Opening of our ‘early music’ department with the acquisition of six exceptional instruments
- Feb 17
- 5 min read
Updated: 22 hours ago
On 17 February 2026, our early music department reached a historic milestone: the first six instruments, commissioned in mid-2024, were unveiled at a private evening event attended by the two patrons. Six internationally renowned luthiers specialising in early music worked on this exceptional project. These instruments are now on loan to musicians who need to be ‘equipped’ to tackle a wide variety of repertoires. Talents & Violon'celles is thus resolutely opening up to career support.
An ambitious project
Ideas abound at Talents & Violon’celles, and it often takes only a few steps to turn ideas into action, supported by meetings.
The idea of creating an ‘early music’ department within Talents & Violon'celles was born in June 2024. Nineteen months later, it became a reality. This achievement was made possible thanks to the decisive support of Joël Rousseau and Jean-Louis Roidot, two patrons who were passionate and enthusiastic about the project and chose to support its development by commissioning a total of six instruments.
The endowment fund is now in a position to support the growing public enthusiasm for early music, particularly Baroque music. It is becoming a resource centre for those who practise it. Two more instruments are already under construction, financed by other patrons!
"Baroque music has experienced considerable growth in France. Our country has become the spearhead of numerous projects involving so-called ‘period’ or ‘historically informed’ instruments. Musicians are becoming increasingly versatile, so they are looking for instruments that correspond to the full range of their repertoire. However, it is impossible for them to buy a cello, a viola da gamba and a piccolo cello at the same time." Raphaël Pidoux
"Having these instruments made contributes to preserving French and European stringed instrument craftsmanship. What will remain in 200 years' time is not only the cello, I hope, but also the instrument makers who will be making cellos and violas da gamba. It's a link between generations." Joël Rousseau
The finest French instrument makers serving young talents and professionals
The finest French luthiers specialising in these highly specific instruments were approached. Not only did they agree, but they also agreed to collaborate and create a coherent ensemble. The result is exceptional, both in terms of its contribution to musical life – think of all the talented musicians who will benefit from these instruments over the years – and in terms of its craftsmanship and heritage value.
This first order included:
A baroque cello by Joël Klépal, funded by Christine and Jean-Louis Roidot
A baroque violin by Charles Coquet, funded by Christine and Jean-Louis Roidot
A double bass by Roland Houël, funded by Joël Rousseau
A 7-string bass viol by Judith Kraft, funded by Joël Rousseau
A viola top by François Denis, funded by Joël Rousseau
A tenor viola da gamba by Agathe Bejerano Calderon, funded by Christine and Jean-Louis Roidot
"When I was asked to take on the baroque violin project, I wanted to approach it in a consistent manner and create an instrument that was faithful to those built in the 17th and 18th centuries. The neck is shorter, wider and thicker, and nailed in line with the table. The table and back are thicker. The fingerboard is made of spruce, with maple veneer on the sides and ebony on the top. These differences contribute musically as well as physically to the baroque playing experience." Charles Coquet
Facilitating access to instruments and supporting specialist instrument making
These instruments are now available for long-term loan or for specific projects (concerts, recordings), in order to help final-year students and professionals, young and old alike, who specialise in early music performance or who wish to be versatile (and cannot afford to own several instruments!). In particular, there was no solution for them when it came to the viola da gamba. While new violas remain affordable, the growing popularity of this instrument has triggered speculation on older models.
By venturing into this new field, Talents & Violon’celles also aims to revitalise contemporary violin making, as too few luthiers devote themselves to the Baroque period. It is essential to support them, enable them to inspire others, and highlight the tremendous work of those who have specialised in this field through years of research or by developing highly innovative restoration techniques.
"This commission was very motivating; it pushed me to use all my skills and experience!" Agathe Bejerano Calderon
"I wholeheartedly support what Talents & Violon'celles does; it has inspired me in my work. For this viola, which will pass through many hands, I sought above all quality and accessibility of sound. It will adapt to different playing styles and situations, and it will inspire ideas in the musician, which I really like. You have to trust the instrument to lead its own life!" Judith Kraft
An exceptional evening, worthy of this commission
The private concert gave these instruments their first resonance, under the emotional gaze of the audience and the bows of young performers:
First two Fantasias in G minor (1610/1620) by Orlando Gibbons: Io Le Bris (bass viol), Jaume Ferrer Moreno (tre viol) and Lukas Hadakir Carrillo (tenor viol)
Canzon ottava detta L'Ambitiosa (1628) by Girolamo Frescobaldi: Paul Poupinet (viola da gamba) and Sybille Roth (harpsichord)
First suite from Marin Marais's fifth book of viola da gamba pieces (1725): Io Le Bris (bass viola da gamba) and Sybille Roth (harpsichord)
Second Sonata for Violin and Basso Continuo (circa 1630) by Giovanni Battista Fontana: Rebecca Normand Condat (baroque violin), Paul Poupinet (violin bass) and Alice Thévenin (theorbo)
4th sonata from the 2nd book (1735) by Jean-Baptiste Barrière: Victor Lancelot-Mahé (baroque cello), Sybille Roth (harpsichord) and Raphaël Pidoux (cello)
The evening concluded with a moment of sharing and exchange between patrons, luthiers, and musicians.
Supporting the acquisition and restoration of antique instruments
Talents & Violon’celles aims to build up a collection of 20 to 30 early music instruments over four years. To achieve this, we are appealing to all patrons who are attracted by the heritage and social dimensions of the project, or who wish to invest in a meaningful asset, and who are keen to support the acquisition of early instruments, whether restored or in need of restoration.
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