My Bows: My Primary Bow – Franz Albert (Jr.) Nürnberger (1854–1931)

This is my primary bow: a fine Franz Albert (Jr.) Nürnberger, made around 1900–1905. It’s an octagonal stick crafted in the style of François Xavier Tourte, and it has become an essential part of my sound.

After having to return the Sartory bow that was loaned to me during my student years in Berlin, a long and sometimes frustrating search began. I spent several years exploring bows from all price ranges and traditions, slowly coming to understand just how central a bow is to a violinist’s voice. What a brush is to a painter, a bow is to a violinist.

As my taste evolved, I became drawn to bows with more color, complexity, and character. I started leaning towards bows made in the spirit of the old masters—Tourte, Peccatte, Persoit etc.—whose craftsmanship allows for a broad range of expression and nuance. My playing style had changed, and the bow I sought had to reflect that change.

This period of experimentation turned out to be a gift. It helped me refine my sound, develop my musical identity, and understand the tools that serve it best. When I first tried this Nürnberger last summer, I knew immediately: the search was over.

Bows by Franz Albert Nürnberger Jr. were favored by some of the greatest soloists of the 20th century—including Eugène Ysaÿe, Jan Kubelík, Fritz Kreisler, and David Oistrakh—who considered them at least equal to their finest French counterparts. It’s inspiring to think that the same hands that shaped my bow also shaped tools for such legendary voices.

Which era of bow making do you love the most? Do you have a favorite bow maker or school of craftsmanship that speaks to you? I’d love to hear your thoughts—let me know in the comments!