-making

While my website needs much more time and work for the updates I decided to publish a quick note to reflect the changes which took place in my apprenticeship program during last year. Please, subscribe if you want to receive an update when the website will be renewed too.

1 October 2011

What does it take to make a violin?

What does it take to make a violin?
Alberto Bachman, in Encyclopaedia of the Violin (1st ed.1925), wrote that the surest way to make a fine violin is to trace a master's model. Perhaps for the world as it was in 1929 it was the surest way indeed, but the knowledge unearthed since then would be wasted if not used.

Making violins require a creative mindset with a subtle swing of fantasy and order, precision and spontaneity: one needs to know the rules, where and why they come from, how to enjoy bending these rules or even - why not - break them if it gives an extra spice to the design and the sound of the violin, an extra inspiration to the musicians and the audiences. 

It also requires a complete command of tools, knowledge of wood and acoustics, specially as the latter was addressed by the european predecessors, violin-makers from the end of the 16th century till the end of the 18th century. I do not believe in computers, sophisticated software or hi-tech which anyway did not exist in the period when the violin was born - the Baroque period. I believe in fairly simple hardware, time-tested intelligence

26 September 2011

A little essai on violin-making

My 72nd and 73rd violins,
The Hague, September 2011

2012 will see my 20th anniversary in violin-making. While thinking of making something special for this occasion, I thought to share a few words about the secret craft shroud in mystery. The craft, or rather its object - the violin - have been the source of inspiration to writers and poets, painters and movie directors. However, what was the source of inspiration for the makers who created the first violins some time in the 16th century? What is the source of inspiration for making new violins apart from music and violins already created?

There are many ways to make a fine violin and it finally is the matter of personal choice from which sources to draw one’s inspiration. Obviously, the sources can be the violins themselves. One problem is that original Stradivaris are not generally accessible consequently posters of Strads (or Guarneri) became the practical source of inspiration. Another problem is the fact the old instruments are no longer in their original state. The wood has shrunk or got naturally worn out, original parts such as necks, fingerboards, bridges, tailpieces, sound-posts and strings have been replaced by the more modern counterparts. Yet another problem is the fact that attribution and integrity - that is whether all parts of any given old violin are made by the same maker or not - in many cases can be notoriously difficult to ascertain. In this respect, 19th century luthiers such as Jean-Baptist Vuillaume were in a privileged position: they had access to the famous italian violins which at that time were barely 100 years old or a little older and many were mostly in their original state. Unfortunately, this is no longer the case. Those 19th century luthiers modernized most of the 17th-18th century instruments without leaving any documentation whatsoever. Violas and cellos suffered the most and not much remain intact of original violins either. This, making copies is very much a colloquial expression. In reality, a successful "copy" relies on a huge amount of memorized statistical data about surviving instruments and years of practical experience. In fact, some makers do not call their instruments "copies", but "inspired by Guarneri" or something of this sort.

Violoncello piccolo (aka viola pomposa)
made for Sergey Malov,
September 2011, The Hague
Being aware of the problems described above I chose the way which, I believe, is closer to the sources which nourished the cultural foundations of European civilisation. I mean the primary sources which inspired many European artists, musicians, music instrument makers, composers, painters, architects, philosophers - for thousands of years - till the French Revolution. These sources are a strange mix of ancient Arab, Roman, Christian, and above all, the Greek ideas. This mix actually made the European culture distinct from other cultures and it also created its music and musical instruments including the violin. The influence of these source can be seen, felt, experienced in the surviving culture around us and in classical music. I do not exclude the violins from my list of sources because they are a cultural heritage too, but I do not limit my source of inspiration and information by violins alone - no matter how remarkable they are. Instead, I try to see the violin with the eyes of a craftsman of the 17th-18th century, from beneath, rather than from the top. Thus, it is the different vantage point that I chose. Why? I trust the cultural foundations of European art and music and music instruments merit to be aware of, merit a study, mastering and practical use in the craft of violin-making. This vantage point can be easily understood by most artists working with the visual media as it is not uncommon for them to assimilate the history of art in order to place their creativity in the context, but it is also the artistic foundation for many a remarkable musicians. I am happy to see a few luthiers working on the same path. Of course, this path may not be the main-stream but when it draws the attention of young luthiers to the sources of culture rather than just to its product - the violin - it is a desired outcome.

Why and How?
It is easy to say, “I chose a different vantage point!” WHY I do this is probably clear. All of the philosophy apart, it simply helps to create better instruments. Another question is HOW

26 August 2011

Violin-making: copying VS making originals

This article describes the two existing today general methods of making violins, compares the two and addresses the issues.
The two methods are: 1. Making copies. 2. Making originals.

You have certainly heard expressions such as "made after a Stradivari model", "copy of a Stradivari violin", "copy of a Guarneri",

10 August 2011

Violoncello da spalla for Sergey Malov

THE HAGUE -- August 10, 2011, I have carried out the last adjustments to the sound and setup of my 70th instrument - the 10th violoncello da spalla made for Sergey Malov - violinist, violist and now also a violoncellist da spalla. He will play this instrument at Nikkei's Muse Salon, International Mozart Competition Winners Concert 2011 in Japan on the 21st of September 2011. In the modern jargon,

11 July 2011

Masaaki Suzuki and three cellists: Ryo Terakado, Dmitry Badiarov, Francois Fernandez.

This almost a vintage photo was taken several years ago in Tokyo during  the preparation for the five concerts and a recording session with Bach Collegium Japan. Program: J.S.Bach, Six Brandenburg Concertos.

BCJ's 1st version of the Concertos was recorded over a decade ago with the ordinary violoncellos. The 2nd version, the new version, has been recorded with violoncellos da spalla only a few years ago. Violoncello da spalla was the type of cello on which Bach was a skillful player. This is the type of cello which apparently Bach had in mind when - though extremely rare - he called for "violoncello" in his scores.

As the maker of these instruments I am very happy for BCJ and La Petite Bande both recording the  Brandenburg Concertos twice. The list of CDs with violoncellos da spalla and violins from my studio can be found on my updated website. Click.

Picture, from left to write: Masaaki Suzuki (conductor), Ryo Terakado (violinist, cellist), Dmitry Badiarov (luthier), Francois Fernanez (violinist, cellist).

9 July 2011

Qu'est-ce qui distingue une «œuvre d'art»?

Cher amis,

Cette brochure est une invitation à une découverte approfondie dans le monde des Badiarov Violins, des instruments évocateurs des siècles passés et de la vie contemporaine, incitant les musiciens à créer à la hauteur de leurs idées.

Qu'est-ce qui distingue une «œuvre d'art»? Ce n'est pas seulement la qualité élevée de l'artisanat. C'est l'Idée artistique, prenant source dans une véritable connaissance des sources primaires ainsi que de la culture. Une Idée peut résoudre certains problèmes, raconter une histoire véritable, informer, éduquer, inspirer ou ouvrir les portes d'une autre dimension. Une Idée fait d'un Picasso un Picasso, d'un Stradivarius un Stradivarius, d'un Guarneri del Jesu un del Jesu et d'un Rembrandt un Rembrandt. Cette Idée

28 June 2011

An antique article about very modern instrument: baroque violoncello on the shoulder

This article was written already a few years ago, after a few violoncellos da spalla were already on the hands of actively performing musicians: Sigiswald Kuijken, Ryo Terakado and Samantha Montgomery. Six months of library and museum research, as well as research into the strings conducted by Aquila Corde preceded the five weeks of actually making the first instrument for Sigiswald Kuijken. However that initial research had not been abandoned after the first instrument was completed and a few years later its results had been published by the Galpin Society. Players can get familiar with it from the article made readily available with the kind permission from the Editor of Galpin Society Journal.

27 June 2011

What Baroque music is all about? Read this!

If you did not know - then this and other movies mentioned below might be just the right way for you to discover and enjoy Baroque music and historically informed performance practice.

So, what is it?

23 June 2011

Badiarov Violinsへようこそ。

数世紀過去から現在の 想像力をかき立てる楽器、Badiarov Violinsへようこそ。

Una invitación al mundo de Badiarov Violins

Querido lector:

Este folleto es una invitación al mundo de Badiarov Violins™, instrumentos evocadores de tiempos pasados y de la vida contemporánea. Hemos estado inspirando a músicos por casi ya dos décadas.

21 June 2011

Making gut strings: a video from Aquila Corde, Vicenza (Italy).

P.S. Mimmo Peruffo's twisting gut strings and myself - in the background - holding their ends. This is how musical strings were

19 June 2011

BAROQUE: Equal Tension stringing results in Unequal Feel: things you want to avoid or at least know about (another calculator)

This is the same violin as in the calculation published earlier but this time the violin is strung with Equal Tension strings. See that while the longitudinal tension is equal it results in extremely unequal and unbalanced string pressure and consequently "unequal feel". If the downward pressure of strings is not equal they will not feel equally tense for the bow or the

18 June 2011

Equal Feel calculator - why the sources are not wrong. Response to a private message.

Reply to a private message raising doubts about correctness of the proposed stringing solution. My calculator is not only correct, but is extremely correct and tested during good 5-6 years of concert performances, though, of course, not by everyone.

Indeed, one observation was very

17 June 2011

Original bass-bar and other interesting details in a Violin by David Christian Hopf, musicus, 1760

Though I have been making new instruments in the past ten years I made an exception for the violin described in this record.

The violin labelled "David Christian Hopf, musicus" and dated 1760 was recently restored at my studio. The maker belongs to the dynasty of makers originating in Klingenthal and founded by Caspar Hopf (born in 1650 in Graslitz,  Czech republic). The dynasty consisted of about 42 makers with

16 June 2011

“...Straunge Soundes” - "Equal Feel" string calculator online

Strings is the source of sound. Violins are built in such a manner as to amplify that sound in a particular manner. No wonder, there have been much discussion among the period-instrument players. Some advocate Equal Tension and some advocate Equal Feel and both base their arguments in historical documents from the 17th-18th centuries. However, writers in the 17th-18th century did not agree on this topic. Consequently it looks like we are left without much chance to come to any agreement.

Let me stress once again that longitudinally equal tension can not result in equal pressure unless the bridge is flat, and if the pressure is not equal, there can never be such as thing as "equal feel". It is also
understandable that you do not want to end up with excessively thick g- or c-strings because of inhamonicity effect and for this reason would rather choose excessively thin e" and a' strings. This however does not fit into historical data showing that e" and a'-strings were made from 3-4 and 5 ribbons of raw gut, resulting in the range of 65-75 for e"-strings and 85-91 or so for the a'-strings.

You might have to measure the angles on your violin or viol in order to measure the pressure but this string calculator demonstrates why so many sources, most notably Galeazzi, suggest string-gauges that never lead to equal tension. Nonetheless, they do probably lead to the "Equal Feel" and here is why this happens:

"EQUAL FEELING" CALCULATOR and explanation tool. Click "Edit", enter the pitch, the gauges as they are written on the envelopes and angles (you might need a piece of paper and pencil to mark the angles and a protractor). The angles given herewith are taken from one of Badiarov baroque Violins.

Gut-strings’ history consists of 4 periods each with a corresponding change in the history of music and instruments.

Do-it-yourself - Classical Antiquity to Middle Ages
From antiquity to the Middle Ages, strings and instruments were
often made by the players themselves. Consort music and consort instruments did not exist yet. Medieval fiddles were strung with plain gut or silk strings at the discretion of the player, physical properties of strings, size of the instrument and such pragmatic considerations.

Renaissance - from 1450 to 1550 - “Mynstrelles with Straunge Soundes”
String-making became a profession. String-making centers emerged in Barcelona, Munich, Bruxelles, Firenze, Venezia, Nuremberg and Lyon. Music was revolutionized in many ways and composers started to create very “modern” music - consorts in 3, 4 and later 5 parts. Dance music shifted from the forms based on cantus firmus to binary forms (AABB) which allowed endless repetition and improvisation. Advance in string-making quality and volume of production lead to several important changes: 1. creation of consort-instruments both wind and stringed made after identical or similar pattern and organized by their ranges inspired by the natural differences between human voices: alto, tenor, bass and, finally, treble. 2. Previously 5-stringed lute and viol were redesigned to accommodate the 6th string below the 5th. 3. Controversially, bass-bar and soundpost was introduced during this period. This is the period of Pierre Attaignant (1494-ca.1550), Thoinot Arbeau (1520-95); 'violons de la bande françoise' (1529), Jacques Moderne (fl.1526-1560), Josquin Desprez and others. You will use exclusively plain gut strings with their “straunge soundes”, though use of brass strings is also mentioned even though it has never became the norm.

3. Early baroque - from 1550 to 1650
This period corresponds another dramatic change in the history of string-making. In order to decrease vibrating-string lengths and increase the response of the thick lower strings, such as g and c on violas, G and C on the basses etc, string-makers successfully introduced the technique of loading gut with metal powder. Thus lute was redesigned into a 7-stringed instrument, with the 7th-course added below the 6th, without making the lute bigger in order to accommodate the extra low string. Success of these ultra-modern bass-strings loaded with metal powder was such that it lead to the development of a modern musical form - the sonata - in Italy: Gabrieli, Sonata pian'e forte, 1597; G.P.Cima, Concerti ecclesiastici (six sonatas) 1610; Monteverdi, Buonamente, Fontana, Castello, Uccellini etc.) This was also the period when the violin tuned gd’a’e” often joined the more archaic viole da braccio. This is also apparently the period when the idea of choosing thinner strings and smaller instruments for solo parts was born. You will use plain guts for the upper strings, catlines or plan guts for the middle range strings, and loaded strings for the basses. You might consider choosing thinner strings for solo parts and thicker strings/bigger instruments for the accompaniment.

4. Baroque - from ca. 1659 to this day “String of guts done about with silver wyer makes a very sweet musick”

Technologically challenging method of powder-loading was eventually replaced by metal wire winding, a much simpler method of making bass-strings thinner and shorter. This invention lead to the creation of the French 7-stringed viol with the 7th course added below the 6th, again without making the instrument particularly bigger as this was successfully achieved on the 7-course lute in the previous period. This also inspired the birth of all forms of smaller basses such as violoncellos. The method of winding gut core with metal wire increased the sound of bass-strings as well as the overall resonance of bowed instruments and inspired development of the Concerto form in Italy, elaborate double and triple stopping, such as in the works by Corelli and his immense following, by the German violin-virtuosos, and, notably, by J.S.Bach. The idea of thin-core and metal-winding has been introduced in 1659 and to this day no other technology was proposed to replace this ages-old system. You will use plain guts for the upper three strings, or for the upper two strings on violas and cellos, specially in solo parts, however it has still been fairly common to use exclusively plain guts both in solo and accompaniment parts throughout the 18th century.

Feel free to subscribe to our newsletter for more top topics on the matters pertaining to the culture and tradition of violin-playing-making.

17 May 2011

Badiarov Violins website hosted on a wind-powered server

It is nothing but a natural move. It is something, in my opinion, every owner of a website can do. Green energy - despite what the politicians and nuke/coal companies tell - become a tangible reality. It has been noted even by CNN: "Portugal shifted its electrical grid from 15% to 45% renewables in the space of just 5 years..." (cited from :

The moment I heard about from a friend I made my mind up and made my studio greener. I plan to move all of my domain names and websites to GGs.

There is no great reason to continue the use of nuke-powered hosting for publicising a violin-making atelier, so why not electric wind-mills? Fresh breeze feels great. And it is even greater without iodine, cesium and other lethal stuff that every now and then, sooner or later, spills into the nature.

I am definitely a fun of GG. Never did I think of affiliate programs, but this time I do: to raise funds for some good cause - educational or cultural: a festival? a music band? - while spreading word about the GGs. Check them out.

Wishing you all plenty of fresh air.

Badiarov Violins

7 May 2011

EmbarOquement immédiat: J.S.Bach Suites for shouldered violoncello, Dmitry Badiarov

Dmitry Badiarov shall perform Suites for Violoncello (da spalla) Solo nos.1, 2 and 3 at the 5th festival EmbarOquement immédiat in Sebourg, France. The concert takes place the coming Sunday, the 8th of May, at 11:00am, at Eglise St.Martin, a church built in the beginning of the 12th century.  

Luthier Dmitry Badiarov who re-constructed the violoncello da spalla is also a player himself. Apart from the reconstruction of the instrument he also reconstructed the technique of playing. He performed and recorded with La Petite Bande and Bach Collegium Japan. He recorded the Six Suites for Violoncello da spalla solo by J.S.Bach in 2009. The CD has been released in 2010 and received four awards: Diapason Decouverte (2010), German Critics Award (2011), Record Geijitsu Special Recommendation (2010) and Prelude Classical Music Award 2011.

Dmitry Badiarov's scientific article about the history of violoncello in J.S.Bach's context and about what it offers to both traditional cellists and the cellists alla moderna, that is da spalla (using B.Bismantova's words, 1697) can be downloaded here. A list of CDs on which the violoncello da spalla can be heard in various settings can be found here.

Sebourg, Eglise St.Martin, 8th of May (Sun), at 11:00. J.S.Bach, Suites for unaccompanied violoncello solo nos. 1, 2 and 3. Click on the Location link for driving directions. Festival page can be accessed by clicking on the above picture.

5 May 2011

Badiarov Violins microfiber cleaning cloth for bowed instruments and bows

Badiarov Violins
microfiber cleaning cloth
Arrived today from our factory, this high-quality microfiber cleaning cloth is a high-tech option for safely keeping your musical instruments clean. It is now available from my shop, 5.00 EUR (+19% Dutch VAT; FREE shipping). Size: 28x28cm, colour: ivory. Order one now.

What is the benefit?
It lifts dirt, oily film, grease, leaves no scratches or lint on the varnish or bows, it does not require any cleaning liquids and can be washed unlimited number of times. You can wipe your precious violins and bows until holes appear in the cloth but it will not damage your instruments. It's dust-wiping capacity is 30 times that of the ordinary cloth so you will not have to rub until the holes appear in it like in your handkerchief or gaze. It is a safe, conservative method of caring for your instruments.

Get if free

However, before you decide to get a cloth - free or for a price - I would like to tell a few words about cleaning.

Baroque violin no 67,
by Dmitry Badiarov
Should you clean your instruments?
Yes, you should. Different parts of the world have different opinions about hygiene and also about cleanness of your professional equipment. I have seen valuable violins with fat, grease, dust built-up  dozens of years worth. Varnish on these violins reacted to the generally not very innocent chemical compounds found in sweat and fat and deteriorated badly. It is therefore not the "safest" option not to clean your instruments.

Dos and do nots
Most players wipe their instruments clean after each use with a handkerchief. They eventually clean their instruments with the help of commercially available cleaners or even solvents such as eau de cologne. It should be repeated that agressive solvents should never be used unless by qualified personel. Soapy water is also often used and is the cheapest and safest option, however, solvents and liquids are potentially destructive. Even if they do not remove the varnish, they can soften both the dirt and the varnish and cause the dirt incorporate into the varnish. Additional danger are the cracks. If there are any cracks, cleaners can sip through those cracks and sometimes render them almost unrepairable, at least, not without major intervention. The so called "safe" commercial cleaners will perhaps not physically dissolve the varnish and this is why they are called "safe", however organic chemistry of varnishes is  delicate and unstable. No matter how old it is, varnish continues to react with the chemicals that come in contact and so it may react to the chemicals, both organic and non-organic, found in the cleaning products. I have seen a violin so shiny and oily because it was literally soaked in some kind of commercial polish to the extent that the wood in the soundpost area was all grease and there was no way to stabilise the sound-post - it would move into some other place in just a few days. There were also some opened cracks soaked in polish. I am happy I did not have to glue those cracks!

So, yes or no?
It is advisable to have your instrument professionally cleaned once in a few years, but this is typically not the kind of operation an untrained musician should risk to undertake. Therefore the micro-fiber cleaning cloth is the best option for the valuable delicate surfaces of your bowed instruments and can be used daily, safely.

You can get one tiny piece of MF cloth for free at any optician with your new eye-glasses. It is typically of a such tiny size that renders it nearly useless for violins or larger instruments.

For a cost
You can buy one at any good photography shop. It will be excellent for your violins even though photographic micro-fiber cloth is optimized for lenses. You can buy one from my shop. The Badiarov Violins microfiber cloth is ideal for varnish, also on antique instruments where the varnish may have some marks of wear and tear. The surface of my micro-fiber cloth is extra soft and can clean effectively antique varnishes and surfaces that are not very smooth. Come to think of how many applications there are apart from your instruments: your computer, cameras, glasses.

28x28cm, 5.00 EUR (+VAT; FREE shipping), Color: ivory. Pick it up at my studio or have it shipped to your home address. Badiarov Violins studio website or email.

PRESS-RELEASE: New official distributor of Aquila Strings in The Netherlands

THE HAGUE, May 5th 2011 -- Badiarov Violins - studio for historically informed violin and bow-making - has become an official distributor of Aquila strings in The Netherlands. 
Aquila strings are hand-made from raw gut, produced according to the historical manufacturing process and historical standard meticulously studied, re-constructed and refined by Mimmo Peruffo, the creator of Aquila company, specialist and writer on the history of strings, as well as craftsman string-maker with skills from the realm of art rather than just craft. 

Aquila strings are among the most widely used on baroque and classical violins, violas, cellos, viole da gamba as well as

21 April 2011

Violin no68

The Hague, 20 Apr 2011 - The violin no.68 was made to order for Ms Miwa Ogino of Japan and delivered about a month ago, just a couple of days before the earthquake. I travelled to Japan to deliver it, meet the client, see her reaction, answer her questions on the spot, give some advice. "Thank you for your violin", - wrote Ms Ogino a few days later, - "I'm playing  with pleasure, joyfully!" The day after the monstrous earthquake

20 April 2011

PRESS-RELEASE: Historically Informed Violin-Making & Bow-making Course at Badiarov Violins™ in The Hague

For immediate release


THE HAGUE, 19th April 2011 -- Violin and bow-maker Dmitry Badiarov launched his course for Historically Informed Violin-making© in The Hague and gave the first hours of the 200 hours curriculum to his first student. The course Syllabus consists of historical documentation and

22 February 2011

Free mini-lecture: Cello della Terra e del Cielo

THE HAGUE - Free mini-lecture: "Free mini-lecture: Cello della Terra e del Cielo", Sat 2nd of April, 2011 at 17:15 at Badiarov Violins™ studio in The Hague.

There is a great deal of misunderstanding on the part of traditional violoncellists in regard of

Free mini-lecture: "BAROQUE BOW: How Much of Outward Curvature?"

THE HAGUE -- Free, 1-hour mini-lecture for string players dedicated to a single but with multiple consequences an issue: "Baroque bow: how much of outward curvature?". It shall take place at my studio in The Hague on Sunday the 27th of February at 17:00 and on Sunday the 6th of March, at 17:00.

Someone recently asked me in a private message, "How much outward curvature should a baroque bow have?"

16 February 2011

Critics award "Quarterly Best" for J.S.Bach, Violoncello da spalla Suites CD

February 15, Bonn - The Association of German Record Critics honors J.S.Bach Cello Suites double CD (Dmitry Badiarov - violoncello da spalla) released by Ramee (RAM1003) with the "German Record Critics' Award" as a Recording of Exceptional Artistry an selects it as one of the "Quarterly Best" of new Released for the First Quarter 2011.

This was really an unexpected award to receive as a luthier,

4 February 2011

Paris -- Stolen Instruments by Dmitry Badiarov, an anonymous Italian baroque viola and several bows.

Following a burglary at Samantha Montgomery's home in Aulnay-sous-Bois (Paris) on the 31st of January, three instruments with four bows were stolen. They include:

1. a baroque viola (anonymous original, Italian 18thC) restored by Claire Ryder -in a black case, with a baroque viola bow by Daniel Latour and a gamba bow by Craig Ryder.
2. a violoncello da spalla (Dmitry Badiarov, 2003) in an aluminium case with brown leather cover , with a classical viola bow by Daniel Latour;
3. a baroque violin (Dmitry Badiarov, 1997/98?) in a blue case, with a baroque violin bow by Daniel Latour

I have not been able to locate pictures of the violin because some of my old backup CDs are no longer readable for technical reasons.

Pictures of the violoncello da spalla, labelled Dmitry Badiarov, 2004. N.B. Taken with a cheap pocket camera there is a pronounced close-up deformation, specially evident in the picture of the top of the instrument. Otherwise these pictures are sufficiently informative.

18 January 2011

Violin-making: Teachers fear their Students but don't Quit Teaching Jobs

Violin-making students whom I met in the last two or three years in Italy, Japan and Mexico complained to me on their teachers "hiding too many secrets" from their students. I think this is true and I think this is sad.

16 January 2011

The difference between baroque and modern violins

This is a reply to a private message by a friend of mine Amin Pour Feizi.
I felt urged to re-post my response on my blog as well, specially because I had published my opinion some time ago in a video which I incidentally deleted from my youtube channel.

Here it goes:
"Thanks, Amin, I know the video and this kind of videos make me sad or even angry sometimes. You know well, Amin, that the difference is not in those few millimeters here and there. Let me ask, who would ever bother about baroque violin and the early music as a whole if the whole thing was about millimeters, necks, keys etc? The true and really huge but unmeasurable difference is

5 January 2011

J.SBach - Violoncello da Spalla solo Suites

Makes me happy to recall how the whole thing started and was done from a perfect zero, including even the playing technique. Makes me even more happy to see how it all evolves ever since. Thought you might enjoy this video with a track from my CD and photographs from my violin-making studio in The Hague, though many of the pictures were taken at my mexican studio in Queretaro and some in Brussels.
Dmitry B.