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After more than 50 years of violin making, countless restorations, and the acquisition of many stories, French luthier Etienne Vatelot is retiring—although how completely remains to be seen. Vatelot began his long love affair with the violin in 1942, when he joined his father’s already established workshop. Since his father insisted that he learn both making and restoration, Vatelot worked with Amédée Dieudonné in Mirecourt, trained with Victor Quenoil, and then went to the United States for a year to study with Rudier. But he soon returned to Paris and began devoting his time primarily to restoration. Grateful to his many patrons for the musical education they gave him, Vatelot is passionate about the importance of such education for all luthiers. "The maker can spend time at his bench; that is normal and necessary. But in the evening it is important that he attends concerts and be aware of how sound works," he declares. "Once, my wife and I were at Salle Pleyel, and Menuhin was giving a concert. After a concerto, he had a big ovation and he came back for an encore. Right after the performance I went backstage and told Menuhin that I had noticed a change; he laughed and replied, ‘When I came back to my dressing room I put the Stradivari on the sofa, and when I went back on stage I inadvertently took another instrument from the open double case.’ I think there is a lot of psychology involved, regarding the instrument and the musician." Vatelot’s concerns about education have led him to instigate two major programs in France. In 1966, there were roughly 30 makers in France, and Vatelot—with the assistance of filmmaker Claude Santelli—worked on a project to convince the government to fund a much-needed violin-making school for youth of various social backgrounds. The film contained moving interviews with important musicians including Yehudi Menuhin, Isaac Stern, David Oistrach, Arthur Grumiaux, and Gendron. The project was successful, and a small school was opened in Mirecourt. At first only five students per session were taught, but now there are about 20 students attending the course—and more than 150 makers have graduated. Vatelot’s ambitious efforts also helped establish Foundation Vatelot in 1975. The organization strives to help young violin makers obtain supplies and education. For Vatelot’s 50th, 60th, and 70th birthdays, his friends put together benefit concerts to raise funds; Jean Pierre Rampal, Stern, and Mstislav Rostropovitch pooled their talents to help Vatelot raise enough money to make yearly scholarships available to students. Vatelot doesn’t feel passionately just about music education. His views on the relationship between maker and musician are equally intense. "You cannot become a virtuoso if you are not generous, or if you are not intelligent," he says. "It is like going to the doctor: I need to feel confident when I go to my doctor, as he’s taking care of me. I don’t want to go to ten different doctors; I chose that doctor. In our craft, we are very fortunate—makers create new instruments, restoration allows us to save the valuable instruments inherited from the past, and maintain the sound that is so important to player and instrument." The sound attributed to different makers’ instruments varies widely; instrument personalities become as distinct as the performers themselves. It is interesting to note the preferences of contemporary musicians even just between those of Stradivari and Guarneri, Vatelot points out; Menuhin played both, Stern plays a Guarneri, Perlman a Stradivari. As for Vatelot himself, the choice is completely subjective: "It is like asking me to say who is the most beautiful woman I have ever seen. I can only say there are many beautiful women—all with different personalities! "But I am sorry to see that the prices for the great instruments are so high," he adds soberly. "Before, when reaching a certain level in his career, a soloist could afford such an instrument. Now only the banks and foundations can buy them. Musicians must realize that instead of purchasing an old, supposedly valuable Italian instrument—maybe broken or needing repairs—it is better to buy a very good contemporary instrument. I am convinced that if an old instrument was bad, it will be bad three centuries afterwards. On the other hand, if it was a masterpiece and was kept in good conditions, it will still be a perfect violin. It is the same with contemporary violin making; if the instrument is bad, it will not become better with time. If it is good, it will improve with time. "So," he concludes, "I am not worried about the future of violin making." Vatelot is leaving his workshop in the capable hands of Jean-Jacques Rampal. "Jean-Jacques has been working with me for many years, and my mind is perfectly at peace regarding the takeover," says Vatelot. "He is now doing the expertise and manages the restoration workshop. Twice a year he organizes important auction sales of instruments." Comfortable with the idea of retirement, Vatelot still looks forward to visiting the workshop regularly. "My father used to say, ‘I am bored if I don’t look at some instruments!’ The same is true for me—I hope they let me come here some more! As you know, [our shop offers] making, restoration, and also expertise—so that gives me an excuse to come in once in a while." —Patricia Kaden
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