Oleg Alexeyev

Oleg started learning to repair string instruments at the age of 19 under Russian violinmaker, Vladimir Smirnov, when he was a student at the Moscow Tchaikovsky Conservatory, where he also made an extensive study of the history of string instruments with particular emphasis on acoustical experimental science under Professor Gregoriev and Professor Ginsburg.

As an advanced student, he had lessons with Yuri Bashmet owner of a beautiful original Testore viola, and he had the opportunity of playing on some of the finest string instruments in the world belonging to the USSR State Collection and becoming familiar with the violin-making style of string instruments of the highest calibre such as those of Stradivarius, Guarnerius, Amati, Albani, Magini etc.

When Oleg was called up for obligatory military service in the USSR Army, he was attached to a military hospital in the X-ray department where he developed a special interest in anatomy and the effects of viola playing on anatomical development. His Colonel was a medical doctor and orthopaedic research scientist who took X-rays of Oleg’s spine and together with Oleg conducted a special study into the changes in the neck and upper vertebrae that resulted from many years of playing the viola.

Oleg noticed that in addition to variations in teaching methods, the style of playing and the attention paid to the production of good sound quality, many problems arose from the actual size of the instrument and the way in which it was held for playing. He realised the vital importance of matching the size and dimensions of the viola to the individual physical requirements of the player and insisted that playing the viola should certainly never be a last resort for bad violinists! He worked hard to develop a system to address the importance of a suitable chin rest in combination with the shoulder rest all of which took into account “the anatomy of sound making” in a quest to attain the best possible tone quality and technical facility without physical damage to the player.

As well as teaching and performing as Professor of Viola at the Damascus Conservatoire, Oleg found time to start to make violas under the distinguished tutelage of Viktor Nikiforov (Bronze Medallist in the Cremona Violinmakers’ international Competition and Principal Violinmaker for the USSR State Collection) who was also under State Contract at the Damascus Conservatoire to establish the first Violinmakers’ Workshop there. Oleg was able to learn the secrets of varnishing from the Indian and Arabic countries since he had ready access to different rosins as well as components for rare and beautiful varnishes to enhance the quality of his violas.

When Oleg moved to South Africa he came across a wide body of literature in English about string instruments and violinmaking to which he had previously not had access and which opened up new avenues in his developmental theories. He devoted much time and concentration to refining his ideas and methodology while doing part-time repairs until he was ready to start full-time work as a violinmaker, specialising in creating original violas.

This work was supported by his in-depth studies of synthesizing sound with anatomy, his insistence on using the correct wood, natural glue and rosins, his craftsmanship in woodcarving to the correct proportions, his expertise in varnishing and fine-tuning and above all his musical knowledge and experience.

Apart from producing standard and custom-made prototypes of specialized instruments and developing existing styles in various ways, Oleg’s proposals for 2003 include an original viola d’amore, a 6-string viola da bratche and an electrical and non-acoustical 5- to 6-string hard rock viola geared to playing heavy metal music. He is further experimenting with what he terms a 21st-century classical viola, which would achieve an even louder and fuller bass sound by using an asymmetrical but acoustically proportioned design technique.

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	Oleg started learning to repair string instruments at the age of 19 under Russian violinmaker, Vladimir Smirnov, when he was a student at the Moscow Tchaikovsky Conservatory, where he also made an extensive study of the history of string instruments with particular emphasis on acoustical experimental science under Professor Gregoriev and Professor Ginsburg. As an advanced student, he had lessons with Yuri Bashmet owner of a beautiful original Testore viola, and he had the opportunity of playing on some of the finest string instruments in the world belonging to the USSR State Collection and becoming familiar with the violin-making style of string instruments of the highest calibre such as those of Stradivarius, Guarnerius, Amati, Albani, Magini etc. When Oleg was called up for obligatory military service in the USSR Army, he was attached to a military hospital in the X-ray department where he developed a special interest in anatomy and the effects of viola playing on anatomical development. His Colonel was a medical doctor and orthopaedic research scientist who took X-rays of Oleg’s spine and together with Oleg conducted a special study into the changes in the neck and upper vertebrae that resulted from many years of playing the viola. Oleg noticed that in addition to variations in teaching methods, the style of playing and the attention paid to the production of good sound quality, many problems arose from the actual size of the instrument and the way in which it was held for playing. He realised the vital importance of matching the size and dimensions of the viola to the individual physical requirements of the player and insisted that playing the viola should certainly never be a last resort for bad violinists! He worked hard to develop a system to address the importance of a suitable chin rest in combination with the shoulder rest all of which took into account “the anatomy of sound making” in a quest to attain the best possible tone quality and technical facility without physical damage to the player. As well as teaching and performing as Professor of Viola at the Damascus Conservatoire, Oleg found time to start to make violas under the distinguished tutelage of Viktor Nikiforov (Bronze Medallist in the Cremona Violinmakers’ international Competition and Principal Violinmaker for the USSR State Collection) who was also under State Contract at the Damascus Conservatoire to establish the first Violinmakers’ Workshop there. Oleg was able to learn the secrets of varnishing from the Indian and Arabic countries since he had ready access to different rosins as well as components for rare and beautiful varnishes to enhance the quality of his violas. When Oleg moved to South Africa he came across a wide body of literature in English about string instruments and violinmaking to which he had previously not had access and which opened up new avenues in his developmental theories. He devoted much time and concentration to refining his ideas and methodology while doing part-time repairs until he was ready to start full-time work as a violinmaker, specialising in creating original violas. This work was supported by his in-depth studies of synthesizing sound with anatomy, his insistence on using the correct wood, natural glue and rosins, his craftsmanship in woodcarving to the correct proportions, his expertise in varnishing and fine-tuning and above all his musical knowledge and experience. Apart from producing standard and custom-made prototypes of specialized instruments and developing existing styles in various ways, Oleg’s proposals for 2003 include an original viola d’amore, a 6-string viola da bratche and an electrical and non-acoustical 5- to 6-string hard rock viola geared to playing heavy metal music. He is further experimenting with what he terms a 21st-century classical viola, which would achieve an even louder and fuller bass sound by using an asymmetrical but acoustically proportioned design technique.