In terms of fame, and very likely in terms of expertise, Italian, French, and German violin makers have the Russians beat by a long shot. At least that’s the general opinion. Whether that is so because the violin was actually invented in Italy (around 1530) and the most prolific makers worked from there and were the first to become famous is anyone’s guess. The names of da Salo, Amati, Stradivari, Tononi, Guarneri, Maggini, Carcassi, Storioni, Gagliano, Guadagnini, Ventapane, Rogeri, Ruggieri, Pressenda, Albani, Gobetti, and Montagnana, are certainly very well known. Their violins are prized above all others. On the other hand, Russian makers are not known at all. This peculiarity is striking since the whole world knows that most of the world’s celebrated violinists are Russian. To filter them further, most among these superlative Russian players are Jewish – Oistrakh, Goldstein, Kogan, Heifetz, Elman, Zimbalist, Seidel, Milstein, and Gitlis, to name a few. So, why aren’t there any great Russian violin makers – makers whose names are household words – Jewish or otherwise? Perhaps it has to do with tradition – like the tradition of exceptional French wine making or fine watch making by the Swiss. After Amati (and his relatives) and other early makers started violin making enterprises, the violin construction economic engine took off; soon, imitators sprang up elsewhere in Italy - some of them really good. Entire families (such as the Guarneris and the Stradivaris) got involved in the trade and the tradition of fine Italian violin making was thus established. By the time the ideas and patterns for violin making spread to other parts of Europe, the Italians had been at it for more than fifty years. Then the Italian violin virtuosos got going as well. Up until 1750, they were dominant in the violin playing sphere. Italian violinists like Corelli, Somis, Pugnani, Tartini, Geminiani, Vivaldi, Tommasini, and Locatelli had few (if any) corresponding contemporaries in the other European countries or Russia. There was a time when Spain ruled the seas. There was also a time when the Roman Empire ruled the world. Nothing lasts forever. Who knows whether the Russian violin makers will not someday soon take over the business?
Robert Lipsett (Robert Crawford Lipsett Jr.) is an American violinist and teacher born (in Louisville, Kentucky) on October 23, 1947. He is best known for holding the violin chair at the Colburn School in Los Angeles, a position named after Jascha Heifetz. He literally teaches in Heifetz’ old music studio, which was disassembled at Heifetz' home in Beverly Hills and reassembled on the Colburn School’s campus. The studio includes almost all of Heifetz’ furnishings and décor as well. He has been on the faculty for more than 25 years. Lipsett gives master classes all over the world and also teaches at the Aspen School of Music. He began his violin studies as a child, at age 7, in Dallas, Texas with Zelman Brounoff (concertmaster of the Dallas Symphony) and Ruth Lasley. After his family moved to Saint Louis (Missouri), he continued his music studies with Melvin Ritter (concertmaster of the St Louis Symphony and former student of William Kroll.) Eventually, he graduated from the Cleveland Institute of Music and, after graduation, also studied with Ivan Galamian at Juilliard (New York) and Endre Granat, presumably in Los Angeles. In 1986, he began teaching at USC (University of Southern California.) Lipsett has also worked as a session (studio) violinist in Los Angeles, recording for movies, television, and CDs. He has received several awards for his distinguished career as a teacher. Among his many pupils are Robert Chen, Tamaki Kawakubo, Kathryn Eberle, Leila Josefowicz, Jennifer Frautschi, and Lindsay Deutsch. From the photo you can see Lipsett plays a fine violin but I don’t know what it is. About achieving a top concert career, Lipsett has said the following: “One eventually has to face a sort of reality. Being a top concert violinist is like running for President. There’s just not much room up there at all.” 
