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– The auction record for this maker is $171,524 in Dec 2021, for a violin. – 2 auction price results.
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Stephan von Baehr (@svb_fine_violins) • Instagram photos …
2288 Followers, 1962 Following, 174 Posts – See Instagram photos and veos from Stephan von Baehr (@svb_fine_violins)
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Date Published: 4/16/2021
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Stephan von Baehr and the architecture of the violin
Stephan von Baehr is a master of exquisite details, and he sees his art as a quest for eal architecture. His concept is based on the ea that there are no …
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Date Published: 12/21/2021
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Soloist violin, contemporary maker, 30.000€ range
… in my opinion the best makers in your price range here in Europe are Christian Bayon (Lisbon/Amsterdam) and Stephan Von Baehr(Paris), …
Source: www.violinist.com
Date Published: 3/9/2022
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Stephan von Baehr Violins | Profile & Price – The Luthier Guide
Stephan von Baehr Violin, Viola & Cello Maker in France. Read Full Profile on the Contemporary Maker Gue Including Biography, Instrument Photos and Price!
Source: luthierguide.com
Date Published: 1/15/2021
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Stephan von Baehr
Stephan von Baehr
Violin maker
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Stephan von Baehr began his instrument-making studies in 1988 in Markneukirchen, followed by formative years in Andreas Kägis’ shop in Berlin. He then moved to Paris in 1993, in Bernard Sabatier’s workshop on rue de Rome, before settling as an independent maker. Stephan since shares his time between Hamburg and Paris.
He’s won several gold and silver medals in international competitions …Read More such as the VSA in 1998, 2000 & 2004, the Concours de lutherie et d’archèterie de Paris in 1999, and a special prize at the International Violin Making Competition in Mittenwald in 2001.
His most famous instrument is a violin made for Isabelle Faust, inspired by 1714 Stradivari, the Dauphin, which fetched a new record price for an instrument by a living maker at auction in 2021. Read Less
Price History – The auction record for this maker is $171,524 in Dec 2021, for a violin.
– 2 auction price results.
View all auction prices for Stephan von Baehr
Stephan von Baehr and the architecture of the violin
Stephan von Baehr is an exceptional presence amongst the luthiers of his generation.
Stephan von Baehr is a master of exquisite details, and he sees his art as a quest for ideal architecture. His concept is based on the idea that there are no unimportant issues when it comes to the way stringed instruments resonate and vibrate: he believes that miniscule changes taken as a whole can yield the greatest difference. From early on, this exacting approach helped Stephan von Baehr establish an excellent reputation among professional musicians and win awards which are far from common for a luthier of his generation.
Content overview:
Stephan von Baehr’s education
Stephan von Baehr was born in Schwerin, East Germany in 1972. Von Baehr completed his training in the studio of Reinhard Bönsch in Markneukirchen and learned the art of wood carving from Jochen Heinzmann. The fall of the Berlin Wall in 1989 opened up unforeseeable new opportunities to the young journeyman who had just completed his training, since he was now free to perfect his skills in outstanding ateliers throughout Europe. These were to include Andreas Kägi’s atelier in Berlin, where Stephan von Baehr had the chance to study several Stradivari instruments in detail as he restored them. In 1993 he was offered a position as a restorer of historic instruments under Bernard Sabatier in Paris, and a year later he passed the German master exam with top marks.
Recognition of Stephan von Baehr
One milestone in Stephan von Baehr’s career was the RNCM International Cello Festival in 1998, where one of his instruments received the highest recognition from the jury of renowned experts led by Charles Beare. Encouraged by this praise from such a qualified source, Stephan von Baehr then chose to focus all of his attention on crafting new instruments. With the support of his former master Sabatier, he opened his own workshop on Rue de Rome, the street in Paris where many famous luthiers have their ateliers. In addition to his success in Manchester, Stephan von Baehr went on to earn gold and silver medals at numerous international violin-making competitions, such as Salt Lake City, Portland and Cleveland; at the 2001 competition in Mittenwald, he was awarded a special prize for the best and most distinctive work – an honour he is particularly proud of. He has already received multiple commissions from German and French foundations such as Natexis and the Deutsche Stiftung Musikleben to create instruments for rising talents.
Inspiration for Stephan von Baehr
Stephan von Baehr, as the son of two professional violinists, has understood the demands and needs of professional musicians since his childhood. The artists who play his instruments include soloists such as Isabelle Faust and Lise Berthaud as well as leading orchestra members such as Berlin Philharmonic’s solo cellist Olaf Maninger. At some Vienna Philharmonic concerts, Stephan von Baehr reports, there are six of his violas on the stage. Many members of such great orchestras use concert trips to Paris as an occasion to visit his atelier, where they can further refine the sound of their instruments with the help of its creator.
When asked about the sources of his inspiration, Stephan von Baehr speaks of the epoch when Stradivari and Guarneri were active, a time when the principles of an ideal violin architecture were developed. Their role models are something he always bears in mind, and he does so by keeping significant pieces from the golden age of Cremonese violin making at his atelier on a regular basis not as objects for sale or restoration, but simply as a template as he works on new instruments. Others are present as realistic detailed silicon casts, directly at his workbench, representing historic Italian craftsmanship which can rightfully claim to be unique. This awareness of the tried-and-true informs many aspects of his work, including the strong ties he maintains with those who play his instruments – a mutually fruitful constellation, and one from which many great things can be expected in the future.
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International violin making competitions — an overview
Soloist violin, contemporary maker, 30.000€ range
Soloist violin, contemporary maker, 30.000€ range
I’m a violin student on a soloist track, looking for a good student concert violin from a contemporary luthier. So sound quality and projection over a large orchestra and to the back of the audience are really important to me.The price range would be up to about 30.000 € (roughly $36.000), a little over would be fine as well. I’m based in Munich, Germany (so travelling to most European countries would be possible). I’m not in a big rush, so longer waiting times wouldn’t be too much of an issue.Any recommendations? Thank you in advance for your input!
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Stephan von Baehr — Blog — Ihle Violins
When I picked up my phone from the charging station in the living room this morning, it greeted me with, “you won big price here…” My friend Feng had texted me on WhatsApp.
The International Violin Competition of Indianapolis had run a rigorous, systematic testing process in order to source a couple of excellent violins for their laureates. It took place simultaneously with their violin competition, and they called it the 21st-century violin search. And yesterday, minutes before announcing this year’s laureates, Mr. Glen Kwok, executive director of the competition, announced that they had chosen the violin of my colleague Paul Crowley and the one I had sent in. This was a “Betts” model Stradivari “finished” in 2013 and build on the PG form.
I started the violin when I was preparing to participate in my first Oberlin violin making workshop in 2011. I built the ribs after hours at Florian Leonhard’s workshop in Frognal lane, London. That year we were going to have the 1704 “Betts” Stradivari violin at the workshop in Oberlin to study and I mistakenly guessed that it had been made on Stradivari’s PG form, so that is the form I used to build this one. During the workshop Benjamin Ruth made a convincing argument that the 1704 violin was actually much more likely to have come off the P- form instead.
During the workshop 2011 and 2012 I worked on this violin and there is not one square millimeter of the violin that has not been influenced by the precious advice of the many colleagues who worked with me and discussed its building with me during these inspiring weeks. Particularly the arching and the back of the peg-box were much more informed then if I had made the violin on my own at home. The violin is branded internally with the fire-marks Oberlin 2011 and Oberlin 2012. A further memory of the workshops is the plain, unflamed neck: in my usual fashion, I had planed to graft the neck to the volute but had forgotten to bring the material. When I asked around, Eugene Holtier kindly gave me a spare neck block. Yes, more then half of this 21st-century violin was made in the USA!
In November 2011, after the birth of our daughter, we moved to Switzerland. I varnished the violin there, stripped it during a visit at Stephan’s place in Paris and re-varnished it once more after setting up my own workshop in London. By the time of it’s completion it had a similar travel history to some master student of violin performance… it had been forged in several of the hottest ovens of the early 21st century!
I had made many violins in my positions in London and Switzerland, but this was the first I made and sold in my own name in many years. It went to the Italian student Elena Abbati, she was studying with Julia Schroeder at Freiburg at the time and went on to the conservatoire in Basel after that. The pound was strong back in 2014, I sold it for GBP 15000. Although my sterling price is a lot higher these days, my violins sold through dealers in the US and Switzerland have only gone up moderately.
The bridge is the unique model developed by Mark Wilhelm in Switzerland. He made it about a year after I sold the violin, along with a new post and some fine adjustment to the fingerboard to help Elena out when the violin was not working at its best and London was too far to travel. After getting the violin back, I tried it with a couple of my more conventional bridges, but it simply works best with Mark’s.
About a year ago, Elena brought the violin back because she had found a violin that suited her better. She finally released it in March and we agreed that I would resell it for her at my current price and keep a commission of 18%. I offered it to Mia Cooper, whose turn had come on my waiting list. She leads one of the national Irish orchestras and really liked it, but decided instead on a brand new violin of mine, because she liked the idea of it.
During the months we had the “Betts” back in our London workshop, we continued to work on it: we tested fingerboards of various materials on it and when fine-tuning it with my team in the workshop, we found that it worked better with the conventional nylon tail-gut rather than the Kevlar, I generally prefer. It also got a good beauty treatment from Gianmaria, he cleaned off about a third of the patina, I had patiently applied five years ago…
While writing all of this, I realize what a truly unique violin this is: Its delivery has been helped by many trusted colleagues. Its sale facilitated the crucial first months of my new business but, ironically, it also is the first violin a client has returned to me because she found a violin that suited her better.
This violin is also an excellent example that an instrument is never finished, although the sale of a violin marks the most distinct transition towards this category, it is only the beginning of a new chapter.
Further reading:
https://www.violinist.com/blog/laurie/20189/27462/
Video of the winners announcement:
https://www.facebook.com/theviolinchannel/videos/535843650172279/
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