Christian Bayon

1955, Paris, Frankreich

  • His family had no musical inclinations. When he was 16 he joined the French navy for 6 years, working as a technician on the hydraulic systems of fighter planes on the Foch aircraft carrier.
    In 1976, when he was still in the navy, he began teaching himself to make stringed instruments. He had made ten by 1979, the year in which he obtained the “Bourse de la Vocation” vocational grant. On this occasion he made the acquaintance of Jean Schmitt and Etienne Vatelot. The latter invited him to work from time to time in his workshop.
    In the same year, he became the assistant of Jean Schmitt in Lyon where, at the same time, he undertook research into acoustics with E. Leipp (CNRS) and Voichita Bucur.
    In 1982 he became the assistant of Etienne Vatelot. This was a very happy period, working in a workshop where he encountered the best musicians and the finest instruments in the world.
    In 1984, he set up his own workshop in Morlaix (Britanny) and joined the Groupement des Luthiers et Archetiers d’Art de France (Association of French Stringed-Instrument and Bow Makers). Then, in 1986, he opened a second workshop in Rennes.
    In 1989, somewhat unsatisfied with the quality of instruments available for repair in a provincial town, he decided to move to Lisbon (Portugal) to work on more interesting instruments. By 1993 the latter objective was fulfilled and he was repairing violins made by Stradivarius, Guarneri, Montagnana, Amati, etc. He was also working for musicians like Augustin Dumay, Truls Mork, Jian Wang, Maxime Vengerov, Shlomo Mintz, Daniel Muller-Schott and Lynn Harrell.
    In 1997 he became a member of the International Society of Violin and Bow Makers.
    He is invited as resident violin-maker in several festivals: International Chamber Music Festival Stavanger, (Norway, artistic director Truls Mork), "La Folle Journée" ( Nantes, Lisboa, Tokyo), Joaquin Turina International Chamber Music Festival (Spain), Festa a Musica (Portugal).
    In 2003, he abandoned restoration to devote himself to making violins, violas and cellos in an attempt to recreate the superb instruments that had passed through his hands in the 28 years he had spent as a stringed-instrument restorer.
    In 2004 he is invited in Cremona by the "Consorzio Liutai Antonio Stradivari" for give a master-class about set-up and sound adjustment to the violin-makers of this city.
    Soloists such as Tedi Papavrami, Alina Pogotskina, Isabelle Van Keulen, Augustin Dumay, Michal Kaňka (Prazak Quartet), Silvia Simionescu, Pavel Gomziakov, Justus Grimm, Liana Gourdjia, Rosemary Warren-Green, Helena Wood and Tatiana Samouil now play instruments made by Christian

    Quelle: persönliche Website

  • Issu d’une famille n’ayant aucune relation avec la musique, il s’engage dans la Marine Nationale à 16 ans, il y restera 6 ans comme technicien de système hydraulique sur les avions de chasse, embarqué sur le porte-avions Foch.
    En 1976, encore militaire, il découvre la lutherie en autodidacte. En 1977 il quitte la marine pour se consacrer à la construction de violons. Il en construira ainsi 10 jusqu’en 1979, année où il obtient la “Bourse de la Vocation” et à cette occasion il fait la connaissance de Jean Schmitt et de Etienne Vatelot. Ce dernier l’invite aussitôt à travailler ponctuellement dans son atelier.
    Toujours en 1979 il devient assistant de Jean Schmitt à Lyon où, parallèlement il effectue des recherches d’acoustique avec E. Leipp (CNRS) et Voichita Bucur.
    En 1982 il devient l’assistant d’Etienne Vatelot, années de grand bonheur dans un atelier où passent les meilleurs musiciens et les plus beaux instruments de la planète.
    En 1984 il s’installe à son compte à Morlaix (Bretagne) et entre au Groupement des Luthiers et Archetiers d’Art de France, puis en 1986 il ouvre un second atelier à Rennes.
    En 1989, peu satisfait du niveau des instruments à réparer dans une ville de province il décide de partir à Lisbonne (Portugal) afin de travailler sur des instruments plus intéressants.
    Dès 1993 les Stradivari, Guarneri, Montagnana, Amati, etc, font leur apparition et le but recherché est atteint. Il travaille pour des musiciens tels que Augustin Dumay, Truls Mork, Jian Wang, Maxime Vengerov, Shlomo Mintz, Daniel Muller-Schott, Lynn Harrell.
    En 1997 il devient membre de l’Entente Internationale des Maîtres Luthiers.
    Invité comme luthier résident de nombreux festivals: International Chamber Music Festival Stavanger, (Norway, artistic director Truls Mork), "La Folle Journée" ( Nantes, Lisboa, Tokyo), Joaquin Turina International Chamber Music Festival (Spain), Festa a Musica (Portugal).
    Depuis 2003 il a abandonné la restauration pour se consacrer à la construction de violons, altos et violoncelles dans une tentative de recréation des instruments superbes qu’il a eus dans les mains durant les 28 années qu’il a consacrées à la réparation.
    En 2004, il est invité à Crémone par le "Consorzio Liutai Antonio Stradivari" pour donner une master-class sur le montage et le règlage de sonorité aux luthiers de cette ville.
    Les solistes comme Tedi Papavrami, Alina Pogotskina, Isabelle Van Keulen, Augustin Dumay, Michal Kaňka (Prazak Quartet), Silvia Simionescu, Pavel Gomziakov, Justus Grimm, Liana Gourdjia, Rosemary Warren-Green, Helena Wood et Tatiana Samouil jouent sur ses instruments.

    Quelle: persönliche Website

  • Oriundo de uma família que não tinha qualquer relação com a música, entrou na Marinha francesa aos 16 anos, onde permaneceu seis anos, trabalhando como técnico dos sistemas hidráulicos dos aviões de caça, embarcado no porta-aviões Foch.
    Em 1976, ainda militar, descobriu a luteria como autodidacta. Em 1977, deixou a Marinha para se dedicar exclusivamente à construção de violinos. Construiu uma dezena até que, em 1979, foi distinguido com a “Bourse de la Vocation”. É nessa altura que conhece Jean Schmitt e Etienne Vatelot, tendo este último feito o convite para que trabalhasse pontualmente no seu atelier.
    Foi ainda em 1979 que se tornou assistente de Jean Schmitt, em Lyon, cidade onde, paralelamente, começou a desenvolver pesquisas na área da acústica com E. Leipp (CNRS) e Voichita Bucur.
    Em 1982, tornou-se assistente de Etienne Vatelot. Foi uma época de grande felicidade (ou muito gratificante) vivida num atelier por onde passavam os melhores músicos e os mais belos instrumentos do mundo.
    Em 1984, instalou-se por conta própria em Morlaix , na Bretanha, e entrou no Groupement des Luthiers et Archetiers d'Art de France. Em 1986, abriu um segundo atelier em Rennes.
    Em 1989, insatisfeito com a qualidade dos instrumentos que lhe eram entregues para reparação na pequena cidade de província, decidiu mudar-se para Lisboa com o objectivo de poder trabalhar com instrumentos mais interessantes.
    A partir de 1993 atinge a sua meta, quando os Stradivari, Guarneri, Montagnana, Amati, etc, começaram a aparecer no seu atelier. Trabalhou para músicos como Augustin Dumay, Truls Mork, Jian Wang, Maxime Vengerov, Shlomo Mintz, Daniel Muller-Schott, Lynn Harrell.
    Em 1997 tornou-se membro da l'Entente Internationale des Maîtres Luthiers.
    Convidado como luthier résidente em varios festivais: International Chamber Music Festival Stavanger, (Norway, artistic director Truls Mork), "La Folle Journée" ( Nantes, Lisboa, Tokyo), Joaquin Turina International Chamber Music Festival (Spain), Festa a Musica (Portugal).
    Em 2003, abandonou o restauro para se dedicar em exclusivo à construção de violinos, violas de arco e violoncelos, na tentantiva de conseguir recriar alguns dos instrumentos magníficos que lhe passaram pelas mãos, ao longo dos 28 anos que dedicou à reparação.
    Em 2004 e convidado a Cremona pelo "Consorzio Liutai Antonio Stradivari" para dar uma master-class sobre a montagem e a afinação de sonoridade aos luthiers dessa cidade.
    Solistas como Tedi Papavrami, Alina Pogotskina, Isabelle Van Keulen, Augustin Dumay, Michal Kaňka (Prazak Quartet), Silvia Simionescu, Pavel Gomziakov, Justus Grimm, Liana Gourdjia, Rosemary Warren-Green, Helena Wood e Tatiana Samouil tocam instrumentos de Christian Bayon.

    Quelle: persönliche Website

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