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More detailed information about stringed instruments and the history of violin making.


Mittenwald - violin making “in the midst of the forest”


About Mittenwald violins, Mittenwald violin makers and the history of violin making in Bavaria


How and why violin making came to Mittenwald is still not fully understood, even though a great master of the craft,
Matthias Klotz (1653-1743), was known to be a key figure in the early days. The history of violin making loves its founding fathers, whether they be the mythical Tywersus of Mirecourt, the legendary Andrea Amati of Cremona or the patriarch of Vogtland violins, Caspar Hopf. The stories of these men's lives include genius and legend, and fittingly enough, some aspects remain in the dark. An intriguing veil of obscurity has also been drawn across parts of Matthias Klotz's biography: how did this tailor's son find his way back home after training in Padua? Where and for whom did he work in this period? What knowledge and influences did he absorb? And did he visit the great Stainer during his travels?


Mittenwald soon became Germany's second violin making centre


Mittenwald violin, atthias Hornsteiner „Dax“, violin - top

Mittenwald violin by Matthias Hornsteiner II, a.k.a. “Dax”

Provenance: Mittenwald
Maker: Matthias Hornsteiner II "Dax"
Length of back: 35.6
Year: 1770 circa

Georg Klotz circa 1790: fine violin from the Yehudi Menuhin collection - top

Georg Klotz circa 1790: fine violin from the Yehudi Menuhin collection

Inventory No.: A69
Provenance: Mittenwald
Length of back: 35.9 cm
Year: 1780 - 1790


Economic history gives us more plausible reasons as to why Mittenwald as Germany's second violin making centre (along with Markneukirchen) emerged in a Bavarian outpost that was quite literally “mitten im Wald,” in the midst of the forest. While the expertise of Bohemian immigrants formed the cornerstone of the musical industry in Markneukirchen, there were very different and quite advantageous conditions for making violins in Mittenwald. The altitudes of the Karwendel mountains yielded excellent tone wood; the town was located along the trade routes from Augsburg south to Bolzano and Venice, providing good opportunities for international sales; and last but not least, the location provided an opportunity to learn from the prominent masters in Tirol and northern Italy. It is no coincidence that the violins of the Klotz family, which shaped Mittenwald violin making well into the 1800s, reflected the traditions of Stainer and Amati.

Antique Mittenwald violin, Neuner & Hornsteiner, 1912 - spruce top

Antique Mittenwald violin, Neuner & Hornsteiner, approx. 1900

Inventory No.: 5024
Provenance: Mittenwald
Maker: Neuner & Hornsteiner
Length of back: 35.7
Year: approx. 1900


Industrialization of Mittenwald violin making in the 19th century


Selling instruments in Mittenwald quickly took on a professional character: the first presumed “publisher” (i.e. broker) J. Baader hired a dependent violin maker in 1707. J.A. Baader & Co. became the most important violin maker in Mittenwald along with Neuner & Hornsteiner. As was the case elsewhere, Mittenwald violin making became industrialised in the 19th century to meet the high demand for simpler and more affordable instruments. In light of the growing specialisation and division of labour, King Maximilian II of Bavaria took steps to protect the craftsman knowledge that was the fruit of many generations: he founded the Mittenwald violin-making school. After WWI, the violin making industry in Mittenwald collapsed. It was not revived until after WWII and was distinguished by violins of outstanding quality. Nowadays visitors can tour the town's violin-making museum with its excellent collection and learn about the history of Mittenwald violins.


Our online catalog features old and contemporary violins made by Mittenwald violin makers and other contemporary and old violins for sale, with audio sound samples.


Related articles:

Matthias Klotz and pre-modern violin making in Mittenwald

Mittenwald violin makers - contemporary masters keeping their tradition alive with their vibrant craftsmanship

The Mittenwald violin making competition and other contests

Contemporary violin makers - the modern artisans

Samuel Zygmuntowicz: understanding Stradivarius

New arrivals in our catalogue
  • Jean-Joseph Martin: Fine French violin bow, c.1880 (certificate J.-F. Raffin)
  • Antique Mittenwald violin, made in the 1920's
  • Antique French 3/4 violin with a strong tone - J.T.L.
  • Dark, warm, brilliant sound: Antique Markneukirchen violin after Stradivari, c.1910
  • Markneukirchen master violin by Werner Voigt, Guarnerius model
  • Lightweight German violin bow. Knopf workshop, approx. 1890
  • Modern German master violin bow. By Roderich Paesold - excellent
  • Italian soloist violin. Luigi Mozzani, Rovereto 1930 (Franke certifikate)
  • Northern German master violin full of character, Franz Reber
  • French J. P. Gerard viola bow, 1980's
  • French J.T.L. violin, c.1920  "J. Kochly"
  • Older Mittenwald violin, 1960's
  • Antique French Breton violin. Mirecourt, approx. 1930
  • Excellent French violin. Collin-Mézin (fils), 1927, "Le Victorieux", No. 412
  • SALE Modern Italian violin, probably Mario Gadda, Mantova
  • SALE Eugène Nicolas Sartory: Fine French violin bow by E. Sartory Paris (certificate J.-F. Raffin)
  • René Morizot: Interesting French viola, 1932
  • Italian violin, Raffaele Calace e figlio 1929
  • Modern master violin, copy of Gaetano Chiocchi
  • Wolfgang Löffler's "e-Strings", Professional electric violin (silent violin)
  • C. A. Hoyer, German student violin bow
  • Fine German violin bow, Nürnberger school
  • Fine German cello bow by August Rau
  • Neuner & Hornsteiner violin, Mittenwald c.1900