Pieces of Eight ♫ Newsletter of the Singing Woods Violin Shop ♫

Special Edition

the Extended Violin Family

an introduction

The Hutchins Consort of Encinitas, California-- the world’s first ensemble to play on instruments of the Extended Violin Family.

In This Issue: The Extended Violin Family 2 Treble Violin New Manifestations of an Old Idea 3 Soprano Violin The new violin family consists of qualities due to their common un- eight acoustically matched violins derlying physics. Conceived at the 4 Mezzo Violin ranging in size from a treble violin request of composer Henry Brant 5 Alto Violin with a body length of about eleven for a matched ensemble of violins, 6 Tenor Violin inches to a contrabass almost seven the eight instruments of the new vio- feet tall. This octet spans almost the lin family octet represent one of the 7 Baritone Violin entire range of written music, from most important successful advances 8 Bass Violin the silvery sheen of the treble violin, in violin design in almost three hun- 9 Contrabass Violin through new voices like the soprano dred years. and tenor violins, to a contrabass 11 Photo Gallery that literally shakes the floor. A Brief History. 12 What’s New in the Family? Sparked by Brant’s request, an in- Individual instruments have individual tense period of research, develop- characteristics; played together they display a splendid balance of tonal continued on last page

Newsletter of the Singing Woods Violin Shop 2 Newsetter of the Singing Woods Violin Shop

Treble Violin The Little Violin With the Big Voice

The treble violin, tuned an octave phony orchestra in much the same standard works. The entire repertoire above the conventional violin (g’ d” way as a piccolo does. The sounds of works for the violin must also be in- a” e’”) is the smallest and highest of the two lower strings are surpris- cluded as it can be played beautifully member of the eight new violin family ingly mature and combine well with on the treble, sounding an octave instruments. Its dimensions approxi- other octet instruments, especially higher than the original. mate those of a quarter-size violin, the soprano. All of the nuance and but in construction it is quite differ- technique of the violin is available ent. in ranges that can exceed the high- est notes on the piano. It is the only To achieve the transposed violin instrument in the world capable of sound, the treble often is made with this. a thick top and back. To bring the air resonance of the body to the desired Players have found that the short frequency requires extra-large ff- string length of the treble violin holes. The string length of the treble makes it possible to tremolo on in- is adjusted to allow secure fingering tervals of up to one octave on any of consecutive semitones, and car- single string. Double stops up to bon rocket wire with twice the tensile a twelfth are possible on any two strength of ordinary steel wire is used strings. With practice, giant leaps for an E string that must be tuned to a can be made with the flick of the stratospheric1320 Hertz. wrist.

The treble is a little violin with a big Literature for the treble violin in- Treble violin virtuoso Grigory Sedukh of voice. It produces an effortless bril- cludes many compositions written St. Petersburg , Russia, acknowledges his liance on its two upper strings, which specifically for the octet in addition to accompanist, Emi Saki, after a performance given soar above the sound of a full sym- a growing library of arrangements of in Tokyo, Japan in the Oiji Hall, February, 2008.

Treble (Piccolo) Range and Tuning

Standard Tuning

The treble (piccolo) violin is a trans- an octave above the first string, which extreme upper registers and do so posing instrument with parts sound- yields a working range that approach- sweetly and lyrically, with the same ing an octave above written pitch. It es three octaves. full range of dynamics, expression, is written in treble clef in all registers. and bowing techniques available on Extremely high passages are typical- In the hands of a skilled player, the traditional violins. ly noted “8va” and written an octave piccolo has an immense range of below the desired pitch. Composers over four octaves. It is the only instru- may write for competent players up to ment in the world that can play in the Newsletter of the Singing Woods Violin Shop 3

Soprano Violin A New Leading Voice for the 21st Century

The soprano violin, tuned a fourth sion and clarity on the soprano with- two notes. As the highest member of above the standard violin (c’ g’ d” out the whistling or scraping sound string quartets composed for sopra- a”), is the 21st-century version of the produced by standard violins in the no, mezzo, alto, and tenor violins, the violino piccolo, for which Bach wrote same range. Its dimensions are simi- soprano truly comes into its own. important parts in works such as the lar to those of a child’s three-quarter- cantata “Wachet Auf” and the First size size violin, but it sure doesn’t Brandenburg Concerto. Although the sound like an instrument for kids! ancient soprano violin faded from use by the end of the 18th century, Literature for the soprano violin in- it has returned in a modern version cludes many compositions written that utilizes the scaling theories of specifically for the octet in addition to John Schelleng, the plate-tuning a growing library of arrangements of techniques pioneered by Carleen standard works. Hutchins, and the geometric parame- ters of the Stradivari Model G worked The soprano is equally at home as out by Robert Spear. the highest voice in most chamber music groups where it provides extra The width of the soprano neck has brilliance and roundness to the en- been adjusted to that of a conven- semble. The first violin parts in quin- tional violin and the peg box wid- tets and sextets usually lie perfectly ened to accommodate adult hands. in the range of the soprano. Many The soprano is a natural solo instru- of the great works in larger cham- ment well-suited to the demands of ber forms by Beethoven, Mozart, composers for a bright and powerful Brahms, Dvorak, Bruckner and oth- leading voice. Passages of extended ers can be arranged for the soprano Igor Tchetchko plays soprano violin in concert range can be played with great preci- without changing more than one or with the Hutchins Consort

Soprano Range and Tuning

Standard Tuning

The soprano is a non-transposing in- ity in tuning, and most already read petent players up to an octave above strument with parts sounding at con- treble clef. However, in some cases it the first string, which yields a working cert pitch. It is written in treble clef is helpful to provide a transposed part range that approaches three octaves. in all registers. Extremely high pas- in alto clef for them. Violinists already In the hands of a skilled player, the sages are typically noted “8va” and read treble clef, but some will require soprano has an immense range of written an octave below the desired a part transposed down a fourth, es- over four octaves. pitch. Viola players take naturally to pecially those who are position play- the soprano because of the similar- ers. Composers may write for com- 4 Newsletter of the Singing Woods Violin Shop

Mezzo Violin What’s old is new again

The mezzo violin is an enlarged ver- string length, the mezzo can be sion of the conventional violin, rang- played immediately by most violin- ing in size from 14.5 inches (368 mm) ists and violists with little adjustment. to 15 inches (381 mm) body length. No special bow is required, nor must Early makers of the Amati family, and special playing techniques be em- also G. P. Maggini and A. Stradivari ployed. Many players are delighted produced large violins, so this idea is with the true mezzo quality of this vio- not new. The mezzo violin was cre- lin, which gives an old instrument a ated after it was found that even a fresh appeal. fine concert violin could not match the power of the other new family instru- The mezzo violin can be heard clearly ments. in ensemble, and it remains an ideal solo instrument because its extra Maintaining the ideal resonance power and wide dynamic range, par- placements of the standard violin ticularly on the lower strings, give it a while increasing its size and power distinct advantage. In large chamber was no easy task. In addition to the groups, the mezzo becomes an indis- application of modern plate-tuning pensable middle voice. theories, the ribs are reduced in height to keep the volume of air in the Violin literature in its entirety is avail- body the same as that of a standard able for the mezzo, and the instru- violin. ment also fits beautifully into the violin Ethan Busteed of the Hutchins Consort playing sections of symphonic ensembles. an original Hutchins-model mezzo violin in The mezzo is tuned the same as the performance at the 2006 Guild of American conventional violin (g d’ a’ e”). By Luthiers Convention. keeping a near-normal nut-to-bridge

Mezzo Range and Tuning

Standard Tuning

The mezzo is a non-transposing in- the experience “liberating.” Since of a skilled player, the mezzo has an strument with parts sounding at con- most violists already read treble clef, immense range of over four octaves. cert pitch. It is written in treble clef it is usually not necessary to write a in all registers. Extremely high pas- transposed part for them. Compos- sages are typically noted “8va” and ers may write for competent players written an octave below the desired up to an octave above the first string, pitch. Viola players take naturally to which yields a working range that ap- the mezzo, and many have called proaches three octaves. In the hands Newsletter of the Singing Woods Violin Shop 5

Alto Violin The viola becomes vertical The new family alto violin, tuned the with a facility and ease that are im- conductor Leopold same as a conventional viola (c g d’ possible with the conventional viola. Stokowski to ex- a’) brilliantly solves many problems While the players of shoulder instru- claim, “No viola has of the viola at a single stroke. The ments will need to adjust to holding sounded like that body length of approximately twenty their bow cello-style, the result is before--it fills the inches (508 mm) and resulting cavity worth the effort and can be a career- whole hall.” dimensions give the alto’s wood and saver in some instances. air resonances the same ideal place- The entire reper- ment as found on the violin. Cellists come naturally to the alto; toire of works for one said it took him no more than the viola can be While a few have played the instru- ten minutes to get used to it. Yo-Yo played on the alto. ment on the shoulder viola-style, the Ma played Bartok’s viola concerto on It is especially ef- alto is ever more manifesting itself the alto with several orchestras and fective and blends as an endpin instrument. This has recorded it in 1993 with the Baltimore well playing the earned it the affectionate nickname Symphony under David Zinman (the lower part in pieces of the “vertical viola.” “New York” Album: Sony SK 57961). that call for two vio- Ma called the experience “amazing.” las. An alto played vertically eliminates Listening to this CD will dispel any tension and strain in the player’s left doubts about the instrument’s sound. arm and hand. Small players can now play a large alto without the problems The tonal qualities of the alto far sur- caused by overstretching the left pass those of standard violas. The hand. Either viola-style or cello-style sound of the C string is a revelation. fingering may be employed, and the An alto will not get lost in an ensem- A second-generation alto violin by Robert Spear use of thumb techniques gives the ble! The clarity, power, and increased on classical Cremonese proportions. player access to the highest positions dynamic range caused the famous

Alto Range and Tuning

Standard Tuning

The alto is a non-transposing instru- parts transposed into treble or bass and composers need no longer de- ment with parts sounding at concert clef. Composers may write for com- fer to the “weak notes” on the small pitch. It is written in alto clef; in high petent players up to an octave above viola as these resonances have been register it is written in the treble clef. the first string, which yields a work- strengthened. Because players come to the alto ing range that approaches three oc- in roughly equal numbers from the taves. In the hands of a player skilled cello, the standard viola, and the vi- in thumb position, the alto has an olin, it is often necessary to provide immense range of over four octaves 6 Newsletter of the Singign Woods Violin Shop

Tenor Violin More than just a small cello Although the new family tenor is simi- various archives, and modern com- lar in dimension to a three-quarter- posers as late as Sergei Taneyev size cello, it is not a small cello, but (1856 - 1915) have written beauti- rather a large violin constructed on fully for the tenor instrument. Practi- the same acoustical principals com- cally the entire body of violin literature mon to all the new family instruments. can be played on the tenor, sounding The tenor is tuned an octave below down one octave. the normal violin (G d a e’), and shares the same singing quality and In chamber works for five or more brilliance as its higher relative. It fills strings, the tenor can be used to the gap between the viola and the seamlessly play the lower alto part cello and provides a new voice in a when two violas are indicated, or the range absent for several centuries upper cello part where the composer from the conventional violin family. calls for two cellos. Some of Bach’s works for gamba that are awkward to The tenor violin appears often in his- play on the cello lie perfectly under tory, built on the principal of the oc- the hand on the tenor. tave violin with all violin dimensions exactly doubled. With the benefit of Cellists can play the tenor with al- modern physics and acoustical test- most no problem since most of them ing, however, the new tenor is some- read tenor clef and the techniques of what smaller yet even better-suited to playing the two instruments are near- its frequency compass. ly identical. Sera Jane Smolen, a founding member of the Albert Consort, performing on tenor violin Many compositions for the tenor ap- during a 2004 concert at the Unitarian Church parently remain to be discovered in in Ithaca, NY.

Tenor Range and Tuning

Standard Tuning

The tenor is a non-transposing instru- for competent players up to an octave ment with parts sounding at concert above the first string, which yields a pitch. Although it is written in tenor working range that approaches three clef, many cellists who come to the octaves. In the hands of a player instrument prefer that their parts be skilled in thumb position, the tenor written in bass clef for the lowest two has an immense range of over four strings. In high register it is written in octaves and in its highest register the treble clef. Composers may write sounds astonishingly like a violin. Newsletter of the Singing Woods Violin Shop 7

Baritone Violin The small cello gets big again The baritone violin harkens back to and the original design that favored the early Venetian bassetti and other the lower strings. large cellos of the early 17th century. Past makers responded to the need The baritone is tuned like a standard for greater playability by reducing the cello (C G d a). As its name suggests, size of the cello until it was very near- it is no longer treated as the bass of ly as small as our modern tenor! The the violin family, although it can serve octet baritone solves many problems this function admirably in ensembles through the application of modern for which it is the lowest voice. In the acoustics plus design adjustments to octet, the baritone’s range of more retain a standard string length. than four octaves may be used flex- ibly to play with the tenor, giving Early baritones came in two types, composers more options than ever a deep-ribbed model with a more before. bass-like quality on its lower strings and a shallow-ribbed variety that was The entire body of cello literature more in keeping with the acoustic can be played on the baritone. In principals of other new family instru- solo works the added power on all ments. Over the past thirty years, four strings allows a better balance players have shown a clear prefer- between the soloist and the accom- ence for the shallow-ribbed models. panist. One professional cellist, play- The placement of resonances in the ing one of the early deep-ribbed bari- shallow-ribbed baritone creates an tones, remarked, “This is the first time Elisa Evett, a founding member of the Albert instrument with equal power on all I have ever been able to talk back to Consort, shown behind a second-generation four strings, unlike the conventional the piano in a Brahms sonata.” baritone violin by R. J. Spear. cello which favors the upper strings

Baritone Range and Tuning

Standard Tuning

The baritone is a non-transposing in- that approaches three octaves. In the strument with parts sounding at con- hands of a player skilled in thumb po- cert pitch. In high register it is written sition, the baritone has an immense in tenor clef; in very high register the range of over four octaves. In its high- treble clef is used. In general, com- est register, the baritone produces a posers may write for competent play- very clean sound not found in most ers up to an octave above the first conventional cellos. string, which yields a working range 8 Newsletter of the Singing Woods Violin Shop

Bass Violin Big bass from a smaller space Throughout the history of western The smaller size and lighter weight music, the biggest instruments have of this bass make it easy to play and appeared in many sizes and tunings. adaptable to many forms of music. This heritage is reflected in the new Jazz musicians find the small bass violin family octet, which has two to be an ideal “gig” bass that makes basses. The smaller bass is tuned a strong argument for the use of an AA D G c, a fourth above the normal acoustic instrument. Likewise, folk orchestral bass. A pragmatic tun- groups and string bands find that this ing, historical precedent is found for bass can be employed without ampli- basses that use A as the lowest string fication. Most orchestral literature is with the remainder tuned in fourths also playable on the small bass. or fifths. These are frequently called “solo” tunings, and there is a wealth The high C string allows the bass of solo pieces, arrangements and to play up into the middle range of transcriptions for the small bass. the cello, bringing it into the world of chamber music where it finds many The placement of resonances in the uses. In large chamber works scored octet small bass creates an instru- for two cellos, it is often possible to ment with exceptional power, clar- use the small bass for the lower cello ity, and responsiveness on all four part. It is also excellent in ensembles strings, and a pizzicato that is clear where a bass range is desired but and lively. In many pieces, it can re- not the weight of the large orchestral place the conventional bass in solo bass. The small bass provides a ho- tuning and provide the player with su- mogenous blend for better integration German bass virtuoso Silvio Dalla Torre with perior projection in the extreme upper with the ensemble. a small bass violin (bassetto in Europe) by the registers. Belgian octet maker Joris Wouters.

Small Bass (Bassetto) Ranges and Tunings Low A standard bassetto, fourths tuning

Low G bassetto, fifths tuning

The bassetto is a transposing instru- write for competent players up to an ment with parts sounding one octave octave above the first string, which lower than written. It is normally tuned yields a working range of two oc- in fourths, but many advantages are taves and a third. In fifths tuning, the obtained using a fifths tuning. In high bassetto’s range approaches three register it is written in tenor clef; in octaves. The low register provides a very high register the treble clef is solid foundation when this bass is the used. In general, composers may lowest instrument in the ensemble. Newsletter of the Singing Woods Violin Shop 9

Contrabass Violin A true contrabass violin at last The old violin family never has had a The sheer acoustic weight of the con- true contrabass, but with this largest trabass’ low register astounds most of octet instruments, the wait is over. listeners. A member of the audience The big bass is normally tuned the at a concert of the Hutchins Consort same as a conventional contrabass remarked afterward that he could viol (EE AA D G) and retains the same not only hear the contrabass with his string length, but all other similarities ears, but he could also feel it with his end there. With a body length up to feet!! The composer Henry Brant, 51” (1300 mm), this bass produces upon hearing the contrabass for notes in the nether regions that are the first time, remarked that he had organ-like in their sonority. waited all his life to hear such sounds from a bass. The impressive size of the contra- bass and the violin-shape of the up- The violin-like placement of reso- per bouts make it less practical for nances in the big bass creates an in- playing in the higher positions, but strument with exceptional impact on this bass is all about going low and all four strings and a pizzicato that is doing so with authority. Bassists such clear and lively. The clarity and pro- as Joe McNalley of the Hutchins Con- jection of the bass is remarkable. In sort regularly tune the lowest string to a symphony orchestra, just a few of D for greater low-frequency exten- these great bass violins can enhance sion. A low tuning of BBB EE AA D the sound of an entire section. Most works extremely well on these bass- players are unanimous in their opin- Nicholas Walker, assistant professor of bass at es, and extends their compass into ion that despite its great size, the Ithaca College, playing a 1200 mm contrabass by the 32-foot range. contrabass responds quickly and is Robert J. Spear easy to play.

Contrabass Ranges and Tunings

Low E standard contrabass

Low B Sub-contrabass

The contrabass is a transposing in- above the first string, which yields a strument with parts sounding one oc- working range of two octaves and a tave lower than written. It is normally third. Players coming to the sub-con- tuned in fourths, but other tunings be- tra might require a part transposed up side those shown here are possible. a fourth. The tone of the instrument is In high register it is written in tenor clear in all registers, as are harmon- clef. In general, composers may write ics. Pizzicato is full and ringing. for competent players up to an octave 10 Newsletter of the Singing Woods Violin Shop

Photo Gallery

Right: The Aust Octet with conductor Roderick Skeaping (center) playing on the octet set from the University of Edinburg.

Below: A quintet in Belgium playing on new instruments built by Joris Wouters of Westerlo.

Above: A photo taken at the 2008 New Directions Cello Festival that gives a clear view of the tenor violins. A second- generation baritone is partially obscured behind the table.

Left: Luthier Robert Spear with his first small bass violin.

Right: The Archus String Trio; Suzanne Miller and William Hurley, mezzo violins, Elisa Evett, baritone violin. Newsletter of the Singing Woods Violin Shop 11

Photo Gallery

Above: The Hutchins Consort in performance at the 2007 workshop of the Guild of American Luthiers.

Above: Display table for instruments of the extended violin family at the 2008 New Directions Cello Festival held in June at Ithaca (NY) College. In the foreground are two alto violins. The three middle instruments are mezzo violins, while the two at the rear are sopranos. Two tenor violins are on the floor. Rear, left, Lin Tollefsen; Right, Robert Spear standing behind a second- generation baritone violin.

Above: The original Albert Consort in performance at Mansfield State University in 2004. Beginning left, Rachel Evans, soprano violin; Carrie Reuning Hummel, mezzo violin; Stephen Stalker, alto violin; Sera Jane Smolen, tenor violin; Elisa Evett, bartitone violin.

Left:Trio Anon, consisting of Bill Hurley, mezzo violin; Elisa Evett, baritone violin; and Karen Melamed Smith, piano, perform at Kendal of Ithaca on June 25, 2008 as part of a program produced by Music’s Recre- ation, a non-profit organization. 12 Newsletter of the Singing Woods Violin Shop

What’s New in the New Violin Family? Every coin has two sides. The on the piccolo violin. The neck length the original soprano violin design, new violin family instruments of- was determined by the physical which was a good one from the start. fer many advantages over conven- characteristics of high-tension carbon tional instruments, but we find that rocket wire, the only material the For players of this instrument, one there are always improvements to original designers had at their disposal irritating problem has been the lack be made. In the following article, in the 1960s. While there appears of a case that will hold the soprano, let’s look at what still needs to be to have been no breakthroughs in which has dimensions very nearly improved and what is actually be- metallurgy since then, synthetic fibers that of a three-quarter-size violin, ing done to address some problems used in the aerospace industry have and a full-size bow at the same time. that have arisen. We think that you been developed that are immensely Many use a standard violin case and deserve to know. strong and that can withstand the pack towels or face cloths around the high tension easily. Several long- soprano to keep it from sliding inside neck trebles have been built, and at the case. One importer now says least one prototype string using new that he is having cases made that core materials shows promise. will hold the soprano snugly while Treble (Piccolo) Violin. still having a place The tiny treble (also known as the to put two standard piccolo violin) has been the problem violin bows. Even a child of the new family since the day small advance can it was born. But now, even this little be welcome when monster is seeing a great deal of new it addresses an research being applied to its design irritating problem. and construction. Many musicians were put off by the large and Mezzo Violin. unsightly f-holes of this instrument, With the new the extremely short and hard-to-play information about string length, and the thick belly that the placement of reduced low-frequency response air modes, the to almost nothing. After a promising mezzo violin can start, interest in the treble violin fell now actually be a off as violinists became frustrated mezzo violin with a dealing with all its drawbacks. true mezzo quality instead of simply Three piccolo violins. L to R: Original Hutchins model There is now a redesigned piccolo short-scale, intermediate Spear model model, correct- being called a mezzo violin that uses f-holes that are not as proportion Spear model awaiting improved E string. violin to distinguish large as on the original, although they it from the soprano. are larger than they normally would Soprano Violin. The demands of orchestral and be using typical design proportions. The soprano violin has been refined chamber players for an instrument At least one researcher has found that and several models have been made the blends acoustically and visually top and back plates can be graduated recently with correct-proportion with the standard violins has been according to the Hutchins method of string lengths. The original designers met by at least one new “orchestral” free-plate tuning just like all the other specified an overly long neck in hopes model. Although the new model is instruments, and that, coupled with that it would make the instrument slightly smaller than the original, it adjustments to the placement of the feel more comfortable to players of does not lack in power. By using main air mode, these have produced the standard violin. It turns out that the information available to him, the a piccolo violin with surprising bass the width of the neck and the string contemporary violin maker can now on the G-string. spacing seem more important to the tailor an instrument even more exactly players than does the neck length. to the requirements of his patrons. The complaints about the short neck New models have shorter neck are, of course, due to the lack of a lengths that are in correct proportion, Alto Violin. string material that can withstand but with widths at the nut that are There has been a surprising amount such high tuning over a greater wider to fit an adult hand. The new of activity around this instrument. The length. In consequence, normal violin sopranos are slightly longer and have alto is in many ways both the most neck proportions could not be used a bit more bass, but in general follow indispensable member of the octet Newsletter of the Singing Woods Violin Shop 13

and the most frustrating. Increasing long a string length as possible have body size will retain the acoustic scrutiny from a pedagogical standpoint proved unnecessary. The latest model underpinnings of the other octet is beginning to show the drawbacks with a proportionally correct neck violins and will result in a short string of using a fingering style developed length has been well received and length of 810 mm. The new bass is a for a shoulder-held instrument on an created a more uniform application of chamber bass that is tuned in fifths instrument that is played vertically. the common proportions of the violin. G-D-A-E an octave below the tenor The string length of the original violin and a fourth below the cello model, based on that of a 17.5-inch Baritone Violin. and baritone violin. This will allow viola, is still too large for most hands, Most players have felt that the the player to use cello-style fingering even when utilized vertically. New Baritone is too big, needs a shorter above 1 1/2 position. In the lower altos with correct-proportion necks string length, and lacks sparkle on the positions pivoting thumb technique are now available that make cello- A string. These were characteristics can be used for four-finger playing. style fingerings quite comfortable. noted by the first design team. They This change has been well-received were surprised when the placement This instrument should appeal to by musicians, although some players of the lowest air modes of the original ensembles of all kinds because of coming from the viola still prefer the model was three semitones lower its sound, extended range, and easy short-neck version. than projected. The large size of the transportability. It will be especially instrument is partly due to a scaling useful in ensembles where very The alto player and maker have error in the original design, but until nearly the range of a bass is desired also suffered for years from their recently no luthiers have been making but not the tonal weight of a standard involvement with an instrument for newer and smaller models. Robert orchestral bass. One player has which there were no suitable parts Spear’s new baritones are about 80 predicted that such a bass will at last and accessories. The player could cm in body length, but his experience eliminate the obstacles that have kept not get a case that fit the alto, and with proportional design has allowed the maker was left to fend for himself him to create a large baritone with finding fittings that would actually fit. a standard string length. Although Endpins, endpin assemblies, tailguts, shorter than the original Hutchins tailpieces, and tailpiece tuners model, the new design provides a all had to be adapted from cello more violin-like quality compared to fittings, usually with poor results. the somewhat “bassy” character of the Singing Woods Violin now offers all original. Cellists like the new model these items to the octet community, because it integrates seamlessly into including proportionally correct bridge conventional orchestral and string templates. A new, lightweight oblong chamber groups, yet retains the case is now under development from ability of the original to stand up to a an Asian source, and design work is grand piano. already in progress for an upgraded case from another manufacturer. Bass Violin. One of the best of the original Tenor Violin. designs, the small bass has proved Tenor players have complained at a useful instrument for classical, jazz, length about the strings available and folk ensembles. Makers are still for their instrument. Work in this refining the design in order to satisfy area is currently active and ongoing, the needs of their customers. The with results and changes expected extended length of the original neck within the next few years. Work is has been replaced with a correct- also underway to design a case that proportion neck that is shorter. The will hold a full-size bow. Currently, change has been welcomed by most, the bows most players use must be but not all, players. kept in a separate bow case, which is cumbersome and awkward. New acoustic findings will allow for an even smaller version of the bass Early attempts to make the tenor more with adjusted shoulders to make it R. J. Spear with new chamber bass violin tuned in fifths accessible to cellists by providing as more comfortable to play. The new 14 Newsletter of the Singing Woods Violin Shop

bassists out of the world of classical satisfying. As more octet instruments A1 is controlled by the body length, chamber music for over 300 years. are taken up, we expect to see a rather than just corpus volume, it has demand for even smaller groups serious implications-- and exciting Contrabass. such as quartets and trios as well possibilities-- for the violin maker. For sheer impact, nothing has a Wow! as for less common groupings of factor like the 1300 mm (51”) original instruments. Corpus-mode-driven volume-change contrabass. For all its depth and radiation through the f-holes for B1 sonority, however, players grumbled Composers and arrangers have also and higher corpus modes is another about its huge proportions and found discovered that it is the soprano new factor. Although unknown to the the violin-shaped shoulders difficult violin, not the treble, that makes the original design team, the interaction to accommodate. Makers have had best leading voice. Even though of the two air modes plus radiation extraordinary difficulties finding wood the treble has emerged as the first through the f-holes caused by wood large enough for the back, and a travel solo instrument of the set, in very modes can actually dominate for bag for the contrabass is always a large works it is increasingly utilized specific modes. Recent research has customized-- and expensive-- item. as a color instrument, much as the shown that large instruments have a piccolo flute is used in wind writing. different dominant air mode than do Early on the bass ribs were reduced When skillfully employed by a good the smaller ones, which has many in- in size by the original Hutchins design composer, the sound of the treble teresting implications for the baritone, team who found that the extraordinary violin soaring above the ensemble is bass, and contrabass violins. deep bass sound became less boomy unforgettable. but no less powerful. Subsequently, If this were not enough, corpus com- a bass was constructed with a body There has also been a trend recently pliance becomes a major factor af- length of 1200 mm. It possessed all toward more orchestral forms of the fecting air modes, especially in the the desirable qualities of the original ensemble in which, for one example, larger instruments, and now there is design but was much easier to play. first and second mezzos are increasing evidence that the shape The next iteration of the contrabass employed. An additional section of of the instrument influences the A2 will address the problem of the altos or tenors, or use of the sections and A4 modes, the transverse modes broad upper shoulders. A prototype divisi where needed, is sometimes in the instrument’s lower and up- is currently under construction that called for. One would think that with so per bouts, respectively, and hence retains the critical proportions of the many different ranges available there the sound of the instrument’s higher upper bout to the lower, but which would be no need for even thicker harmonics. The good news is that all should make playing in the upper middle textures, but when masterfully of these are parameters that can be positions much easier. used, the sheer density of sound from manipulated by the violin maker to the ensemble cannot be duplicated influence the final sound of the instru- Composition. by conventional instrumentation. ment. The original intent of the new family was that they be played together Acoustics. Luthier Robert Spear has already as a complete ensemble with one This is an area where major advances put some of the new information to instrument on each part, but almost have been made over the last 5 to 8 use, and says that the breakthrough from the beginning some composers years. The original designers dealt moment for him occurred when he wrote for subsets of the group. This with 2 main scaling characteristics, stopped thinking about the place- trend has continued, partly driven by placement of the “main air” and ment of the 2 original modes as his the reality that when groups of new the “main wood” resonances, but goal and started thinking of them as family instruments are formed, they research has shown there’s even parameters to be manipulated. He rarely have either the bass or the more to it. says when he was Hutchins’ student, treble violin at first. she always reminded him to question Today, makers are dealing with at everything, and that it is the nature of We have seen a number of least five characteristics. The main air progress to build on previous work, to arrangements written for quintets mode, which acousticians call “A0,” discard what is not valid, and to try consisting of the soprano, mezzo, is now known to couple so strongly out new ideas. alto, tenor, and baritone violins, and with the next higher mode, called sextets consisting of the middle six “A1,” that it is no longer possible to instruments (a bass is added to consider one without considering the quintet) have proved to be very the other. Since the frequency of Newsletter of the Singing Woods Violin Shop 15

Learn More About the Expanded Violin Family Browse to Web Links. See Full Octets.

Metropolitan Museum of Art 1000 5th Avenue New York, NY 10028 212 535 7710 http://metmuseum.org http://nvfa.org The octet exhibit is currently The web site of the New Violin Family Association, Carleen M. Hutchins, found- dismounted. Special viewings may er. Although this web site is dormant for the foreseeable future, it contains a be arranged by calling in advance. wealth of information and history about the Hutchins/Schelleng version of the original violin octet. Of special interest are the downloadable back issues of Musikmuseet the Violin Octet Newsletter, which can be found at the bottom of the “news” Sibyllegatan 2 page. You will need the free Adobe Acrobat Reader to view these files. Box 16, 326 10326 Stockholm, Sweden 08 519 55490 http://[email protected] The octet exhibit is currently dismounted. Please contact the museum in advance to arrange viewing. http://hutchinsconsort.org The Hutchins Consort, now entering its ninth year, is the first and foremost University of Edinburgh musical ensemble performing on instruments of the original new violin family. Old College Their web site contains some interesting photographs and a concert schedule South Bridge of this Southern California group. Merchandise and recordings are available Edinburgh EH8 9YL Scotland from the consort on line. http://ed.ac.uk [email protected] http://violins.be The octet is not generally available The home page of Belgian luthier for viewing. Contacting the Joris Wouters, luthier and octet University in advance is strongly maker in Belgium. Some information recommended. about the octet instruments and some interesting and informative photos National Music Museum of Wouters at work are available for 414 East Clark Street viewing. Wouters is only the third Vermillion, SD 57069 maker to have completed at least one 605 677 5306 full set of new family instruments. http://usd.edu/smm/ [email protected] The current status of the exhibit is unknown. Please contact the mu- seum in advance.

http://singingwoodsviolin.com A comprehensive site of luthier Robert J. Spear, maker of nearly two complete Hear Performing Groups octets on his own Cremonese-inspired designs. Much historical information is presented here that is currently not available anywhere else. Spear makes and Hutchins Consort sells conventional instruments as well as octet violins individually and in sets. He is at present the only source for imported and shop-adjusted octet violins OctaVivo! (formerly Albert at markedly reduced cost compared with handmade instruments. Spear also Consort) makes available hard-to-find parts for other octet makers. The Archus Trio 16 Newsletter of the Singing Woods Violin Shop

Continued from page 1

ment, and the construction of proto- Although the instruments were still several countries, and two are owned types followed, spanning the years works in progress at that time, their privately by the Hutchins Consort, a from 1957 until 1965. During this debut convincingly affirmed their po- Southern California group that per- period, the work progressed largely tential. Encouraged, the collabora- forms on them regularly. under the supervision and direction tors, now working within an organi- of Carleen M. Hutchins in Montclair, zation called the Catgut Acoustical The Hutchins Consort, organized by New Jersey. Working in a wonder- Society, continued their efforts. After the mother-and-son team of Sharon ful collaboration with Prof. Frederick 1965, work focused more on the con- and Joseph McNalley, was the first Saunders, a retired Harvard profes- struction of octet sets, although basic large and well-organized ensemble to sor and acoustician; John Schelleng, research never stopped. dedicate itself exclusively to the new an electronics engineer at Bell Labs; octet. Organized in 2000, the group and others too numerous to mention Several additional sets had been performs extensively in Southern here, Hutchins toiled indefatigably constructed at a great cost of time California and travels widely in their through the myriad problems that had and money when comments from mission of bringing the octet to audi- to be resolved. musicians indicated, and reviews of ences everywhere. scaling theories confirmed, that the One of Hutchins’ most outstanding rib heights of the four lowest instru- In the Eastern United States, work achievements was to take the ideas ments were excessive. A redesign on the octet was taken up by Robert of Ernst Chladni on vibrating plates produced a second variety of the J. Spear, who had been a student of and apply them to the tuning of free original Hutchins model with much Hutchins in the 1970s. Spear’s work violin plates (the top and back before lower ribs. A consensus of opinion on the upper air modes not consid- they are glued to the body). She iden- was that these models produced ered by the original design team tified the three modes most critical to an even more balanced sound, and lead to additional refinements in the the creation of a fine violin and then thereafter the group constructed no models of the octet family. Spear also discovered the relationships between more deep-ribbed models. organized performing groups that in- them that resulted in even better in- cluded string orchestras comprised struments. Her method of free-plate Throughout this period, the press- entirely of octet instruments. tuning allowed her to obtain a con- ing need for special strings was ad- sistency of acoustical parameters dressed by the Cavanaugh family, Spear finished his first octet on his that had never been possible before. owners of the SuperSensitive String models in 2005, the first complete oc- When coupled with Schelling’s scal- Company. Their greatest success tet to be built in 20 years. Another set ing theories, it revolutionized the craft came with the manufacture of a high on the original Hutchins models was of violin making and contributed in no E string for the treble violin. It was completed in 2008 by Belgian luthier small way to the more uniform tonal made of carbon rocket wire, the only Joris Wouters, working with unfin- quality for which the octet is famous. material strong enough to withstand ished sub-assemblies supplied to him tuning an octave higher than the by Hutchins. There are now eight full When the first set was ready for pub- standard violin E string. To this day, octets, and both Spear and Wouters lic performance, a concert was given the Cavanaughs continue to develop are working on their respective sec- at the YM-YWHA in New York City and refine sets for all the octet instru- ond sets. in 1962 at which Brant conducted ments. Without their support, the oc- his “Consort for True Violins.” Mem- tet would never have progressed as The first commercial venture to ex- bers of the audience were enthralled far as it has. pand acceptance of the family was by musical sounds they had never begun by Spear in 2007. Models heard before. An astonished Leopold Hutchins ceased work on octet sets made in China to his specifications Stokowski, conductor of the New by 1985. In all, she and her col- were imported into the USA and are York Philharmonic, was especially leagues constructed six complete now available at significantly lower impressed with the big alto violin and octets and two additional octets that cost and in far greater quantities than encouraged its acceptance by profes- lacked only the large basses. Four have been possible before. sionals, albeit unsuccessfully. sets are in museums or universities in

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