HISTORY

1 - The French tradition

The Tradition is the spinal column of a trade, its identity. In many trades of art, the transmission is oral and visual. A repetition of the gestures, first of all by imitation then with control, prints automatisms completely essential to blooming and the autonomy of each apprentice. The such entire musician turned towards his partition, this control allows to release himself from the gesture to manage to define his own concept and thus to release themselves from the influence of the Master as far as possible.
But this tradition, enracinée in of course the past, must to survive to generate modernity, the contemporary, because it nourishes only fresh ideas, creations and inventivenesses to perennialize and ensure the survival of the trade.

2 - French method

To speak about " the French method ", it is to endeavour to show the exception of the French School in the world of the stringed-instrument trade since the beginning of XVIlème century.

The other countries of Europe like Italy or Germany, reached the statute of State only since the XIXème century, and consist of mosaics of areas, assemblies, with their different stories. This is why it is not rare to find differences significant in the techniques of manufacture between areas however close. (Milan, Naples, Casement bolt, Venice etc...)
The technical power of the French School, is due directly in a French state centralized since the XVIIème century and to a culture of " the Method ".

3 - What method?

The method is what, after centuries of practice and evolution of a trade, is essential, at a certain time, like a purified and rationalized principle. It is the result of research of successive craftsmen, in the execution of a given work.
The violin maker of the French school cannot prevent himself, to improve his work, to rationalize the execution of it.

4 - Rationalization

The rationalization of the gesture is the paramount asset which sign the French School. The fact that the training was transmitted during centuries in only one place, Mirecourt, explains also the control and the teaching quality of this teaching.
This trade cannot thus only land. Like the young musician makes his ranges, the apprentice violin maker or archetier, gradually acquires the control of the gesture by a practice repeated under the vigilant monitoring and the observation attentive of a Master with work.

PRESENTATION OF SCHOOL PRIVEE Jean-Jacques PAGES

Our school has proposed a training, developed around this method tested for four centuries maintaining in Mirecourt, that of the French Tradition.

Its originality:
Pupils violin makers and archetiers (6 and 4 per annum) grouped around a Master in exercise, thus receiving a teaching for the example, observing and reproducing ancestral gestures.

A type of teaching, entirely turned towards an intense practice
(32 h30 per week), which proved its effectiveness for a long time, and is advised per a number of Violin makers and Archetiers.

This training proceeds over three years (10 months). It mainly consists in teaching the manufacture of violins, violas and violoncellos and their bows according to the French method. It is validated by a diploma decreed by a jury of Master-Violin makers and International Masters-Archetiers.

During the formation, Master-Violin makers, Masters-Archetiers and specialists will intervene in particular fields (restoration, expertise, creation of models, knowledge of wood and varnish etc...) thus allowing to discover and apply these various techniques.

The teaching of the stringed-instrument trade is ensured by Jean-Jacques Pagès,
- creative Master-Violin maker, Expert close the Court of Appeal of Nancy,
- Member of the Grouping of the Violin makers & Archetiers d' Art of France,
- Member of the International Agreement of the Masters Violin makers & Archetiers d' Art.

The teaching of the archetery is ensured by Roch PETITDEMANGE creative Master-Archetier, Benoît ROLLAND, consulting Master-Archetier, ensures it regularly of the master-classes.

PRACTICAL INFORMATION
· the requirements to deposit a candidature are:
- To be 18 years old minimum, unbounded higher.
- To be able to include/understand and express themselves in French.
- an instrumental practice is essential.

· a selection is carried out in June of each year: The candidate must first of all present himself in our buildings for a made up examination of aptitude: of a maintenance, a test of drawing in prospect on an element for violin, and of a test on the work of wood (approximately 3h)
If your distance justifies it, contact us to the 33 (0)3 29 37 11 33
we will specify you what you must forward to us to justify our
choice.

CORRESPONDENCE:

Jean-Jacques PAGES
70 street Chanzy
88 500 MIRECOURT

Such: 03 29 37 11 33 Fax: 03 29 37 01 92
Email: pagesjj@aol.com