Viola by Bernard Bossert, Geneva, Switzerland, 2015

Several of my colleagues play instruments by local maker Bernard Bossert, and I've found his violas in particular to sound very impressive. So when I finally admitted that my cheap factory beginner viola was hurting my career, asking him became obvious. We are surrounded by fantastic makers in this early 21st century, why not partake in this incredible artistic emulation? Since my husband's family bears a glorious coat of arms dating from the Middle Ages, we thought it would be fun to have it pictured on the viola, following the heritage of decorated violins by Andrea Amati for the King of France in the 1500s. Bernard was graciously open to the idea. After some brainstorming (paint? above or under the varnish?) we opted for laser engraving with ebony mastic filling. But first, we had to choose the pattern and wood...

The tone realm of this famous Andrea Guarneri pattern is exactly what we like about the viola: melancholic, dark and full, but without the bitterness or "wiry" tinge that can make some violas sound dry. It incorporates the best tonal qualities of the violin and cello, enlightening the middle voice in the string family. Now this specific Bossert sounds on the quick and bright side, scintillating, strong, supple and extremely responsive. When selecting spruce for the top, we tapped and chose the sharpest sounding board. I had heard so many violas sound late... I wanted instantaneous emission. And it worked! This viola sounds so reactive, clear, free, eloquent and big, it's unbelievable. Its carrying power doesn't come from a specific overtone distribution, from a tightly pushed setup, from a boosting bass side, or who knows what trick. It's just very loud, in all its frequencies, as if someone had turned up the volume.

Born in Geneva, Switzerland, Bernard Bossert learned his craft at the excellent Swiss School of Violin Making in Brienz under Hugo Auchli and Ulrich Zimmermann. Since 1977, his workshop at the musical heart of Geneva — near the Victoria Hall, the Grand Theater and the Conservatory of Music — has catered for the city's discerning strings players. Several musicians from the Orchestre de la Suisse Romande play his instruments. Some Conservatory students have gone on to win prizes at international competitions playing his violas. It's kind of funny that the stereotype of Swiss quality and discretion thoroughly apply to this luthier. Faithful to ancestral practice, he works by hand with the simplest tools, alone, following proven models and techniques. He builds about two instruments per year.