julie maroncles

After this enriching year, however, I chose to continue my training directly in workshops and through personal practice.

So I first took the CAP for violin making as a free candidate and then completed different trainings in the Mirecourt workshops: including a 6 month apprenticeship in violin making at Jean-Claude Condi's workshop, obtained through the SEMA (a society that encourages art related trades). I then stayed on with him for 2 months for an apprenticeship in bow making. Through the Conseil Général des Vosges. I then took a one month apprenticeship in servicing restoration with Roland Terrier.

I've always practiced violin making by myself, using information picked up here and there, heard from violin makers, and in specialized books.

I really like to experiment various methods, various models, because I do not believe in an absolute sonority. On the contrary, I like the diversity in violins: not all musicians are looking for the same instrument, and that is precisely what interests me.

So far I have mainly followed Italian models. I particularly like the instruments made by the Guarneri family, and my favourites are from Pietro Guarneri (cousin of the famous “del gesù”. His instruments are less famous but equally magnificent).

Violins Violas	Ajustage des pieds de chevalet	Professional background : I learned violin making after my general studies and a simultaneous musical education in violin-playing since the age of 6 (at the Ecole Nationale de Musique in Tulle, Correze) After a few apprenticeships with manufacturers, which included manufacturing a violin with Peter Julius (in the Lot), I spent 3 years in Mirecourt. Since I had already manufactured a violin in a maker's workshop and another one at home, I was allowed to directly integrate the course in the last year of the Ecole Nationale de Lutherie in Mirecourt. There I made a viola following the Amati model, and attended a restoration apprenticeship under Patrick Martin's supervision in Toulouse.
	After this enriching year, however, I chose to continue my training directly in workshops and through personal practice. So I first took the CAP for violin making as a free candidate and then completed different trainings in the Mirecourt workshops: including a 6 month apprenticeship in violin making at Jean-Claude Condi's workshop, obtained through the SEMA (a society that encourages art related trades). I then stayed on with him for 2 months for an apprenticeship in bow making. Through the Conseil Général des Vosges. I then took a one month apprenticeship in servicing restoration with Roland Terrier. I've always practiced violin making by myself, using information picked up here and there, heard from violin makers, and in specialized books. I really like to experiment various methods, various models, because I do not believe in an absolute sonority. On the contrary, I like the diversity in violins: not all musicians are looking for the same instrument, and that is precisely what interests me. So far I have mainly followed Italian models. I particularly like the instruments made by the Guarneri family, and my favourites are from Pietro Guarneri (cousin of the famous “del gesù”. His instruments are less famous but equally magnificent).	filetage, méthode “à trois brins”