‘My philosophy is based on simplicity’ Gergely Ficsor

• You are an emerging young Hungarian violin maker. For those unfamiliar with the violin making scene in Hungary, can you tell us a bit about it.

Although it cannot be compared with Italian violin making, which has a tradition of hundreds of years, Hungarian violin making also has a 100-150-year history. Many outstanding names can be mentioned, such as Sámuel Nemessányi. The storm of history that hit Hungary in the twentieth century also left its mark on this profession. On the other hand, contemporary Hungarian violin making can be inspired by a much more open, broad-minded professional environment, and many talented young people can spread their wings.

• Do you consider yourself belonging to the Hungarian violin making school or you rather have your personal style?

It is natural that I learned the basics of the Hungarian school when I was still familiar with the profession, but this school also has a strong connection to the traditional Italian or even German school. Personally, since I was lucky enough to go to foreign schools and workshops during and after my student years, I was mixed with many other views and styles. I would like to believe that by now a broad-minded, yet individual style has emerged from this mixture.

• Traditionalist or modernist when it comes to building a violin?

I like traditions. Especially in this profession, it is essential, but the world is constantly changing and modernization is necessary to a certain extent. But for me, simplicity is the primary consideration. If possible, everything is made by hand, avoiding the use of machines as much as possible.

• Your favorite violin makers of all times?

I really like the works of those makers, in which inner intuition, simplicity, but at the same time genius can be found mostly. My personal favorite model is Guarneri ‘del Gesu’.

• What is the most important thing you learned from your master?

The way of seeing things in this craft, as well as the communication with the musicians. The importance of professional humility and order both in the head and on the planer.

• What is the most important discovery you made for yourself?

For me, the inspiration of nature and the uniqueness of the materials used are important. Every tree is perfect as nature created it. For me, it is a great discovery to what extent a tree can teach and lead the maker. 

• Can you identify some modern trends in the violin making world and how do you see the scene in 100 years from now?

Unfortunately, one or two types of used wood materials are already in serious decline. Therefore, in my opinion, the primary change will be the replacement of various hard-to-obtain wood materials. In addition, of course, the use of today’s various measuring and forming instruments has become very common, which can fundamentally change the profession. However, my philosophy is based on simplicity; I believe in intuition and the handworks and the unnecessity of different machines, or measuring instruments. I believe that a good violin in 100 years will still be mostly made by hand and made of wood.

• For those who do not know what to look for when buying a violin, what are the qualities of a good instrument? How do you identify, let’s say, the best violin from 20 violins?

Comfort should be a priority for a musician. Think about the length of time spent in an orchestra at a concert. At the same time, of course, it is the sound that grabs someone, but this is a subjective matter. The musician must know what sound she or he is personally looking for, what he or she feels is most their own. The condition of the instrument is also important, but so is its appearance, which gives the first impression in most cases.

Three of Gergely Ficsor’s beautiful violins are in our shop in Vienna and they are a must-test