What They Wrote
   At The Studio


   Site Credits

Anne-Sophie Mutter
“[Ms. Mutter] recently purchased two bows from Boston-based maker Benoît Rolland. ‘I am a great fan of his bows, as is Lynn Harrel.’ ”
Strings, January 2006

“For the last bow he made me, Benoît Rolland described very well what I’m looking looking for – he said I want the speed of a Ferrari and the comfort of a Chevrolet. Of course, this is a total contradiction, as it’s impossible to do with one piece of wood – but he comes very close!"
The Strad, August 2006

Leonidas Kavakos
"A big Thank You for an absolutely great creation! This is a bow of incomparable beauty in every respect! For me it stands up there, an equal and rival to the greatest Masters. Thank you again for continuing the great tradition of your distinguished compatriots. I am priviledged to make music with one of your creations! - With all my respect and admiration."
In Rolland’s Album Amicorum, August 2014

Christian Tetzlaff plays... He alternates two bows, a new one by Benoît Rolland of Boston and a Dominique Peccatte from about 1840. ‘The Bartok Concerto works better with the Rolland. If I played it on the Peccatte I would have to cut down on some of the accents, which I don’t wish to do; however, sometimes I play with the Peccatte because it speaks and handles more easily. I don’t prefer one to the other; they are simply different.’ ”
The Strad, July 2005

Lynn Harrell
“Benoît, your artistry and great craft are a source of deep inspiration to any artist who is lucky to know of your work. With friendship, appreciation and thanks, Yours.”
In Rolland’s Album Amicorum, 11 August 2004

Michael Zaretsky, viola, soloist and member of the Boston Symphony Orchestra
“Rare, rare craftsmanship,” said Zaretsky. Impeccable, beautiful, resonant and most important, very well balanced. I have been playing the bow all the time, with the orchestra, as a soloist and on my latest recording of Bach. It is truly the work of an artist – and a musician. It’s impossible to make a bow that good without a feel for the instrument”.
The Boston Globe, January 9, 2005

Leonard Elschenbroich, cello Matteo Goffriller, 1697
“The bow in my hand seemed like an extension of my arm, Elschenbroich says. ‘Bernard Greenhouse also was very impressed of Rolland’s work.”
Impressionen, Freundeskreis Anne-Sophie Mutter Stiftung, July 2005

Arabella Steinbacher, violin
“I never felt before so comfortable with a bow! [The bow] has such a beautiful and elegant sound and my violin suddenly sounds completely different, much warmer and also very powerful... I played a recital with Sarasate and Kreisler; and I’m going to play the Schostakowitsch concerto”.

Yumi Okada, Violin
“Benoît’s bow is like a magic wand in that it brings out the best of my violin and creates such invigorating music. Benoît’s traits are that the bows are custom created to best suit the Artist’s characteristics. I felt an immediate difference the first time I held his bow and it exuberates confidence everytime I’m on stage.”
Boston, November 2007


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