Half a century of craft at the Chicago School of Violin Making

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As the Chicago School of Violin Making (CSVM) celebrates its 50th anniversary this November, it stands at the centre of a long and distinguished lineage. Founded in 1975 by the master luthier Tschu Ho Lee, who had trained in Mittenwald, Germany, before joining the Chicago firm Kenneth Warren & Son, the school was established to preserve the exacting traditions of violin making while training future generations of craftsmen.

From its early days in Skokie, Illinois, CSVM has produced more than 250 graduates who have gone on to establish respected studios, restoration shops, and teaching posts worldwide – helping to define the standards of contemporary American lutherie. Under the current leadership of Antoine Nédélec, the school continues to evolve while staying true to its founding ideals.

US correspondent Thomas May spoke with Nédélec about key milestones, the school’s philosophy, and what lies ahead for the next half-century, as  CSVM prepares to mark the occasion with a special celebration on 8 November.

Fifty years is a remarkable milestone. Looking back, what would you single out as the most defining achievements or turning points in CSVM’s history?

Antoine Nédélec: The important and first milestone was the creation of the school by the Warren family in 1975. They recognised a need for trained professionals to work on instruments and saw a violin-making school as the best way to meet it.

The second milestone was Tschu Ho Lee taking over in 1983. He had been the teacher since the school’s creation. His retirement marked the third milestone and shaped the way the school operates to this day. It was turned into a not-for-profit school in 2003.

The school has more than 250 graduates. Some of them are highly prominent in the field, such as Chris Germain, who led the Oberlin Violin Making Workshop for decades. Two of our graduates, Jordan Ripstein and Dan Gillespie, are current teachers at the school.

CSVM has helped shape generations of violin and bow makers. How would you describe its overall philosophy of craftsmanship, and how has that evolved to meet the needs of today’s players and makers? 

Antoine Nédélec: We treat the school like a real workshop, one where the students are the prime focus. The teachers are professionals wholly focused on crafting high-quality violins for serious musicians. They are still very involved in the trade. They pass on their desire to constantly improve to our students. We teach by example. 

It’s easy for makers and schools to live in their own bubbles. We have taken the approach of being as involved as possible in the field, and of remaining open to constructive feedback from peers and musicians.

The field of violin making is both steeped in tradition and increasingly open to innovation. How does CSVM balance those two impulses in its training and ethos?

Antoine Nédélec: We are very attached to tradition on the violin making side. We feel that to become a good maker, one has to understand what made the classical Cremonese makers so good. We try to stay as close as possible to what we think were their working methods – and that view evolves constantly.

However, on the restoration side, we are far more oriented toward innovation. This is a field that is rapidly evolving towards less invasive methods. Technology is very useful, and our restoration teacher, Dan Gillespie, is a master at it.

To become a good maker, one has to understand what made the classical Cremonese makers so good

Chicago has long been a hub for fine stringed-instrument making and restoration. How does the school engage with the city’s wider musical and lutherie community?

Antoine Nédélec: Our school has always had close ties with local violin businesses, and many students go on to work at Chicago shops. We strive to maintain great relationships with local shops in order to provide the best opportunities for students to expand their network of experience and knowledge. 

Fortunately, we receive many fine instruments for study here at the school from visiting shop owners and performers. Jeff Phillips (associate director) and I frequently make bench copies of these fine instruments. The faculty is also actively involved in the larger lutherie community through the Oberlin Violin Making and Restoration Workshops and the Violin Society of America. 

In 2024 our school hosted the Oberlin Violin Makers Workshop for two weeks, which was a great opportunity for our students to meet serious violin makers from all over the world. We encourage our students to follow this philosophy and get involved in programmes which will help grow their skills and knowledge as luthiers.

What are some of the biggest changes you’ve seen in the profession over recent decades – whether in materials, technology, or the paths young makers take after graduation?

Antoine Nédélec: Technology is an area that we’ve had fun exploring with the students in our restoration course. We demonstrate new tech advances in 3D scanning, 3D printing, software and CNC machining. These processes are very helpful in the making of patches, repairs, templates and reproductions of classical arching models for study.

Obviously the biggest changes in materials have been in the area of alternative wood materials for fittings and fingerboards. The school is a great place to discuss these things and educate students and staff about new materials or tools as they arrive on the market. We enjoy having string manufacturers visit and educate us on the latest string technology.

Luthiers can get pretty stuck in their old ways and out-of-touch with new things, and so often students will bring new inventions or material innovations to the staff’s attention. We can also (occasionally!) learn from our students!

As you celebrate this anniversary, what are your priorities or dreams for the next fifty years of CSVM?

Antoine Nédélec: The trade is much more open to sharing than it used to be, Jeff and I have been leaders in this shift. We want the school to not only benefit our students, but to participate in and lead the common enrichment of our trade. We were recently involved with the Oberlin Violin Making Workshop, the National Music Museum, and also had a wonderful exchange with the British Violin Making Association. We also wish for other violin making schools to thrive. Together, we are much better equipped to accumulate and share knowledge.