A modified Strad B form Ravatin model inspired pattern cello dated 2017 Dublin, Ireland, by Breton French maker Youenn Bothorel. The cello was made in Frank Ravatin's studio in Vannes, France. It was exhibited in the final at the Violoncelle en Seine competition 2017. The cello was chosen by Jacqueline Thomas of the Brodsky Quartet amongst the cellos exhibited at the 2017 British Violin Makers Association. Story: Youenn's sensitivity to music and its instruments led him at 19 years old to Newark School of Violin Making, England, from which he graduated in 2001. After experiencing life and working in different workshops across the world, he established himself in Dublin in 2008 and devotes his time to the creation of violins, violas and cellos. While Youenn draws his inspiration primarily from the great masters of classical violin making, he is also stimulated by the evolution in contemporary making. He enjoys sharing knowledge with fellow violin makers and has participated in various workshops and events including: -Conception of oil varnish following ancient recipes and pigment making with François Perego. -The drawing of the violin shape following a proportional system from the Renaissance under the direction of François Denis -Gaining valuable experience in the workshop of renowned violin maker, Frank Ravatin -Taking part in international exhibitions and festivals (West Cork Chamber Music Festival; Atelier Flagey violin and bow Exhibition,Brussels). Youenn is committed to understanding the unique requirements of individual musicians and is keen to meet their expectations. Making: Sound production remains at the core of his work throughout the different steps of the making process: The type of model (Amati, Stradivari,Guarneri…) The selection of wood, the cut and its density is pivotal to creating a good sounding instrument. The spruce is sourced from South Tyrol and Val di Fiemme in the Alps while his maple comes from the Balkans. It is stored and dried for many years before being used! The varnish is cooked using traditional methods and natural resins such as colophony mixed in linseed oil and spirit of turpentine. It is influenced by the later works of chemist, Joseph Michelman.Finally, the instrument is carefully set up to display its maximum potential and comfort. All the work is done by hand following three hundred-year-old techniques. The player will enhance the finished instrument by bringing his/her individual sound color.
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