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THE VIOLINMAKER

She grew up in a family of musicians, played the cello since childhood, is professionally trained and has more than twenty years experience: this explains both the demand and the appreciation for Katharina Meierott’s violin making skills.

From Apprentice to Master

Katharina trained in Germany under the traditional guild system, in which students evolve from apprentice to journeyman, with the title of master being awarded to those who pass the challenging master's diploma ‘Meisterprüfung’. She started as an apprentice in the workshop of violin maker Goldfuss, in Regensburg. She attended the violin making school in Mittenwald to acquire further theoretical knowledge and practical experience. Following her ‘Gesellenprüfung’ she worked as journeyman for a number of international workshops. In 1998 she achieved the title of master in the building, repair and restoration of violins, violas and celli. She has been a member of the German Association of Violin and Bow Makers since 2005. In addition, she has attended the highly regarded restoration course at the British Violin Making Association (BVMA) in West Dean a number of times – a venue at which violin makers from all over the world come together to share knowledge and ideas.

Broad international experience

Between 1992 and 1998 Katharina worked as journeyman in the following workshops:

  • In the Art History Museum of Vienna she concentrated on restoration and preservation of old musical treasures and cultural artifacts. She was soon entrusted with very special instruments, such as the Lira de Braccio of Joannes Andrea.
  • In the workshop of Phillip Injeian in New York the focus was on operational planning. Famous musicians could not be without their instruments for long. This demanded a high level of efficiency and expertise.
  • In the workshop of Yu Iida in Tokyo she had the opportunity to develop her new ideas on violin making. Yu Iida, a student of Capriccioni, is an inspired violin maker, with musicians all over the world using his instruments.
  • In the workshop of Wim Bouman in The Hague she was involved, amongst other projects, in the making of a viola for R. Kussmaul.
  • In the workshop of Ulrike Wiebel, in Leiden, she was able to apply the full range of her acquired experience, and received hands on experience of running a workshop. Shortly thereafter, she started her own atelier.

Famous clients

Katharina’s clients play in a wide variety of orchestras and institutions, including:

  • Residentie Orkest
  • Koninklijk Concertgebouworkest
  • Rotterdams Philharmonisch
  • Amsterdam Sinfonietta
  • Koninklijk Conservatorium Den Haag
  • Conservatorium van Amsterdam