Knowing that the Violins of Hope collection features instruments with deeply personal and historical significance, can you share how you and your father approached the delicate task of restoring these instruments, ensuring both their musical and emotional legacy are preserved?
“We do quite an extensive restoration. Of course, each instrument is different and in different condition. If there are cracks, we have to repair them. Sometimes, we have to do some of the inside work such as side reinforcements, blocks, maybe we are doing new bass bars, bridges, sound posts usually, fingerboards and pegs as well. So, it’s very comprehensive work. Usually for most of those instruments, it’s the same type of work. For some of them, because they are very fragile, we have to do extra things like working on the thickness of the back and so on. If they were played outside in rain, sometimes they have varnish damage, which takes more time to repair. This process is different than typical instruments because usually people wouldn’t play outside in rain and snow. Restoring a regular violin and a Violins of Hope instrument are very similar, sure. However, knowing the history behind the Violins of Hope instruments with some coming from camps or ghettoes, restoring them feels different and much more emotional.”
How has your work sharing this extraordinary collection of instruments with the world shaped your own perspective on humanity, identity and the resilience of the human spirit?
“I grew up hearing many stories about the war from my grandmother, and as someone who loves to read about history and having read a lot about the war and what went on, it shows you what these people had to go through, and what they did go through is beyond horrific. I don’t know if I could go through something like that. None of us know if we could live through a concentration camp or a labor camp or anything like that. However, it also shows you that some of these people actually managed. Some of them stayed there for a very long time and survived in places that are designed and meant for people to die in a matter of weeks to months. Many survivors still had extraordinary lives. It proves, in my opinion, that even when you put people in the worst and most difficult situations, they can come out of it and still be good and productive people. They are still able to have families and care for others.”
Violins of Hope is not just a concert project but also an educational mission. What moments have stood out to you in your outreach with students and communities, and what impact do you hope the program has on our participants and future generations as a whole?
“When we do a lecture or a school presentation, people come up to me afterwards and say how much they are moved, how they didn’t know much about music during that time and how this program changes their perspectives in several ways. Hearing that, it shows that maybe we do make a difference. Music is something we all understand, and we all appreciate different types of music, and we are all different people, but music keeps us connected. I hope that people realize that music is a bridge. It is a language, and it can help the world around us. In the end, music is a way where we can all communicate, and we have to make sure we keep that alive.”
Is there anything else you would like audiences to know about the Violins of Hope project?
“I hope they’ll come to some of the events, hear different music from what they’re used to, hear different stories and learn. I hope that people and students will learn the lesson that hate never ends well. I hope they are moved and that they don’t forget!”
