Living and working in a peaceful countryside yet still close to the capital’s musical life, giving me the opportunity to dedicate my entire attention to the highest level of craftmanship. There’s a comfortable three rooms spacious area for the workshop in this 220 years old house, near by the Catholic church, with a large 3600 square meters garden.

Living and working in a countryside, gives me the opportunity to spend as much time in nature as possible. The sports - running, cycling, swimming, hiking, playing tennis-, gardening, relaxing, eating healthy food, suntanning, going to concerts... help me to keep a good physical-mental health and a vivid sense for good sound and aesthetics in a creative life. To be a violin maker is not just a job, but profession and a lifestyle.
A report with me in 2016 (only in Hungarian):

Educational background:
I was studying baroque violin- and viola da gamba making at West Dean College in West Sussex, England. I finished the 3 years course within 2 years and received a Diploma with distinction.
Studying violin making at Franz Liszt Academy of Music. 1996-1998.
Teaching violin making at Franz Liszt Academy of Music. 2010-2015.

I believe that art is not a mere interpretation of copying old artefacts but creating new ones that never exised before. Classical makers in 16th – 18th centuries understood proportions – like golden section, harmonic section, arithmetical section. They were geniuses in the way they used divine proportions, stylistic variations and shaped different characters of sound. With a close understanding of the classical cremonese violin making system and their inspiration behind the surface, enables me to freely create period and modern instruments in the manner of our great classical makers.

Making modern and historical violins, violas, cellos and viola da gambas are the main profile of the workshop.

When I established Viktor Koos atelier in 2004, the „bespoke” violin making was the main profile of my enterprise. When a musician comes to discuss aspects of making a new musical instrument, we have to find a common language in sound quality and aesthetical expressions. Before I undertake a commission, I also ask them to try one of my instruments, a few years old one, and a relatively new one to have an idea of my workmanship.
There is a good one year of waiting list usually, in the meanwhile, we can find the right tonewood and work on personal requests. Musicians can visit me any time to look at the making process, and they receive pictures about the ongoing process.
When the instrument is ready, there is a two week trial period before they are expected to decide about the purchase.

Jordi Savall & Le Concert des Nations were playing in Budapest, at the Liszt Academy of Music, 19 May 2015.
Manfredo Kraemer, the concertmaster of Le Concert des Nations playing Viktor Koos baroque violin, made in 2010. The instrument was inspired by the late works of Guarneri del Gesú.
Balazs Mate, the cellist of Le Concert des Nations is playing Viktor Koos baroque cello, made in 2008. The cello was based on Antonio Stradivari’s famous “B-forma” reconstructed cello mould.
Balazs Mate and Manfredo Kaemer are playing these instruments in Utrecht, 5th of September, 2010.

Considering the sound and playing comfort as the main importance, we work on the fine tuning of all those elements making the sound better.