In terms of their sound and configuration, the concert instruments in my soloist class reflect my passion for moving away from familiar approaches towards pioneering new developments.  I have invested years of research into varnish formulas and primers, worked tirelessly to refine my tonal handwriting and devoted much effort to refining the best tonal wood. These are just a few examples of the fascinating work that goes into producing instruments with my sound.

Musicians have regularly expressed surprise at the unexpectedly strong resonances they experience and how they are able to “dig into” these resonances. The ability to directly excite the resonances gives the notes a defined response when played pianissimo while simultaneously allowing dynamic shaping and power at an entirely new level. Particularly in large halls, the instruments in my soloist class produce a volume of sound that fills the room and allows the player to sail above the orchestra since the instruments project all the way into the back rows even when played pianissimo:

“Last week I played Mozart’s A-major concerto with orchestra twice: Your op. 89 was easily heard all the way into the back rows. Even the tiniest notes were audible without the violin ever sounding especially loud. According to a number of listeners, the sound simply has a quality that makes it easy for the ear to follow. While I was playing, I had the sense of having no trouble projecting over the orchestra. I could play as quietly as I dared. The sound does not disappear when I play piano and it doesn’t become thin.”

[Jun Keller, 1st violin, Vienna Philharmonic, October 2007]