My Bows: Gregor Walbrodt, Paris, ca. 2010

I acquired this bow in 2019 from Gregor Walbrodt in Berlin, the maker himself, just as I began my first position as concertmaster (fixed-term) at the Komische Oper Berlin. Prior to that, I had been playing on a dark-colored Sartory, generously loaned to me by the University of the Arts Berlin, where I studied - as I mentioned in an earlier post.

After returning that bow, I entered a period of intense experimentation, trying out many different bows in search of the right fit. Throughout that time, Gregor Walbrodt was always kind, supportive, and remarkably patient with my ever-evolving ideas about sound, style, and bow technique.

This particular bow, made in the style of Dominique Peccatte - and a very fine copy of one he made - holds a special place in my collection. It was the first bow I owned that was modeled after the great French masters. At first, it wasn’t easy to handle, because my hand was still used to the old way of playing with too much pressure. You cannot (and shouldn't) use ongoing vertical pressure with such bows, because they're not made for that. Using a different “brush” required a whole new approach to technique and tone production. I still have to polish my technique with it, but over time, it became an extension of my right hand.

The bow has a rich, complex sound and grips the string in that unique way often found in those made by the masters of the early 19th century. I feel at home with it, and it’s versatile enough for every type of repertoire. I’m proud to have it in my collection, and it remains a bow I use regularly and with great pleasure.