ViolinOctetOctet New Voices for the 21st Century Volume 2, Number 6 Spring 2007
First European Quintet Performs says that van Laethem likes to participate in new and unusual concerts and performance set- tings, which gave Wouters the idea that van Laethem might be interested in the octet in- struments, which he was. Van Laethem is also a teacher at the Academie voor Muziek en Woord in Mol, and took it upon himself to fi nd others who would like to play the new instruments in concert. Jan Sciffer, who played the alto, is the cello in- structor at the Academy. All the other performers were stu- dents.
The performers were enthusias- tic about the new instruments, and although the performance was planned to be a single event, the payers want to keep on playing them. A quintet of New Violin Family instruments in rehearsal in Belgium. (l to r) Bert van Laethem, soprano; Eveline Debie, mezzo; Jan Sciff er, alto; Jef Kenis, tenor; and Greg Brabers, baritone.
The concert took place on February 10, 2007 at to Belgium via email; “Purcell’s Fantasia on One 8:00 p.m. in the Saint Peter and Paul Church in Note,” and the aria from Bach’s Cantata 124. Mol, Belgium, a small city about 40 km east of Antwerp. There were an estimated 200 people Before the ensemble played, the director of the attending, most of whom were local residents of school gave a short introduction. Wouters says it Mol. The quintet, which was made up of teach- was clear that this gentleman (name unavailable ers and students from a local music academy, at press time) had done his homework and had performed only a few selections because their carefully read all the information Wouters had performance was just one part of the music acad- given him. A number of people in the audience emy’s annual concert. responded positively to the New Family instru- ments, and several asked questions of Wouters Unfortunately, the concert was not recorded and after the concert. no pictures were taken. Joris Wouters, who built the quintet, says the picture above was taken dur- Bert van Laethem, who organized the group, and ing a rehearsal. The quintet played two selections Wouters came from the same town and have Joris Wouters, Luthier of the arranged by Robert Spear, who had sent them known each other for quite some time. Wouters Belgian Quintet.
NewsJournal of the New Violin Family Association 2 New Violin Family Association NewsJournal
Ensembles and Compositions
Albert Consort Reorganizes as New Music For Octet Instruments OctaVivo! The Albert Consort of Ithaca, the winter and the spring, Dimensions of C12. a system for deriving musical which played its last concert at and Spear hopes that after a Two composers have written pitches, or “mapping,” as she the OCTET 2005 Convention summer break, OctaVivo! will new music for OctaVivo! when calls it, from the different letters Gala, is reorganizing after 18 make its fi rst public appearance it reaches full size again. Sora of the alphabet. Of course, this months of inactivity. Founder this fall. Jederan Shpack has composed technique has been used by Robert J. Spear says the group a piece called “Dimensions other composers as far back as will emerge from the layoff with New Recording Projects. of C-12.” Shpack says of the J. S. Bach, but Boel’s system a new name, OctaVivo!, and The group is already planning piece, “When I began writing, is different. She often takes a a few new faces. Spear says several ambitious undertakings, my thoughts were around the person’s name and converts the that he chose the new name one of which represents moving essence, energy, and vibrations letters to pitches, which she then because the term “consort” in into previously unexplored of the note “C.” My intent was uses as the source material for the original name apparently territory. Mezzo violinist William to carry that through the piece her compositions. She calls her caused people to think the Hurley has agreed to record the and explore what that means style of writing “Name Music,” ensemble was a period complete Telemann Fantasias to me, although more on a and has written a number of ensemble playing Baroque for unaccompanied violin. subliminal level. As I wrote, I compositions this way. music on early instruments. These 12 did feel a strange connection selections with C and how it might create When R. J. Spear learned of Two of the Albert Consort’s are rarely specifi c dimensions as it relates Boel’s compositions, he listened founding members, soprano played and with other vibrations. Even the to a couple of pieces and liked violinist Carrie Reuning- s e l d o m fi nal E major chord was there what he heard. As it happened, Hummel and baritone violinist recorded, as a relationship, a joyous Boel had heard of the octet and Lizzy Evett, are still with the d e s p i t e completion of C. already had been thinking of group, and mezzo violinist Bill their great writing a piece for the group. Bill Hurley Hurley, who played in the Tallis beauty, and “The number 12 comes from All that Orchestra at the gala concert, the planned CD will enhance the number of half steps to remained also remains with the ensemble. both the standard repertoire the octave, although I wasn’t was to Hummel’s 17-year-old daughter, and expand the offerings of the thinking that I had to relate C pick a Sarah, is the group’s new tenor mezzo violin available to the to each different note. There n a m e , violinist for the 2007-08 season. public. was a sense that I would be which, as She replaces founding member passing through them and Spear ad- Sera Smolen, who is on H u r l e y settling on those that had an mits, was Mer Boel sabbatical. Patrick Tobin takes and Carrie inviting relationship with C-- of not hard over the alto violin position from R e u n i n g - course, the F-sharp tri-tone was to do: Carleen. Boel later wrote Jaime Kibelsbeck, who has H u m m e l an obvious favorite. I suppose a coda for the piece based on returned to school for graduate are also the same thing could have been the word “octet,” so the compo- studies. Tobin played in the Tallis planning to accomplished with any other sition is not only for Carleen’s Orchestra at the convention record the Carrie Hummel note, but I chose C, and there octet, but about it as well. The and later moved from Oregon to 44 Bartok it stands.” piece has the unexpected and New York State to play with the Duets for future release in CD delightful rhythmic and pitch Albert Consort. format. The duo will play these Carleen’s Name Music. shifts that occur with this system short, delightful pieces utilizing Mer Boel’s approach to writing of composition. It is scored for The most recent addition is two mezzo violins. The Bartok a piece for the octet was almost full octet with the contrabass in Shannon Cockbill, who will play duets also have not been completely different, to say the low B tuning. There are places the small bass, while Spear will recorded often by other artists least. Boel is the “Mama Bear” for improvised solo for the con- move from the small bass to the and should be a welcome of her folk group, Water Bear, trabass and the tenor violins. contrabass. The group has been addition to the NVFA classical (www.waterbearmusic.com) and ♫ rehearsing regularly through music catalog. ♫ some time ago she worked out New Violin Family Association NewsJournal 3
Comparing Violin Resonances
took his fi ndings harmonic series consists of the names a different note. Fig. 1 onDuane how the Voskuil resonances of a Stradivari- fundamental frequency multi- shows the locations of the fi rst model violin and a Hutchins mezzo are plied by the positive integers, 16 partials of middle C# as one related to present them at a meeting so the fi rst harmonic is the next looks down at the top of the of the Acoustical Society of America in higher octave (fundamental x sphere. Each bowed note will 2), the second harmonic is the set up its own harmonic series Honolulu, Hawaii. It was a tough job, Twelfth (an octave and a Fifth, whose frequencies one can but somebody had to do it! the fundamental x 3), and so on. easily calculate. However, as Carleen fi nally got To this upper Midwesterner, ing less calculus than I. The mu- through to me, a plucked string Next I tried to fi nd as many natu- Hawaii is an exotic place some- sic sessions didn’t completely does not set up an harmonic se- ral body and air mode resonanc- where out there in the Pacifi c, avoid the lengthy derivations or ries, but a bowed string, since es as I could in an octet mezzo so when Carleen Hutchins sug- integrations either. it is constantly driven, does pro- and a typical Strad-model violin. gested I go to Honolulu and duce overtones in an harmonic My equipment began to fail me present my work (fi nding and My fi fteen minutes of ‘fame’ series. above about 1800 Hz, but I was comparing violin resonances began with some elementary able to extrapolate a bit beyond that bowed strings’ upper har- background: Freely vibrating I have devised graphs that show that from some air mode fre- monics match and activate in a strings have a fundamental fre- the 12-tone scale as a spiral on quencies William Allen found mezzo and a Strad-model vio- quency and many overtones, a sphere where each octave and demonstrated at a Catgut lin) at the Acoustical Society of but these higher frequencies do is once around the sphere and Acoustical Society convention America’s convention there, I not set up a natural harmonic the octaves spiral ever tighter in Vermilion, South Dakota. By booked my fl ight and looked for series because of air resis- as they approach the poles, plotting the equal-temperament a big-fl owered shirt. With De- tance and internal stiffness. An so each of the 12 longitudes notes along a horizontal axis cember temperatures around and their just-temperament har- zero, I arrived at the Bismarck, monics vertically, I was able to North Dakota airport in my down fi nd where the violins’ modes jacket, left it in the car as I ran matched these overtones within to the terminal, hoping it would the Rayleigh wave tolerance of not be needed until I returned. 1.4%. By allowing the modes Without any forced landings to be activated within 1.5 times over land or the hundreds of the Rayleigh criterion, and miles of ocean, the jacket was by giving a highest weighted not needed since Hawaii really value to matches in the lowest is 70 to 80 degrees every day, octave and gradually lesser to and very humid—I should have the next 3 higher octaves con- left the suit coat home too. sidered, I found that the mezzo violin had 68 possible matches The joint meeting with the Japa- with a weighted value of 141 nese Acoustical Society was or 12 percent better than the held in the middle of the famous Strad model’s 60 matches and Waikiki beach at the Sheraton weighted value of 124. hotel. As conventions go it was huge, with hundreds of pre- Polar graphs with the violins’ sentations. Most, as was mine, resonant placements (Fig. 2) were only allowed 15 minutes. show more bowed notes of the The range of topics was mind- mezzo likely to be augmented boggling to one who tends to by the various longitudinal (L), think of acoustics as related to cross-bout (C), ring (R) and music. And don’t show up with- body (B) resonances, etc., than Figure 1. Locations of the fi rst 16 partials of middle C# looking down out a PowerPoint presentation the Strad-model’s bowed notes on the top of the sphere. Each bowed note will set up its own harmon- on your fl ash drive, and know- since the resonances are more ic series whose frequencies one can easily calculate. 4 New Violin Family Association NewsJournal
spread around the octaves, particularly the two strong resonances, A0 and A1, that of the string from bridge to tailpiece. No one ex- are half an octave (a fi fth) apart and so are perfectly harmonic complements if ac- pressed a belief the presentation was fl awed, but tivated together. neither could I generate any interest in helping to corroborate the data or extend it by fi nding higher I pointed out a few ways to control resonant placements, and suggested some frequency air modes. Yet neither did Hawaii seduce intervals that might be advantageous, such as, placing the upper and lower cross- me into wanting to give up my love of contrasting bout frequencies a major third apart, the free-plate mode 1 a fi fth below mode 2 and seasonal variety, including the crunching of snow placing B1 a fi fth below B0. underfoot on a crisp below-zero morning. ♫
The presentation of the logical relationship of notes as spiraling around on a sphere seemed to be new and intriguing to some. One offered another harmonic match to consider, that the 4th harmonic of the open string should match the fundamental
Mstislav Rostropovich 1927 -- 2007
World-renown cellist Mstislav Rostropovich died of cancer in Moscow on April 27, 2007. He was 80 years old and had just retired from a career that many of his contemporaries say made him the greatest cellist who ever lived. Although Slava, as he was called by his friends, had no overt connec- tion to the Catgut Acoustical Society, The New Vio- lin Family, or the Violin Octet, there is a connection of which only a few people are aware, according to R. J. Spear, a violin maker who knew Slava when he conducted the National Symphony Orchestra during the 1980s. Spear, then just starting out in his career as a professional instrument maker, took the fi rst two cellos he made on his own model to Rostropvich for a critique. Much to his surprise, the famed cellist bought one on the spot, but there was more to this choice than meets the eye.
Spear had studied acoustics with Dr. Carleen M. Hutchins in Montclair, NJ during the 1970s, and the two cellos were the fi rst he had made using Hutchins’s then-evolving theories of free plate tun- ing. In fact, one of the cellos had the elusive bi-tri- octave match considered the pinnacle of plate tun- ing application. The match is so diffi cult to achieve in bigger instruments that Spear said it was noth- ing short of miraculous that he attained it on his fi rst try, and that in the 30 years that followed, he has duplicated the feat on just one other cello. Rostropovich selected the octave-tuned cello, and his response and that of several other cellists present at the time was so emphatic that it left no doubt in Spear’s mind about the value of free-plate tuning. He says it was a spectacular launch to his Figure 2. Polar graphs with the violins’ resonant placements showing more bowed notes career, and that without the acoustical knowledge of the Mezzo likely to be augmented by the various longitudinal (L), cross-bout (C), he gained from Hutchins, he might still be repairing ring (R) and body (B) resonances, etc., than the Strad-model’s bowed notes. public-school plywood basses. New Violin Family Association NewsJournal 5
Stringing the Treble Violin
Look into the Octet’s history and ask yourself where found with a wire diameter Not many violinists have played the whole project would be without special strings. And of .007 inches (.178 mm). Al- it, but those who have prefer it nowhere was the need more pressing than in creating though thinner strings had high- unanimously to the others due an e string for the tiny treble violin. It still is! er tensile strengths approach- to the ease of fi ngering in the ing 570,000 psi, they were too highest positions and to the sur- thin for musicians to use in typi- prisingly full bass from a more cal fashion. The resulting wire optimally sized body. could be tuned to the desired pitch, but to stay in the range What Comes Next? A Short History. was theoretically possible, but of 75% or less of the breaking The future of high-tension, In the early 1960s, the Cat- the drawing process endowed point, it could only span 8.66 high-pitched strings may not lie gut Acoustical Society (CAS), only the smallest wire diameters inches. This gave the treble vio- in steel, but in the super-strong predecessor of the New Violin with the highest tensile strength lin a string length much shorter and very technologically ad- Family Association (NVFA), ratings even though the break- than indicated by traditional vio- vanced composites used in the undertook the development of ing weight of the wire (in lbs.) linmaking proportions. aerospace industry. There are the Violin Octet, a set of eight diminished as the diameter de- materials on the shelf today that matched violin-type instruments creased. Today’s Steel Strings. are strong enough to create a sized to cover the practical range The present state of the art string for a counter-treble violin of written music. The smallest The original wire used for the e3 seems not much different now sounding an octave above the member of this ensemble is string was manufactured by the than it was forty years ago. Na- soprano with a top string of a3 the treble violin, an instrument National Standard Company in tional Standard no longer man- at 1720 Hz! There are still many with a body length of about 11 Niles, Michigan, and was rated ufactures this type of wire, and problems to overcome, such as inches and one that is tuned an at ~530,000 psi. Many prob- world production seems to have winding the materials with metal octave above the standard vio- lems with breakage occurred been reduced to a few manu- and fi nding the right combina- lin. That this instrument exists at since the steel wire corroded facturers. Mount Joy Company tion of string diameter and ten- all is a testament to an effective in use. Strings tended to break (Pennsylvania) now produces sion for comfortable playing, but series of compromises between wherever the slightest corrosion rocket wire, but it has a rating of the future looks promising. acoustical, structural, and ergo- or pitting occurred. This often only 470,000 psi. The sole man- nomic considerations made by led treble players of the time to ufacturer making violin strings In future issues of Violin Octet, the original development team, pass notes of warning to each for the treble violin is the Su- we’ll keep you abreast of all the but the ultimate determining other, and in some cases the perSensitive String Company in latest developments. factor was fi nding a string ma- threat of such a high-tension Sarasota, Florida, and they are ♫ terial that could be tuned to e3 string breaking so close to a apparently using old stock from (European nomencalture or e6 player’s left eye was enough to National Standard. With the in Scientifi c Pitch Notation) at dissuade some musicians from future promotion of the treble 1320 Hz without failing. playing the treble at all!. violin in mind, this is a troubling circumstance. In the early 1960s, by fortuitous The breakage problem was Next Issue of Violin Octet circumstance, other researchers temporarily solved by applying Luthier Robert Spear built two were developing a new, high- olive oil to the string between experimental treble violins for We devote the next issue to the tensile-strength wire known as uses, and permanently solved this purpose. The original treble octet basses in all their glory. “rocket wire.” By adding precise by coating the wire with a thin has a string length of about 8.66 We’ll talk about recent devel- percentages of carbon, and layer of brass. Since then, the inches (220 mm); the smaller opments, new ideas, tunings, employing a manufacturing pro- coated rocket-wire strings have of Spear’s two experimental transpositions, and composing. cess of repeatedly cold-draw- proved quite durable and per- trebles has a string length of We’ll also feature helpful ideas ing the metal into smaller and formed well, but the problem 9.75 inches (252 mm); the larg- about holding and playing the smaller diameters, an exceed- of an excessively short string est has a string length of 10.5 basses. What more would you ingly strong material could be length remained. inches (267 mm). Of the three, expect from a newsjournal edit- obtained. Research abstracts of the largest is the only instru- ed by a former bass player who the time indicate that wire with a The best compromise for a ment constructed in accordance says that he never heard a note tensile strength of 600,000 psi musical instrument string was with classical violin proportions. he thought was too low? 6 New Violin Family Association NewsJournal
NVFA News Briefs
Second-vice-President’s satisfi ed the requirements of In addition to her duties as position is currently vacant. Ted all three categories, and Spear Executive Director, Hutchins Jones was elected Secretary, thinks the latest disc will be the has also taken on several replacing Pamela Proscia, who best one the Association has students who come to her moves to the Advisory Board. ever produced. home on Monday afternoons Web Site Forums. Charles J. Rooney remains as to learn violin making and to Activity in the NVFA Forums Treasurer. The disc, which plays for over study free-plate tuning with continues to increase, but, an hour, contains solo rectal the undisputed master of the surprisingly, less of it is due The terms of Directors Elias performances by Grigory technique. Hutchins reports to membership participation Abelson, Daniel Heifetz, André Sedukh, treble violin; Chien Tan, that some of the fi rst student than one might think. The P. Larson, and Joseph Peknik treble violin; Carrie Hummel, violins have been completed in increasing prevalence of search have expired. Abelson and soprano violin; Sera Smolen, the white, and that they “sound engines on the Internet is Heifetz have left the Board of tenor violin; and Diana Gannett, gorgeous.” They would not dare driving the increase at present, Directors, while Larson and small bass violin. There are also to do otherwise! which is not at all a bad thing Peknik have joined the Advisory duets by treble violinists Sedukh according to Robert Spear, the Board. Elected to the Board of and Tan, and a mezzo violin Ashley Wood Update. Association’s Internet liaison. Directors for the fi rst time are and tenor violin improvisation In the previous issue we “Some days I will note 15 or 20 Ellen Carlson, Steve Davis, and by Stephen Nachmanovitch reported on the rapid liquidation visitors browsing our forums,” Michael Haeger. We thank all and Sera Smolen. Ensemble of Hammond Ashley’s extensive Spear says, but of that number departing offi cers and directors performances include a solo collection of wood for violin only a few will be registered for their contributions to the by Diana Gannett, bass violin, making, and we noted that much members. The rest are search Association, and wish best with the Albert Consort, the of the wood was sold before the engines from all over the world.” of luck to our newest Board Albert Consort alone, and two NVFA could raise funds to make The indexing performed by the members and offi cers. selections by the Hutchins an offer. Especially keen was various organizations that send Consort, one of which contains our feeling at the loss of boards out search engines means Playing for the World. a contrabass solo by Joe for the contrabass, which were that exchanges on the forum The latest NVFA CD project is McNalley. sold to makers of conventional become available to everyone nearing completion, according basses who will likely cut them in the world with a computer to Robert J. Spear, Chairman of Historical performances include down in size. and Internet access. “Someone the Media Committee. The disc, the fi rst treble violin duet ever can post a message in a titled Playing for the World, is a recorded, the fi rst mezzo and There is a happy side to this forum, and within two or three compilation of twelve selections tenor duet ever recorded, and story, however. Dave Wilson, days someone searching for a recorded during the two recitals a performance by the largest Ashley’s partner, saved a phrase or keyword can fi nd it on and the gala concert held during group of Octet instruments number of sets for tenor, Google. It’s a way to promote OCTET 2005, the Association’s ever gathered in one place to baritone, and conventional cello. our organization that we could fi rst international convention. date--almost three full Octets. Wilson told us that this was not not buy at any price,” Spear The title of the album comes Spear says that barring any picked-over remnants, but wood says. Only messages in the from a comment made by a further unforeseen delays, and cut for octet instruments in public forums can be searched. person in the audience for the there have been many, the disc sizes that did not interest other Messages in the “members OCTET 2005 Gala Concert. should be at the pressing plant makers. Thanks to a generous only” section remain private. by the time you read this. donation from NVFA Directors Spear notes that there were John Cavanaugh and Margaret Organizational Changes. altogether seven CDs worth Happy Birthday, Carleen! Sachter, the NVFA was able One of the largest changes ever of material on hand, but that NVFA Executive Director to acquire this wood and store to occur in the organization took selection of the pieces to be Carleen M. Hutchins celebrated it in a large barn owned by place as the result of the last included on the CD was less her 96th birthday with a party the family of Michael Haeger, two Board elections. Joseph diffi cult than he had feared. at her home in Wolfeboro, NH another Director. In addition, F. Conrad becomes President, The pieces were organized by on Thursday May 31, 2007. Wilson donated a complete set replacing Paul R. Laird. Frances their level of performance and Although Hutchins’s birth date of molds, templates and other Furlong moves from Second their historical signifi cance, is actually May 24, the later date forms for making octet violins, vice-President to First vice- and also by type so that the was chosen partly because it plus a large quantity of willow President, while former First broadest display of the various roughly coincided with the 50th wood for blocks and linings. vice-President John Cavanaugh New Family violins would be anniversary of the New Violin Altogether, the material weighs remains as a Director. The represented. Many pieces Family. over half a ton! ♫ New Violin Family Association NewsJournal 7
Faces and Places
The Peabody Quartet played are 20 tracks of well-played an under-represented piece in a seasonal classical music music to delight the ear. The recordings . . . It is a very good concert on December 2, 2006 CD is available directly from the piece in the Bolognese tradition. I at the Andrew Safford House in Hutchins Consort web site, www. personally like Bolognese music Salem, Massachusetts as part of hutchinsconsort.org. or from the for NVF instruments because the the Peabody-Essex Museum’s online CD store, CD Baby, www. San Petronio orchestra used a lot annual Holiday Festival. The cdbaby.com. of strings--viola da spalla (tenor- quartet is comprised of NVFA size violin), various violones, etc. Director Dr. Robert Nersasian They liked a balanced orchestra, and Catherine Stanton, who not the top-heavy orchestra we played mezzo violins, Stephen are accustomed to today.” Grasberger, viola, and Meredith Browne, cello. The octet Other exciting news comes to instruments made available for us from our friends in California, the concert were received by including a potential concert this the players with mixed reviews. fall featuring a new piece to be After leaving OCTET 2005 in Grasberger felt he did not have written by the father of the violin November, 2005, and playing enough time to learn how to play octet, Henry Brant. While details a concert at the Metropolitan have not yet been worked out, Museum in New York a few Consort founder Joe McNalley Brant is contemplating a piece days later, treble violin soloist says the latest album represents written for full octet and two Grigory Sedukh and pianist plans for “theme albums” in conventional violas by Carleen Sara Crombach performed the future. For this, the fi rst in Hutchins. The violas are now with a recital of Jewish music the series, the compositions by luthier R. J. Spear for setup and on December 10, 2005 at Sweelinck, Corelli, Torelli, and adjustment, and will be shipped the Liberal Synagogue in Zavateri are all Christmas music. to California at the end of the Amsterdam. The recital, titled McNalley says, “The Zavateri is summer. ♫ “Orientale,” was a tribute to a the alto violin well, although he group of young Russian-Jewish did play several selections on composers who comprised the vertical instrument. Cellist the St. Petersburg Society for Browne also had a hard time Jewish Folk music and whose adjusting to the baritone and works had been suppressed in ended up playing the entire the old Soviet Union after the concert on her standard cello. communist takeover in 1918. Despite a considerable output of Nersasian says that the initial music, the music of the Society reactions of the musicians are has been almost completely not unusual. “Every musician forgotten. does that at fi rst. It’s hard to pick up something different.” Stanton Sedukh says he likes playing agreed, saying, “They’re very The Carpe Diem String Quartet is shown playing a concert at Jewish music on the treble beautiful instruments, but you the Bexley Public Library in Columbus, Ohio. Since the concert violin, and over time he has have to spend more than two was given on April 1st, the group played Haydn’s “Joke” Quartet, made many transcriptions of weeks learning how to bring that among other more serious works. As an encore, they had another classic compositions for the beauty out of them.” joke in store, playing a movement from a Mozart Quintet with instrument as well. Sedukh Wendy Morton, assistant principal cellist of the Columbus (OH) is presently a member of the New Hutchins Consort CD. Symphony Orchestra (CSO) playing the second viola part on her St. Petersburg Philharmonic The Hutchins Consort has recently purchased alto violin. The missing cello part was played and teaches chamber music released its second CD, by her husband, Mark Morton, the CSO’s principal bassist. Other at the St. Petersburg State “Concertos From the Time of players are (from left) CSO Concertmaster Charles Wetherbee, fi rst Conservatory. Holberg.” Featuring music from violin; Robert Firdman, second violin, and Korine Fujiwara, viola, the Baroque, or music of more also members of the CSO. Our thanks to NVFA member and CSO modern masters inspired by assistant principal violist Brett Allen for contributing this information, the music of the Baroque, there and to Carpe Diem for permission to use this picture. ♫ 8 New Violin Family Association NewsJournal
Announcements & Advertisements
Octet Construction Drawings!
Playing for the World All Eight Octet Plans now in Digital Format.
* Clear, concise, easier to read and store. * Print the entire plan, or just the portion you want. * Available as .PDF, .DWG, and .DXF. * View drawings on paper or on screen. * Easier to update.
The octet set on compact disc will be available soon. Check our web site for notice of price and availability.
Reduction of plan for contrabass
Music performed on instruments of the New Violin Family Coming Soon! The newest CD from the New Violin Family Association! Over one hour of professionally recorded performances by soloists, small groups, and large ensembles of the New Violin Family. A must-have addition to your CD library.
Advance orders now being accepted. Call or $15.00 write the New Violin Family Association, plus shipping and 42 Taylor Drive, PO Box 987 Upgraded Luthier’s Kit Available Soon! postage Wolfeboro, NH 03894 The Essential Starter’s Guide for Octet Makers. 603 569 7946. Online orders available soon. Contents include: * All back newsletters-- * Introductory letter to makers six complete issues * Prices for blue line drawings * Plate Tuning for the maker * Description of all instruments * Mode tuning & plate stiffness Classifi ed * List of wood dimensions * Tuning the B0 mode For Sale * List of measurements * Research briefs for makers * List of tuning factors * Free plate frequencies 17 3/16” Viola by Carleen Viola by Carleen M. Hutchins * Normal mode patterns * Tuning the bass bar I Hutchins 1978. Powerful for SUS #30, 1955. About 16” body * A plate tuning experiment * Tuning the bass bar II solo playing, but sweet. Asking length. Comes with Albert Nurn- * Retrospective on plate tuning * Strings for the octet $20,000. Randall Vemer berger bow. May be viewed in * List of available music * Using wolftone suppressor
Letters to the Editor
Normal Modes. What we wanted to say is that My wife and I are building a new day. I gave it a try. The thing There is one signifi cant correc- what a particular violin does retirement house and shop, and is, it is not altogether easier for tion to the sidebar on page 3 under given circumstances is when completed, I want to use cellists to adapt to it (as I had about normal modes [vol. 2, no. what other violins would do un- the quintet pattern that R. J. assumed) because of the com- 5]. The “normal mode” appella- der the same circumstances. Our Spear described in the last CAS pressed string length. The left tion comes from a mathematical Webster’s Collegiate Dictionary, Journal to start my set. Will you hand was not so much of a prob- process to see if one mode is 4th edition, defi nes “mode” as publish more of these develop- lem for me, although I would orthogonal (“perpendicular”) to a “manner of being,” and “nor- ments in the Violin Octet? have to add thumb position to another. A better way to think mal” as “corresponding to the my bag of tricks, as well as de- about this is to look at a sys- average of a large group in ap- . . . the Violin Octet is the future velop a slower, wider vibrato. tem with three orthogonal axes, pearance and function.” In math, of stringed instruments, but it will (For those who don’t know me, X, Y, and Z [left/right, forward/ “normal” refers to a perpendicu- take another 50 years to edu- I play viola.) Bowing, however, backward, and up/down --ed.] lar. The term even pops up in cate and develop the musicians is a bear. For the vertical violist, Motion along any one axis does drafting, where a horizontal line for the public to enjoy the work that takes work. not change your position along is “normal” to a vertical line. of Carleen Hutchins and all of the other two axes and is inde- the others who have worked in I have been practicing on my pendent of them. I cannot gen- Bissinger’s designation of “nor- semi-heated garages to develop own 16 & 1/2” viola, [a traditional erate motion along the X axis by mal mode” is technically a “term these beautiful instruments. viola by Carleen Hutchins] play- moving along the Y or Z axes of art,” which is a word or phrase ing it gamba style. Not a bad separately or together. that has a limiting and defi nite -- Allan B. Lewis will soon be idea if you don’t have an Alto. meaning in some science or art. working in splendid new sur- Incidentally, Stephan Sanderling This is the concept behind There is much confusion here roundings in Dike, Tx. was guest conducting that week normal modes: each mode is since the word in one case is used and took great interest in the entirely independent of all the inclusively and in the other it is Mr. Lewis’s letter touches on proceedings. I gave him some others, and no mode can be used exclusively, leaving one of many points that other readers ancient literature I have kept on generated by combining other the parties involved with no good have raised. With regard to the the subject and he made copies modes. way to describe something! $50 membership rate, I can only for himself. say that we have struggled to --Brett Allen Normal modes in a linear sys- We herewith challenge our read- keep our dues as low as we can, is a profes- tem like the violin are depen- ers to devise a word or phrase and that your membership gets sional violist dent on the material stiffness, that we can use to describe the you the entire organization in ad- and longtime density, and shape properties. condition noted without ruffl ing dition to the newsletter. Having a supporter of If you build a good computer the feathers of any highly valued diverse membership makes it nec- the New Vio- model that has the correct ma- modal analysts. We thank Dr.Dr. essary to have diverse newsletter lin Family. terial properties and mirrors the Bissinger for writing and for his content. However, the point about shape of the violin in all its parts continuing interest in our work. the lack of scientifi c and technical Your comment about the right and how parts are attached to articles Lewis raises is well taken. hand being more of a problem one another, you can calculate NVFA Newsletter For that we need more submis- than the left fi ts well to the com- the normal mode shapes and The renewal time has come for sions from qualifi ed researchers ments I get from other viola play- frequencies. This is the only way the NVFA Newsletter. But the and luthiers, and such are always ers coming to the alto. One young the violin’s vibrational behaviors price is now $50 and for that, welcome. On a personal note, hold lady did very well with fi ngering can be reliably predicted, and I would like to know if future off on using the quintet patterns and intonation on the alto, but the only way in physics to go editions will continue to rehash since these were experimental. I struggled to the last with bow between materials and modes octet performances and re- hope to publish results of the sec- hand and grip. This person sub- for such an entrancing yet un- print Catgut Acoustical Society ond set here when they are avail- sequently joined an early mu- forgiving shape! (CAS) articles, or will there be able. Thanks for the kind words, sic group where she played bass signifi cant new technical mate- and thanks for writing. gamba vertically, as usual, but - - G e o r g e rial printed? had to learn how to bow with the Bissinger is More on Alto Fingerings underhand grip. Oddly, once she a professor If each issue of the Violin Octet You may be right about the need did this, her problems with the of physics at were to have two new quality for cello-sized AND viola-sized overhand grip on the alto mostly East Caro- technical articles at the level string lengths for the Alto. An cleared up. There really is a se- lina Univer- of the old CAS Journal, then I alto showed up at a Columbus ries of mental processes to work sity. would feel the price justifi ed. Symphony rehearsal the other through! 10 New Violin Family Association NewsJournal
Offi cers & Board Membership Policy
President Imitation or Deception? Annual Dues. Joseph F. Conrad ll $50 Vice-President There have been a number of musicians performing on what are Frances Furlong claimed to be alto violins or baritone violins, and so on. Recently, Duration. Secretary the owner of a store in Meredith, NH listed what he called a “vertical Membership runs with the cal- Theodore A. Jones viola” on ebay, the popular Internet auction site. Another store has endar year from January 1 Treasurer Charles J. Rooney, Jr. been advertising a 5-string “mezzo” violin. Of course, this and other through December 31. terms like “soprano” or “tenor” cannot be trade marks since they Executive Director are common musical terms. Some of these other instruments, such New Members. Carleen M. Hutchins as the so-called “baritone violin”, use trick strings to achieve their If your payment is received on Assistant for Finance sound. In some cases, the output of a microphone is run through or before September 30 of a F. Scott Ponicsan electronic equipment that shifts the pitch up or down by one or given year, you are considered Assistant for Operations more octaves. Voila! A violin that sounds like a bass! a member for that year. You will Robert J. Spear receive all materials, newslet- Secretary and Offi ce Mgr. That said, however, terms like “baritone violin,” and especially ters, etc., for that year. Sue Taylor “vertical viola,” have been closely associated with the Catgut Trustees Acoustical Society and the New Violin Family for nearly 50 years. If your dues are received on or Ellen Carlson The instrument for sale on ebay was certainly not a vertical viola or after October 1 of a given year, John Cavanaugh even an alto violin; at best it was someone’s idea of how to trade you are considered a member Steve Davis upon the work of others. An individual might purchase that modifi ed for the entire following year and Michael Haeger cello thinking he was getting the genuine item, while others might your membership benefi ts will Donald Joseph McNalley be led to believe that the instrument embodies and typifi es the commence on January 1. Sharon McNalley results of half a century of acoustical research. Without the correct Robert Nersasian, MD rib heights and thicknesses, the use of free-plate tuning, and the Renewing Members. F. Scott Ponicsan critical placement of the main air and body modes made certain by Membership renewals are due Margaret H. Sachter, Esq. a luthier who is well-trained in the system, this so-called “vertical by January 1. There is a 60- Lin Tollefsen Tim Trott viola” will never even remotely sound like the real alto violin. day grace period. Any member whose dues are not received Advisory Board To ensure that you purchase the genuine item, check the NVFA by March 1 will be considered Alan Carruth web site
The Lone Ranger Rides Again! (A Letter from the Editor)
The individual artist and the association working together accomplish more than either does working separately.
Dear Reader, landscape, rather than research ago, they placed an announce- almost anyone we know of yet As this, the 6th issue of our and development, which repre- ment on the ‘Coming Events” knew nothing of plate tuning and newsletter, goes into the mail, sents a great departure from the page of the NVFA site. It was labored in isolation. His work did I remain impressed by two goals of the group when it was done almost as a joke because not turn out as well as it could things: fi rst, by how much octet the Catgut Acoustical Society. no one expected it would have have, and we, in turn, were of activity is going on, and, sec- any effect. To their surprise, their absolutely no help to him at all. ond, by how diffi cult it is to fi nd The rather close-knit effort of audience included a gentleman The Lone Rangers ride again, out about most of it. When I as- acousticians, physicists, com- from North Carolina, a gentle- but do they really know where sumed the editor’s duties more posers, musicologists, musi- man from Maryland, and a cou- they are going? than four years ago, I told Car- cians and instrument makers ple from Toronto, all of whom leen Hutchins I didn’t think we’d that characterized the effort dur- had seen the events calendar of We hope there will come a time have enough material for a pub- ing the fi rst forty or so years has our newsletter or our web page. when octets and new family in- lication half this size. I sure had begun to fade from the scene. It Such events really emphasize struments are so well integrated that wrong! is on the one hand encouraging how individual artists and the into our musical life that an or- to see a new generation begin- association working together ac- ganization like the NVFA will be That said, however, this edi- ning to replace the old, but it is a complish more than either does superfl uous. Lone Rangers then tor has found that shovels, pry bit discouraging to observe that working separately. can ride anywhere they want bars, and a few sticks of dy- these organizations and individ- because there will be so many namite have become essential uals tend to be scattered about, Another example occurred re- of them they can’t possibly be tools of his trade. This odd state and too many function anony- cently when Silvio Dalla Torre, alone any more. That day is not of affairs is caused by the rides mously or autonomously. a bass virtuoso from Rostok, yet here. of the Lone Rangers, and it re- Germany, commissioned an Oc- fers specifi cally to a trend I see I was surprised that many of our tet small bass from luthier Joris R. J. Spear, Editor for many individuals and groups new colleagues do not belong to Wouters in Belgium. Dalla Torre PO Box 6562 involved with the octet effort to the New Violin Family Associa- had been searching for months Ithaca, NY 14851 operate in isolation or to con- tion, do not know of the history to fi nd someone who could [email protected] duct themselves as if they are or the people behind the octet make an instrument that could the only ones bearing the fl ag. instruments, and do not even be tuned in fi fths, but he might Individual effort is one thing, know of each other. It gives me still be looking had he not seen and it should not be discour- pause to realize that these Lone Wouter’s name listed on the Lu- aged, but going it alone is quite Rangers are the people who will thier’s page of the association’s another. I point this out not to make or break the octet concept web site. The bass turned out so whine about how hard my task in the near future, whether we well that another player has or- is, and not to rant over unre- veterans like it or not. dered a second bass from Wout- sponsive corespondents, but to ers. Cooperation pays, in every express as plainly as I can why I Some examples. sense of the word. think this is not a good idea. Suppose someone presents a concert on an octet instru- If you can understand why such The future of the violin octet ment. A fair number of people events cause us so much joy, will be decided in the next few show up, the performance goes you can probably understand years, but probably not by the well, and all involved consider how disappointed we felt when We welcome submissions for people you think. Of course, the the event a success. But is it? we discovered that two octet in- articles, Letters to the Editor, Lu- executives, offi cers, and board Had they coordinated with the struments had been used in two thier’s Workbench, and Lighter of the New Violin Family Asso- national association, announce- separate solo performances with Moments. Please include your ciation will be doing all that they ment of the concert could have professional symphony orches- name, address, and a small pho- can to ensure the future of the been placed on the associa- tras, and we didn’t fi nd out about to of yourself (digital format pre- octet, but the trend of the effort tion’s web site. When the Albert them until the performances ferred). Send concert and event is now toward broadening the Consort performed two closely were over. Or when we learned notices to
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In This Issue:
1...... First European Octet Performs 2 ...... Ensembles and New Compositions 3...... Comparing Violin Resonances 5...... Stringing the Treble Violin 6 ...... NVFA News Briefs 7 ...... Faces and Places 8 ...... Advertisements and Announcements 9 ...... Letters 11...... Editorial
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Joris Wouters (Europe. Belgium): Actually I tried it quite a few years ago, and since it made such dif- ference I have done so ever since.
On the other hand, I found that the bigger the instrument, the less difference it makes. As for the small bass I made, it hardly had any effect at all. I think this is because the vibrating area is too big to be signifi cantly affected by varnishing.
I’m convinced it does have an effect on big instruments, but prob- The NVFA Forums have been operational for over a year. If you ably not on the way I am checking it / or am able to measure. haven’t participated yet, we invite you to follow the forum link from our web site home page
Robert Spear (USA. New York): I’ve been using a French polish fi ll, with seedlac or a terpene/seed- In a recent exchange in the varnish forum, Joris mentioned that lac mix in alcohol, and pumice as a grain fi ller. Often I’ll use a light he seals his free plates with clear varnish before fi nishing his tun- wipe of walnut oil fi rst, which gives a nice look. I build a fair amount ing. He says that it is remarkable how much the modes will rise. of pumice, a la the Barlow/Woodhouse fi ndings. I would guess that It sounds like a real good idea, actually, and I was wondering if this would have most of the effect on the varnish, but without com- anyone else has done it. In particular, does the rise in frequency parative data who can tell? At any rate, I’d expect any change to be hold, or over time does it drop again by some amount? This phe- much greater in the top than in the back. nomenon may explain why a couple of instruments I made that didn’t match because mode 2 was too low ultimately turned out to sound very good.