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The Violin in America: Old World Tradition, New World Sound

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The Violin in America: Old World Tradition, New World Sound Old World Tradition, New World Sound explores the transplanting The Violin in America: of European violin and bow making traditions to American soil by 19th and 20th century immigrants, and how communities in the New World combined innovation with tradition to ultimately create a unique musical identity. The exhibition premieres a large and comprehensive body of work representing the evolution of American violin and bow making from its European beginnings to the most exciting work of the best contemporary masters... Carlsbad, CA 92008 5790 Armada Drive New World Sound • February 23, 2008 - September 7, 2008 Old World Tradition The Violin in America non-Profit Org. non-Profit Permit No. 245 No. Permit Carlsbad, CA Carlsbad, U.S. Postage PAID A special exhibition at the Museum of Making Music • 5790 Armada Drive • Carlsbad, CA 92008 TheOld World Violin Tradition in• New America World Sound and bow making owes its presence in America to the great waves of European immigrants Violin who came to the New World in the 19th and 20th centuries. The new residents brought with them many talents, including a long tradition of fine woodworking and instrument making skills, musical mastery and a rich and diverse repertoire. This exhibition includes rare historic examples of the work of early American masters that directly resulted from these influences. Additionally, stories of luthiers such as John Pfaff, A.W. White, Carl Becker, Mario Frosali, George Gemunder, and Simone Fernando Sacconi illustrate the steady development of the American school from the late 1860s through World War II, and demonstrate the importance of the local violin shop and a master luthier in establishing local traditions in violin and bow making, and in fostering an appreciation of classical music and high quality instruments. Their inspirations—based on classical European models exemplified by the work of Amati, Guarneri and Stradivari—serve as a starting point to showcase the interpretation and reproduction of European traditions on American soil. A unique aspect of the show is the inclusion of the perhaps lesser known story of innovation in violin design. The Stradivari violin, along with its Amati and Guarneri counterparts, is commonly hailed as a perfect design. These mythic Black Violin. By Guy Rabut. masterpieces, however, have actually gone through many stages of design evolution, spurred by changing tastes in music as well as musical demands of virtuosi. Today, innovations in violin making are driven by working violinists who cope with certain imperfections in their “perfect” vintage instruments. Cutting edge acoustic and scientific research in instrument building of the last forty years, and an open minded atmosphere created a fertile environment for experimentation with man made materials, sound qualities, and instrument proportions. As an example, “The Violin in America” features the innovative Violin, 2005. work of Carleen Hutchins whose widely recognized acoustic experiments By Francis Kuttner. of the 1960s not only produced instruments of fascinating nature, but also inspired a new generation of innovators. In addition, the show highlights the work of contemporary luthiers who pushed the boundaries of the classical design to expand sonic, aesthetic, and functional qualities of the violin and bow. The exhibition comprises examples of violins and bows constructed by Gregg Alf, Joseph Curtin (2005 recipient of the MacArthur “Genius” Award), Guy Rabut, Anthony Lane, Benoît Rolland, Samuel Zygmuntowicz, and others. “The Violin in America” also spotlights the story of the electric violin. It features some of the first electric violins introduced in the 1930s by Lloyd Loar as well as the Electro String Instrument Company (now known as Rickenbacker). The exhibition reveals how these early experiments continue to resonate today in the work of leading acousticians and companies such as Jordan Electric Violins, Ned Steinberger, Mark Wood, Yamaha Corporation’s Band & Orchestral Division, and Zeta Music. Electric 4-String Violin, 2007. By Ned Steinberger. Experimental Graphite-Epoxy Violin, 1972. By Carleen Hutchins. Photo by Bill Willroth, Sr. Courtesy of the National Music Museum, Vermillion, SD Viola with map of Italy, 1992 Cello, 2002 Ultra-light Violin, 2007 Violin, 2007 By Joseph Grubaugh & Sigrun Seifert By David Folland By Joseph Curtin By David Burgess ExhibitionSaturday, FebruaryOpening 23, 2008 Events February 23, 2008 - Panel Discussion - 2 PM Join two world-renowned instrument makers and a leading entrepreneur-turned-advocate for violin education in a whirlwind tour of the past, present, and future of violin and bow making. Guided by the founder and publisher of Strings Magazine, this expert panel leads you through the instrument’s birth in the Italian Renaissance, its arrival in the New World, and the recent advances in technology that are reshaping the craft of violin and bow making. Discover what inspires makers to devote their lives to this mythic instrument, how artists and makers find each other, and how they work together to produce desired tone, sound and projection. Tickets: $10 for the General Public; $7 for Students; Free for Museum Members David A. Lusterman is Publisher of String Letter Publishing, a company he founded in 1985, which publishes Strings, Teen Strings, and Acoustic Guitar magazines. He holds a Bachelor of Arts degree in comparative literature from California University, New York. Lusterman chairs the board of the National String Project Consortium, a coalition of 30 university-based String Projects dedicated to increasing the number of children playing stringed instruments, and addressing the critical shortage of string teachers in the US, and serves on the boards of the Guitar and Accessories Marketing Association and the Magazine Publishers of America’s Independent Magazine Advisory Group. William M. Townsend, an avid violin enthusiast and entrepreneur, founded The Amati Foundation in 2000 to preserve and expand the stringed arts. As a member of the founding management teams of two publicly-held companies, Lycos, Inc. and YouthStream Media Networks (now Alloy), Townsend was recognized for his creativity and strategic marketing skills. He has been involved in the launch or management of over a dozen organizations, including Deja News (now Google.com), GeoCities (now Yahoo!), Interminds, and Corvosi. He holds a MBA in global management from Hankamer School of Business at Baylor University, and a BA in Art from The College of Wooster. Joseph Curtin - violinmaker, researcher, and 2005 MacArthur Fellow - started taking violin lessons at the age of 12 and studied violin performance at the University of Western Ontario. In 1977 he took up violinmaking under the guidance of the Hungarian maker Otto Erdesz. For the past 15 years, Curtin has pursued a strong interest in innovation. He worked with French research scientist Charles Besnainou in developing high quality instruments using graphite composites. He is currently building a series of prototype “ultra-light” violins and violas that explore the possibilities for the instruments’ further ergonomic, acoustical, and aesthetic evolution. Curtin is currently collaborating with physicist Gabriel Weinreich in developing an electric violin that uses real- time digital filters to reproduce the sound of specific Old Italian instruments. Benoît Rolland graduated from of the Conservatoire de Paris at sixteen and joined Bernard Ouchard´s bow-making class in Mirecourt in 1971. In 1976 he became the youngest person nominated for Best Artisan of France and in 1983 received the rare national title of Maître Archetier d’Art. Rolland then moved to the island of Bréhat where he conceived the first carbon fiber bow Photo by Al Fisher. of concert quality. He invented a new generation of bows including a tension mechanism that allows the performer to adjust at will the camber of the bow. These bows were awarded First Prize Musicora in 1994 and are distributed under the trademark Spiccato®. His current studio is located in Boston where he creates bows for Anne-Sophie Mutter, Lynn Harrell, Kim Kashkashian, Christian Tetzlaff, Julia Fischer and passionate musicians and collectors worldwide. February 23, 2008 - Opening Reception & Concert We invite you to celebrate the opening of this premiere exhibition. Come and enjoy a wine and cheese reception in the Museum galleries and get a first look at these stunning violins, bows and other aspects of violin history. Then, join us as we present two world-class performances in our intimate concert venue. 6 PM – Wine & Cheese Reception 7 PM – Concert featuring The Hutchins Consort & Anne Akiko Meyers Tickets: $30 for the General Public; $20 for Museum Members Advance Ticket Purchase Required! Call (760) 438-5996, ext. 212 or purchase online at www.museumofmakingmusic.org. The Hutchins Consort The Hutchins Consort is a group of virtuosi who play on the eight scaled violins of the violin octet designed and built by famed luthier Dr. Carleen Hutchins. The instruments are the first successful attempt to create an acoustically balanced set of instruments that can sound truly like violins across the entire range of written music. Only four sets of Dr. Carleen Hutchins’ violin octet are in existence. The consort utilizes one set for performances and one set will be on display at the Museum for the exhibition. Anne Akiko Meyers During two decades of regaling the globe’s stages, Anne Akiko Meyers has established herself as one of the world’s leading soloists, recitalists
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