>From 1980 to 1993 my instruments clearly show the influence of the various masters I trained with and specialised under.

The instruments between 1990 to 1993 show a strong influence of my former master Pier-Angelo Balzarini under whom I specialised in the new making of instruments in Cremona, Italy.
Balzarini is internationally recognised as one of the top modern Italian violin makers. He was the winner of among others a gold medal for a cello at the fifth Triënnale in Cremona in 1988. (international violin making competition 'Antonio Stradivari')

At the same competition he won the Walter Stauffer prize for the best sounding instrument and the Simone F. Sacconi prize for the most promising young violin maker.
Unfortunately Pier-Angelo Balzarini died far too young.

During the 1993-1999 period master violin maker Mr. Jürgen von Stietencron from Hegne, Germany had a great influence on the way I give my instruments form. During this period when I participated in the annual summer academy for violin making set up and run by him, I developed a greater depth and awareness in my work.
At these two week gatherings a group of international and mostly very experienced and established violin makers got together to work out classical principles, ideas and methods in one communal workshop. At the same time during these two weeks one or two hours a day were spent analysing and understanding sound and tone.

>From 1993 the instruments made by me show a clear character of their own. Both the way of making as the sound is influenced by integrating classical ideas and methods in my work during this time.
The building is based on classical proportional geometry, the so-called "holy geometry".
In my choice of wood I apply classical knowledge and principles such as the selection on the acoustic and structural characteristics of the living tree before the felling and planetary influence on the wood at the time of felling.
When composing primers and varnishes I rely on the classical principles and materials that the great masters of art wielded in the past.

A newly made violin is the result of endless factors. It is the quality of the violin maker who consciously and unconsciously selects, orders and gives form to these factors.

It starts with the sound of the living tree in the woods when you strike it. The moment of felling is also important.

The coherence of form and sound. Universal laws that you see in many small and large constructions in history.

Wood primers and varnish. You often need to make raw materials suitable before you can use them to your advantage.

But also details such as form and weight of the fingerboard. Everything has influence and contributes to the final result.

It is the musician who has to be able to recognise these qualities and use them. Also tastes differ between each individual player. And one instrument lends itself better to chamber music and another to solo performances.
An instrument has a character. The musician also has a character. The two must go together.
The character of the instrument is separate to the quality.
The quality is expressed among others in ease of playing, contact, speed of emitted sound, balance, richness of sound and power.

There are good and bad old instruments and there are good and bad modern instruments.
In my opinion there is no secret to how a good instrument can be made. It is insight, experience and understanding. It is depth. This determines whether a violin maker gives an instrument qualities in order that a musician can bring across his musical interpretation.

It is Eduard Wemelsfelder's wish to make instruments in which a musician can express himself fully and feel at ease. An instrument that fulfils the player's idea of sound and playing.

Get to know the wood of carefully selected trees, models and the way of making based on the classical coherence between form and sound.

If you want to give form to your ideas in consultation or maybe you already have an idea of your instrument? Let me know!

Want to see more of the making of a violin commissioned by the Foundation of the Royal Concertgebouw Orchestra? (Stichting Koninklijke Concertgebouworkest)
Look at the photo gallery page.