Four generations of master luthiers,
each instrument born of ancient craft
and unwavering patience.
In 1887, Heinrich Vossler arrived in Cremona as a young apprentice, apprenticed to the great masters of the Italian tradition. He carried back to Germany not only the knowledge of Stradivari's woods and varnish, but the soul of the craft — the understanding that an instrument must speak as much as it must sing.
"An instrument is not made. It is coaxed from the wood, the way a melody is coaxed from silence." — Heinrich Vossler, 1921
Founds the atelier in Mittenwald after seven years of study under Cremona masters. First violin completed for the Munich Philharmonic.
Second generation expands to cello making; develops the house varnish recipe — a proprietary amber formulation still used today.
Third generation introduces viola commissions; instruments reach soloists in Vienna, London, and New York. International recognition achieved.
Fourth generation. Thomas upholds traditional bench work while Elena leads material sourcing — selecting tonewoods from age-old Alpine forests.
Over 340 instruments in active concert use worldwide. Waiting list of three to five years. Each instrument signed and individually registered.
From forest to concert hall, every Vossler & Son instrument follows an unbroken lineage of technique refined over 137 years. Each step is performed entirely by hand, with tools passed down through generations. No shortcuts. No compromise.
Personally sourcing seasoned spruce and maple from Alpine forests; aged 20–40 years minimum.
Top and back plates carved to precise arching profiles using traditional gouges and thumb planes.
Hot hide glue joins all components. Linings, blocks, bass bar and soundpost fitted with micrometer precision.
Seven coats of the house amber varnish, each dried in UV light, hand-polished between coats.
Fingerboard planed, bridge cut and fitted, pegs hand-reamed. Strings tensioned to concert pitch.
Played and evaluated over two weeks. Soundpost adjusted until the instrument's full voice emerges.
Personal presentation to the soloist; case, bow and provenance certificate included. Lifetime support.
A full-size violin with Guarneri arching and an unusually powerful G-string voice. Premiered at the Théâtre des Champs-Élysées in 2020. Now used in over 180 performances annually.
A Montagnana-pattern cello built for maximum projection in large concert halls. Exceptional depth in the lower register. Used in Dąbrowski's critically acclaimed Elgar recording.
A 16.5″ viola with Tertis-pattern outline for maximum resonance. Built to Tanigawa's precise ergonomic specifications. Debuted at Suntory Hall, Tokyo, November 2023.
Our atelier in Mittenwald, Bavaria is open to prospective patrons by private appointment. Witness the craft firsthand — from raw tonewood selection to the final voicing session. We welcome serious musicians, collectors, and institutions.
"When the 'Amber Dusk' arrived, I played it for six hours without stopping. It has a singing quality I have never encountered in a modern instrument — not merely powerful, but deeply human."
"Thomas spent two full days with me before building began. He listened to how I play, where I travel, the halls I perform in. The 'Montagna' is not just an instrument — it is a collaboration."
"Elena selected the wood herself from the same forest her grandfather used. That continuity of material, of touch — you hear it in every note the 'Golden Hour' produces. It is irreplaceable."
Every commission begins with a conversation. We need to understand you — your repertoire, your physique, your aspirations, and the halls where your music will live. Only then does the wood selection begin.