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January 2023

Restaurierung einer Naturhornkiste mit Fächern für alle Aufsteckbögen, Frankreich erste Hälfte 19. Jahrhundert

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Archive (older articles)


April 2022

Restaurierung von „Buccin a coulisse tête de dragon“ oder Drachenkopf Posaune

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Summer 2021

„Basson russe“ Frankreich 1. Hälfte 19. Jahrhundert

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May 2020

Restaurierung eines Besson Tenorhorns

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January 2019

Bau von Bögen in G, F und E zu Cor Solo von Tabard à Lyon

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July 2018

Restaurierung eines deutschen Waldhorns von Wernecke Berlin 1868

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April 2018

In Zusammenarbeit mit Isabel Osselaere: Entwicklung einer neuen Methode bemalte Schallstücke zu restaurieren.

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November 2017

Gelungene Wiederbelebung:
Rückbau einer Klappentrompete von Franz Stöhr, Prag um 1830.

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July 2017

Neu! Ich habe eine Sauterelle ascendant für ein Courtois Naturhorn gebaut.

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January 2017

Inspired from an old Raoux-Millereau catalog I built a Sauterell for an original Courtois Neuve Ainé.

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November 2016

Ein sehr spezielles Instrument verlässt soeben meine Werkstatt.

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April 2016

Gerne empfange ich Sie ab 18. April 2016 in meinem neuen Atelier am Heckenweg 1, 3007 Bern.

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Summer 2015

Sommerakademie 2015 der Akademie für alte Musik Bruneck/Brunico, Italien. Martin Mürner, Vortrag: „Das Horn in der Wiener Klassik“ - „Einblicke in die Tätigkeit eines historisch-informierten Instrumentenrestaurators“.

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Restauration work

Philosophy

Restoring historical horn/brass instruments and other objects requires the combination of a multitude of manufacturing techniques, construction methods and mechanical systems. I believe that these all bring up ethical questions about the work done on the instruments. I like to research the concepts and building styles of the original manufacturers and incorporate them into my work to best conserve the initial historical baggage an instrument carries through times. I also document my work process as closely as possible to show the client every step their instrument or object goes through so they are always aware of the journey it is making on the path to being restored. When possible I source materials that correspond to the ones used originally and I personally test all the components for the way they corrode. To stay faithful to old methods of manufacturing I almost exclusively use tools that were already used in the time the instruments were built.

 

 


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