newsletter to pdf - Reuning & Son Violinsreuning.com/wp-content/uploads/2012/10/reuning_newsletter_06_07.pdf · Jeff Hood began playing cello at age 2 with a toy guitar and a chopstick

��

��

Reuning & Son ViolinsReuning & Son Violins ��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

��

��

��

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

��

��

��

��

��

CUSTOMER NEWS

2 www.reuning.com 3www.reuning.com

At age 10, Madalyn Parnas became the youngest winner of the Berkshire Music School’s Merit Competition. Her orchestral debut presented Kabalevsky’s Violin Concerto with the Woodstock Chamber Orchestra.

She was featured in the magazine “Music Alive!” following her March 2004 performance in Boston’s Jordan Hall for the NPR radio show, “From the Top.” Competition wins in 2005 resulted in a full scholarship to the Hotchkiss School Summer Chamber Music Program.

Madalyn’s final performance of the 2005-2006 concert season was Vieuxtemps Violin Concerto No. 2 with the Schenectady Symphony Orchestra. “Parnas played with a big sound that was strongly edged, a sure bow arm and strong phrases,” read a review.

She studies with violinist James Buswell and is a granddaughter of cellist Leslie Parnas.

Madalyn ParnasSales consultant: Peter JarvisInstrument purchased: Italian violin by Stefano Scarampella, Mantua, circa 1885

A competition win at age 9 earned Cicely Parnas a performance with the Walden Chamber Players. As guest soloist with orchestra and choir in Rutter’s "Requiem," a review described her playing as "an astonishing mix of pungency and finesse." She has performed Vivaldi’s Concerto for Violin and Cello with the New Bedford Symphony, Vivaldi’s Double Cello Concerto with the Quincy Symphony Orchestra, and Monn’s Cello Concerto with the Woodstock Chamber Orchestra.

Cicely has participated in the Hotchkiss Summer Chamber Music Program and the Boston University Tanglewood Institute Quartet Workshop. Performances for the 2006-2007 concert season include "La Muse et le Poete" by Saint-Saens and Haydn’s Cello Concerto in C Major.

Cicely studies with conductor and cellist Ronald Feldman and is a granddaughter of cellist Leslie Parnas.

Cicely ParnasSales consultant: Peter Jarvis

Instrument purchased: English cello by Thomas Smith, London, 1759

The thing I love most about this cello, besides the beautiful dark rich sound, is its ease. The cello just does so many of the things I used to struggle with, and it then allows me to concentrate on other aspects of the music much more. It's amazing how much it's opened up my playing.

Jeff Hood began playing cello at age 2 with a toy guitar and a chopstick. The following year he began lessons on a real cello. At age 13, he soloed with the Kalamazoo Symphony Orchestra as a winner of its Young Artists Competition.

Hood graduated with a Fine Arts Award in Music from the Interlochen Arts Academy, where he studied with Crispin Campbell. He has taken Master Classes from Timothy Eddy, Ron Leonard, Christoph Henkel, Wendy Warner, Peter Wiley, and Norman Fischer.

He is a senior Performer's Certificate Candidate at the Eastman School of Music where he studies with Steven Doane.

To defray the cost of the cello, Hood turned to his music and played fundraising recitals in Michigan and Rhode Island.

Jeff HoodSales consultant: Susan HorkanInstrument purchased: French cello attributed to Thibout, circa 1860

Australian-born David Lakirovich, 16, started violin studies at age 3 with his father, Jacob Lakirovich. By age 5, he had performed his first concert. In 1997, the family moved to Toronto, Canada where Lakirovich took part in master classes and lessons with renowned musicians such as Felix Andrievsky, Nelly Shkolnikova, Dorothy DeLay, and Jose-Louis Garcia.

Lakirovich has performed concerts in Australia, the U.S., and Canada including solo performances with the Downsview Symphony, SSPA Festival Orchestras, and Toronto Sinfonietta. He performed at the “Young Stars of the Young Century” in Toronto’s George Weston Recital Hall concert for The Vladimir Spivakov International Charity Foundation.

Lakirovich studies with Professor David Zafer and is a member of the Toronto Symphony Youth Orchestra.

David LakirovichSales consultant: Susan HorkanInstrument purchased: Italian violin by Gioffredo Cappa, Saluzzo, 1693

Lindsay GrovesSales consultant: John Baldwin

Instrument purchased: Italian cello by Giovanni Grancino, Milan, 1695 "ex Lutyens, Hill"

I had been trying to find an instrument for years, but hadn't had time to shop. To my delight, John Baldwin appeared in Syracuse with cello after magnificent cello for more than two years, bringing them to my house. In April 2006, John brought a Grancino with impeccable papers and a very unique and wonderful sound. I felt certain almost immediately that this was the one I would like to play on. I'll be forever grateful to John for his persistence, encouragement, expertise, and great instincts. I'm so happy to have this instrument!

While attending Northwestern University, Lindsay Groves played in the Chicago Civic Orchestra. After graduation, she joined the Syracuse Symphony Orchestra as Assistant Principal and cellist of the Syracuse Symphony's Quartet. In addition to these commitments, Groves enjoys performing in recital and as soloist in central New York state.

Groves so enjoyed performing in summer music festivals, such as the Spoleto Festival and Eastern Music Festival, that she created one of her own. In 1980, she founded the Skaneateles Festival for chamber music in the Finger Lakes region of New York. She was the music director for 11 years. Twenty-six years later, the festival, at the northern tip of Skaneateles Lake, is still going strong.

I can’t say enough good things about my experience with this shop, specifically with John Baldwin. He truly helped me find “my fiddle” and did so in a helpful and respectful way. It is a beautiful instrument with many personalities, which is what I was looking for to paint all the colors that great music requires. This season, I’m looking forward to performing such great pieces as the Shostakovich Violin Concerto No. 1 and Lark Ascending on my fiddle. It is always exciting to take it to new places and see what it can do!

Karen Johnson has been studying violin since age 4. She won the Corpus Christi International Young Artist Competition and the Music Teachers National Association Yamaha String Competition, among others, before she reached her teens.

While earning her Bachelor’s degree at the Juilliard School, she was exceedingly busy, studying with Joel Smirnoff, winning more competitions across the country, and playing first violinist with the Vaux String Quartet and serving as concertmaster of the Juilliard orchestras.

Johnson completed her Master’s degree at the University of Maryland, College Park, in 2002, studying with William Preucil. Since then, she has served as concertmaster of the Richmond Symphony in Virginia.

Karen JohnsonSales consultant: John BaldwinInstrument purchased: Italian violin by Carlo Landolfi, Milan, 1793

photo: Christian Steiner


CUSTOMER NEWS


At age 10, Madalyn Parnas became the youngest winner of the Berkshire Music School’s Merit Competition. Her orchestral debut presented Kabalevsky’s Violin Concerto with the Woodstock Chamber Orchestra.

She was featured in the magazine “Music Alive!” following her March 2004 performance in Boston’s Jordan Hall for the NPR radio show, “From the Top.” Competition wins in 2005 resulted in a full scholarship to the Hotchkiss School Summer Chamber Music Program.

Madalyn’s final performance of the 2005-2006 concert season was Vieuxtemps Violin Concerto No. 2 with the Schenectady Symphony Orchestra. “Parnas played with a big sound that was strongly edged, a sure bow arm and strong phrases,” read a review.

She studies with violinist James Buswell and is a granddaughter of cellist Leslie Parnas.

Madalyn ParnasSales consultant: Peter JarvisInstrument purchased: Italian violin by Stefano Scarampella, Mantua, circa 1885

A competition win at age 9 earned Cicely Parnas a performance with the Walden Chamber Players. As guest soloist with orchestra and choir in Rutter’s "Requiem," a review described her playing as "an astonishing mix of pungency and finesse." She has performed Vivaldi’s Concerto for Violin and Cello with the New Bedford Symphony, Vivaldi’s Double Cello Concerto with the Quincy Symphony Orchestra, and Monn’s Cello Concerto with the Woodstock Chamber Orchestra.

Cicely has participated in the Hotchkiss Summer Chamber Music Program and the Boston University Tanglewood Institute Quartet Workshop. Performances for the 2006-2007 concert season include "La Muse et le Poete" by Saint-Saens and Haydn’s Cello Concerto in C Major.

Cicely studies with conductor and cellist Ronald Feldman and is a granddaughter of cellist Leslie Parnas.

Cicely ParnasSales consultant: Peter Jarvis

Instrument purchased: English cello by Thomas Smith, London, 1759

The thing I love most about this cello, besides the beautiful dark rich sound, is its ease. The cello just does so many of the things I used to struggle with, and it then allows me to concentrate on other aspects of the music much more. It's amazing how much it's opened up my playing.

Jeff Hood began playing cello at age 2 with a toy guitar and a chopstick. The following year he began lessons on a real cello. At age 13, he soloed with the Kalamazoo Symphony Orchestra as a winner of its Young Artists Competition.

Hood graduated with a Fine Arts Award in Music from the Interlochen Arts Academy, where he studied with Crispin Campbell. He has taken Master Classes from Timothy Eddy, Ron Leonard, Christoph Henkel, Wendy Warner, Peter Wiley, and Norman Fischer.

He is a senior Performer's Certificate Candidate at the Eastman School of Music where he studies with Steven Doane.

To defray the cost of the cello, Hood turned to his music and played fundraising recitals in Michigan and Rhode Island.

Jeff HoodSales consultant: Susan HorkanInstrument purchased: French cello attributed to Thibout, circa 1860

Australian-born David Lakirovich, 16, started violin studies at age 3 with his father, Jacob Lakirovich. By age 5, he had performed his first concert. In 1997, the family moved to Toronto, Canada where Lakirovich took part in master classes and lessons with renowned musicians such as Felix Andrievsky, Nelly Shkolnikova, Dorothy DeLay, and Jose-Louis Garcia.

Lakirovich has performed concerts in Australia, the U.S., and Canada including solo performances with the Downsview Symphony, SSPA Festival Orchestras, and Toronto Sinfonietta. He performed at the “Young Stars of the Young Century” in Toronto’s George Weston Recital Hall concert for The Vladimir Spivakov International Charity Foundation.

Lakirovich studies with Professor David Zafer and is a member of the Toronto Symphony Youth Orchestra.

David LakirovichSales consultant: Susan HorkanInstrument purchased: Italian violin by Gioffredo Cappa, Saluzzo, 1693

Lindsay GrovesSales consultant: John Baldwin

Instrument purchased: Italian cello by Giovanni Grancino, Milan, 1695 "ex Lutyens, Hill"

I had been trying to find an instrument for years, but hadn't had time to shop. To my delight, John Baldwin appeared in Syracuse with cello after magnificent cello for more than two years, bringing them to my house. In April 2006, John brought a Grancino with impeccable papers and a very unique and wonderful sound. I felt certain almost immediately that this was the one I would like to play on. I'll be forever grateful to John for his persistence, encouragement, expertise, and great instincts. I'm so happy to have this instrument!

While attending Northwestern University, Lindsay Groves played in the Chicago Civic Orchestra. After graduation, she joined the Syracuse Symphony Orchestra as Assistant Principal and cellist of the Syracuse Symphony's Quartet. In addition to these commitments, Groves enjoys performing in recital and as soloist in central New York state.

Groves so enjoyed performing in summer music festivals, such as the Spoleto Festival and Eastern Music Festival, that she created one of her own. In 1980, she founded the Skaneateles Festival for chamber music in the Finger Lakes region of New York. She was the music director for 11 years. Twenty-six years later, the festival, at the northern tip of Skaneateles Lake, is still going strong.

I can’t say enough good things about my experience with this shop, specifically with John Baldwin. He truly helped me find “my fiddle” and did so in a helpful and respectful way. It is a beautiful instrument with many personalities, which is what I was looking for to paint all the colors that great music requires. This season, I’m looking forward to performing such great pieces as the Shostakovich Violin Concerto No. 1 and Lark Ascending on my fiddle. It is always exciting to take it to new places and see what it can do!

Karen Johnson has been studying violin since age 4. She won the Corpus Christi International Young Artist Competition and the Music Teachers National Association Yamaha String Competition, among others, before she reached her teens.

While earning her Bachelor’s degree at the Juilliard School, she was exceedingly busy, studying with Joel Smirnoff, winning more competitions across the country, and playing first violinist with the Vaux String Quartet and serving as concertmaster of the Juilliard orchestras.

Johnson completed her Master’s degree at the University of Maryland, College Park, in 2002, studying with William Preucil. Since then, she has served as concertmaster of the Richmond Symphony in Virginia.

Karen JohnsonSales consultant: John BaldwinInstrument purchased: Italian violin by Carlo Landolfi, Milan, 1793



. . . . . . . . . . . . . . . . . . . . . . . . . . . . C O N T I N U E D F R O M C O V E R

Instrument SpotlightViolin - Peter Guarneri, Venice, circa 1753 “Frankel ”

At Reuning & Son Violins, we aim to serve today's musician with the utmost skill and knowledge possible. With this in mind, our workshop is continually exploring new, non-invasive restoration techniques while respecting the integrity of the instrument. We thoroughly research and analyze each instrument in order to identify and certify it with the greatest accuracy. Although we employ such technological methods as dendrochronology and such time-honored methods as archival research, ultimately we realize there is no substitute for the expert's eye. Though we clearly emphasize the value of skill and knowledge, we believe that integrity is essential to operating a reliable firm.

REUNING INSTRUMENT GALLERY We are both excited and proud to have these instruments in our collection.


Works by Peter of Venice are rare and the “Frankel” is an excellent example from Guarneri’s middle period.

- Christopher Reuning

Violin - Nicola Bergonzi, Cremona, circa 1785

Born into the final generation of Cremona’s Bergonzi violin makers, Nicola Bergonzi’s violins are linked to his more illustrious predecessors by construction techniques and certain design characteristics. If Bergonzi’s work appears similar to that of Storioni, it is no coincidence; they shared a dwelling for a while. As Nicola Bergonzi’s work is rare, we are excited to offer this violin. It is built on a broad model from attractive native maple and it has a distinctive Cremonese component to its sound. It was recently played to great acclaim and success at a major international violin competition.

Violin - Gaetano Sgarabotto, Milan, circa 1920

Gaetano Sgarabotto is one of the most highly regarded Italian makers of the last century. His modern-style instruments labeled with his name are well known and appreciated. His copies however, labeled accordingly, are better understood today after having gone largely undetected by past experts. The violin we offer was incorrectly sold by the Wurlitzer firm in 1939 as a Milanese violin by Giuseppe Presbler dated 1789. Today we can easily attribute it to Sgarabotto by the trademark antiquing style and recognizable details and workmanship. Its warm and full sound is complex and strong.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . C O N T I N U E D F R O M C O V E R

Instrument SpotlightViolin - Peter Guarneri, Venice, circa 1753 “Frankel ”

At Reuning & Son Violins, we aim to serve today's musician with the utmost skill and knowledge possible. With this in mind, our workshop is continually exploring new, non-invasive restoration techniques while respecting the integrity of the instrument. We thoroughly research and analyze each instrument in order to identify and certify it with the greatest accuracy. Although we employ such technological methods as dendrochronology and such time-honored methods as archival research, ultimately we realize there is no substitute for the expert's eye. Though we clearly emphasize the value of skill and knowledge, we believe that integrity is essential to operating a reliable firm.

REUNING INSTRUMENT GALLERY We are both excited and proud to have these instruments in our collection.


Works by Peter of Venice are rare and the “Frankel” is an excellent example from Guarneri’s middle period.

- Christopher Reuning

Violin - Nicola Bergonzi, Cremona, circa 1785

Born into the final generation of Cremona’s Bergonzi violin makers, Nicola Bergonzi’s violins are linked to his more illustrious predecessors by construction techniques and certain design characteristics. If Bergonzi’s work appears similar to that of Storioni, it is no coincidence; they shared a dwelling for a while. As Nicola Bergonzi’s work is rare, we are excited to offer this violin. It is built on a broad model from attractive native maple and it has a distinctive Cremonese component to its sound. It was recently played to great acclaim and success at a major international violin competition.

Violin - Gaetano Sgarabotto, Milan, circa 1920

Gaetano Sgarabotto is one of the most highly regarded Italian makers of the last century. His modern-style instruments labeled with his name are well known and appreciated. His copies however, labeled accordingly, are better understood today after having gone largely undetected by past experts. The violin we offer was incorrectly sold by the Wurlitzer firm in 1939 as a Milanese violin by Giuseppe Presbler dated 1789. Today we can easily attribute it to Sgarabotto by the trademark antiquing style and recognizable details and workmanship. Its warm and full sound is complex and strong.

REUNING INSTRUMENT GALLERY...Continued

Prices available upon request. Please call 617-262-1300.


Cello - Carl G. Becker, Chicago, 1934

Carl G. Becker (1887-1975) and his still active son, Carl F. Becker, are considered the foremost American violin makers. The elder Becker divided his time between restoration at the eminent firm of William Lewis & Son and his own making at the family workshop. Before his collaboration with his son, Becker crafted 63 cellos. They were built on a Stradivari pattern and showed clean and stylish workmanship in well-figured maple. Becker cellos are renowned for their powerful and robust sound with quick responsiveness. The fine example we offer is in especially pure condition, and is a desirable example of Becker's work.

Violin - Johannes Theodorus Cuypers, The Hague, 1791

Johannes Cuypers was a prolific maker who, unlike his Dutch contemporaries, favored a flatter, bolder model reminiscent of the late works of Stradivari. Cognoscenti, such as numerous fine players who have purchased Cuypers violins from us, appreciate his exceptional-sounding instruments, which have gone largely underappreciated. The Cuypers we offer is in superb condition with no cracks. It retains its original neck and even its original saddle! It can be compared tonally to Italian violins in a much higher price range.

Violin - Voller Brothers, London, circa 1900

William, Charles, and Arthur Voller were probably the most clever and dangerous copiests of the last 150 years. They worked in London, at the turn of the 20th century, where they made exact copies of many famous Stradivaris, Guarneri del Gesus, and other classical Italian makers. A fine publication by the British Violin Making Association describes the brothers’ lives and illustrates examples of their work and should foster a better awareness of their skills. Today, their copies are readily identified by experts, but most were passed off as original during their lifetimes. The violin we offer is a very clever copy of an instrument by an important maker, Tomasso Balestrieri. The noticeable “repairs” were artificial, created to “prove” the violin’s authenticity. Still, the sound is reminiscent of a great Balestrieri, full and husky with ample carrying power.

Violin - Jean Baptiste Vuillaume, Paris, 1850

Jean Baptiste Vuillaume is the most documented and prominent violin maker and dealer of the 19th century. His workshop was responsible for some of the world’s best copies of Stradivari and Guarneri del Gesu instruments. We offer an exact bench copy of the Alard Stradivari of 1715, considered one of the master’s finest works. The Alard was named after Vuillaume’s son-in-law, Delphin Alard, whose acquisition of the instrument in the 1840s provided Vuillaume sufficient access to craft an impeccable replica. The Alard has passed through the hands of such great collectors as John Adam, Baron Knoop, Robert Brandt, Richard Bennett, and Juan Luis Pietro.

This copy remains in very pure condition and is suitable for a discriminating collector or demanding artist.

Violin - Giovanni Battista Guadagnini, Turin, 1771, “Baron Hermann”

By the time he moved to Turin in the summer of 1771, Giovanni Battista Guadagnini was an elderly man of 60 and burdened with nine children, including two toddlers. He had spent the preceding years pursuing the promise of financial security as he followed his various patrons and clients from city to city.

The violin we offer was certainly one of his first works in his new location as it bears an original label from Turin dated 1771. It demonstrates the penultimate Guadagnini style before he became acquainted with prodigious collector Count Cozio di Salabue, who influenced his “Turin” model.

This violin was sold twice by W.E. Hill & Sons and derives its name from a previous owner, the Baron Hermann. The power and complexity of its sound is compelling, typical of Guadagnini violins. Because of an extremely well-repaired back crack, it is priced well below market.

Viola - Luigi Bajoni, Milan, circa 1870

Milan’s revival of classical instrument making led by Rivolta, Gibertini, and Merighi proved opportune for Luigi Bajoni, who turned to instrument making from woodworking. Though he never achieved the technical skill of his three predecessors, Bajoni’s instruments demonstrated a rustic approach that was deeply Italian in sound and style. Though Bajoni was not known as a copiest, the viola we offer is labeled Gasparo da Salo. It shows unmistakable characteristics of Bajoni in the soundholes and other features, but the outline and arching roughly follow features of a Gasparo. The instrument shows a deliberate attempt at making an old viola, though it would be another 30 years before Italy saw its first successfully devious copiest. The viola we offer measures 16 3/8” and it asserts an open and broad sound suitable for orchestral or solo playing.

REUNING INSTRUMENT GALLERY...Continued

Prices available upon request. Please call 617-262-1300.


Cello - Carl G. Becker, Chicago, 1934

Carl G. Becker (1887-1975) and his still active son, Carl F. Becker, are considered the foremost American violin makers. The elder Becker divided his time between restoration at the eminent firm of William Lewis & Son and his own making at the family workshop. Before his collaboration with his son, Becker crafted 63 cellos. They were built on a Stradivari pattern and showed clean and stylish workmanship in well-figured maple. Becker cellos are renowned for their powerful and robust sound with quick responsiveness. The fine example we offer is in especially pure condition, and is a desirable example of Becker's work.

Violin - Johannes Theodorus Cuypers, The Hague, 1791

Johannes Cuypers was a prolific maker who, unlike his Dutch contemporaries, favored a flatter, bolder model reminiscent of the late works of Stradivari. Cognoscenti, such as numerous fine players who have purchased Cuypers violins from us, appreciate his exceptional-sounding instruments, which have gone largely underappreciated. The Cuypers we offer is in superb condition with no cracks. It retains its original neck and even its original saddle! It can be compared tonally to Italian violins in a much higher price range.

Violin - Voller Brothers, London, circa 1900

William, Charles, and Arthur Voller were probably the most clever and dangerous copiests of the last 150 years. They worked in London, at the turn of the 20th century, where they made exact copies of many famous Stradivaris, Guarneri del Gesus, and other classical Italian makers. A fine publication by the British Violin Making Association describes the brothers’ lives and illustrates examples of their work and should foster a better awareness of their skills. Today, their copies are readily identified by experts, but most were passed off as original during their lifetimes. The violin we offer is a very clever copy of an instrument by an important maker, Tomasso Balestrieri. The noticeable “repairs” were artificial, created to “prove” the violin’s authenticity. Still, the sound is reminiscent of a great Balestrieri, full and husky with ample carrying power.

Violin - Jean Baptiste Vuillaume, Paris, 1850

Jean Baptiste Vuillaume is the most documented and prominent violin maker and dealer of the 19th century. His workshop was responsible for some of the world’s best copies of Stradivari and Guarneri del Gesu instruments. We offer an exact bench copy of the Alard Stradivari of 1715, considered one of the master’s finest works. The Alard was named after Vuillaume’s son-in-law, Delphin Alard, whose acquisition of the instrument in the 1840s provided Vuillaume sufficient access to craft an impeccable replica. The Alard has passed through the hands of such great collectors as John Adam, Baron Knoop, Robert Brandt, Richard Bennett, and Juan Luis Pietro.

This copy remains in very pure condition and is suitable for a discriminating collector or demanding artist.

Violin - Giovanni Battista Guadagnini, Turin, 1771, “Baron Hermann”

By the time he moved to Turin in the summer of 1771, Giovanni Battista Guadagnini was an elderly man of 60 and burdened with nine children, including two toddlers. He had spent the preceding years pursuing the promise of financial security as he followed his various patrons and clients from city to city.

The violin we offer was certainly one of his first works in his new location as it bears an original label from Turin dated 1771. It demonstrates the penultimate Guadagnini style before he became acquainted with prodigious collector Count Cozio di Salabue, who influenced his “Turin” model.

This violin was sold twice by W.E. Hill & Sons and derives its name from a previous owner, the Baron Hermann. The power and complexity of its sound is compelling, typical of Guadagnini violins. Because of an extremely well-repaired back crack, it is priced well below market.

Viola - Luigi Bajoni, Milan, circa 1870

Milan’s revival of classical instrument making led by Rivolta, Gibertini, and Merighi proved opportune for Luigi Bajoni, who turned to instrument making from woodworking. Though he never achieved the technical skill of his three predecessors, Bajoni’s instruments demonstrated a rustic approach that was deeply Italian in sound and style. Though Bajoni was not known as a copiest, the viola we offer is labeled Gasparo da Salo. It shows unmistakable characteristics of Bajoni in the soundholes and other features, but the outline and arching roughly follow features of a Gasparo. The instrument shows a deliberate attempt at making an old viola, though it would be another 30 years before Italy saw its first successfully devious copiest. The viola we offer measures 16 3/8” and it asserts an open and broad sound suitable for orchestral or solo playing.

Emmanuel Feldman has emerged as one of the most innovative cellists of his generation and one of the busiest musicians in the Boston area. Known for his intense soulful playing and wide ranging repertoire, he enjoys an active career as a soloist, chamber musician, recording artist, composer, educator, and champion of new music.

His album of all American music “Rider on the Plains” has just been released by Albany Records. It features concertos and cello-piano duets (Joy Cline Phinney on piano) by Virgil Thomson and Charles Fussell. Of the four pieces, three are world premiere recordings. Fussell’s “Right River” was recorded with Boston’s own New England String Ensemble.

Feldman has recorded and performed with bassist Pascale Delache-Feldman as Cello e Basso (previously the Axiom Duo), which is dedicated to new music and has commissioned more than a dozen new works.

Feldman was born to a large musical family in New York City. He began studying cello at age 12 and gave his first solo performance at age 14 with the Great Neck Fine Arts Festival Orchestra. He studied with Orlando Cole at the Curtis Institute where he earned his Bachelor of Music degree and later attended the Paris Conservatory on scholarship. Today he is on the cello faculty at Tufts University, Brown University, and New England Conservatory while performing and teaching at festivals and master classes across North America and Europe.

In 1999 Christopher Reuning found him his cello, a beautiful 18th century Italian instrument:

Chris knew I had been looking for a fine instrument for many years. One day he called me and said he thought he had the right cello for me. Even though it was still in pieces when I first saw it, I fell in love, and when I played it

there was no turning back! I will always be grateful to Chris and Reuning & Son Violins for selling me a cello with the Strad sound without the Strad price!

Great American Cello Music bya Great Boston-based Cellist“with sweep and spirit, Feldman offers a fine variety of tone color, from the dark richness of his C string to the penetrating clarity of the upper positions”

Fanfare Magazine, James Reel October/Novemeber 2006

photo credit: © Mathias Bothor / Deutsche Grammophon

Now a “big name” herself with a dozen albums, a Grammy award and an Oscar nomination to her credit, Hahn attracted a long line of autograph seekers, despite a steady drizzle, after performing her Tanglewood debut this past August. At a youthful 26, one can hardly call her seasoned. Yet she seems to have effortlessly evolved from pre-teen phenom to sought-after international concert soloist and Deutsche Grammophon recording star. She was blessed with a solid support structure of family, teachers, and mentors every step of the way.

From age 10, Hahn commuted between the Curtis Institute of Music in Philadelphia and her Baltimore home on weekends, where she made her debut with the Baltimore Symphony at age 12. The two separate but complementary musical communities were a resource for her, and her teachers, like Klara Berkovich and Jascha Brodsky, and mentors David Zinman and Lorin Mazel, took her under their wings. They brought her along slowly and focused on a solid musical foundation.

“My teachers weren’t pushy about career stuff. No one wants to be responsible for someone’s burnout,” Hahn says.

Hahn completed her degree requirements by age 16, but opted to stay in school for three more years, taking elective courses in languages and literature, studying and playing chamber music during the summers, and starting a recording career.

An only child, Hahn’s parents enabled her travels. Her father shuttled her to lessons and lived with her in Philadelphia while her mother stayed in Baltimore as the family breadwinner. In fact, Hahn’s father accompanied her on the road until she was 22.

“It was a pretty big sacrifice on my parents’ part not to be together. It’s a huge thing I really appreciate,” Hahn says. “I’m really glad I had that support.”

Meanwhile, the teenaged Hahn took advantage of her close relationship with the Baltimore Symphony to learn about the career choices available to a classical musician.

“Someone would always let me backstage and introduce me to the soloist or conductor that week. I would ask questions about how they managed their lives doing what they do,” Hahn says. “So I had a pretty good idea of the lifestyle of a soloist and traveling performer.”

Turns out, she loves the life. But she doesn’t sugarcoat it. When she does a Q&A with students, she tells them realistically what to expect. “Your home is on the road, but you still have to take care of yourself, feed yourself, exercise,” Hahn says. “It’s fun, challenging, unglamorous, busy, unusual, and odd. It’s not well suited to everyone, but it’s a perfect match for me personality-wise.”

Hahn believes in being true to one’s heart. It’s the crux of her advice to any young musician or artist.

“Know your own mind, know what’s important to you and stay in touch with that,” Hahn says. “Even if no one agrees with you, you have to do what your own path leads you to do.”

As long as it includes performing. She describes how practice and performance coexist in a perpetual feedback loop.

“There’s a lot about performing that’s spontaneous, but if you don’t have a structure in place, or you only practiced a piece one way, you can set yourself up for some awkward moments during a concert,” Hahn says. “When you’re at ease with the technical demands, when you perform, your practicing will have been effective because you’ll be much more free and alert to focus on anything you want to change.”

“Musically, I don’t think you know what’s effective until you’re on stage,” she continues. “Every performance is part of long process.”

Hahn suggests that students get out and perform at community centers, senior citizen facilities, school outreach programs, or even busking on the street.

“The street is a really good place to play. If people like it they stay; if not, they walk by. It’s good performance preparation and fun, especially if you think you’ll make some money,” Hahn says.

Her latest venture is an album of Paganini and Spohr concertos (2006 Deutsche Grammophon 477 623-2), but she doesn’t hesitate to mix it up with other genres like ballet and film.

Collaboration has opened her eyes to how other artists hear music and incorporate it into their creative work. It has led her to broaden her own interpretive development. This merging of artistic fields is not taught in conservatory, she says, although classical music has traditionally bent genres. For example, Paganini was influenced by Italian opera. Classical musicians mingled with writers and artists in the Paris salons of the 1920s.

“We shouldn’t lose sight of that cross-pollination in the arts. The earlier we start as students to try to understand how the arts all relate, the more interesting music will be to us as we mature,” Hahn says. “It’s such a multimedia world now. Everyone is multitasking, and if we multitask art, we’ll get fantastic results. It will help all the different arts to survive.”

“I was comfortable buying an instrument

from them. They treated me with a lot of respect and were helpful when I was young,” Hahn says.

“They still treat everyone equally whether you’re a big name or a student.

That’s important to me.”

- Hillary commenting on her experiencewith Reuning & Son Violins.

Often, the only feasible way an up-and-coming musician can obtain a fine instrument is through the generous support of a patron. Such generosity is rewarded chiefly by the gratification of supporting an artist and the thrill of following her or his career.

A more tangible benefit does exist in that violins, violas, and cellos of a certain class have proved to be worthwhile investments. To avoid adding to market speculation, we do not recommend instruments solely as investment vehicles. However, a well-chosen instrument can add diversity to an investment portfolio and hedge against financial market volatility.

At Reuning & Son Violins, we have 30 years experience advising our clients on the fine points of instrument purchase and lending. We handle all the service and administration details and can match up donors with outstanding musicians in need of instruments. In this way, we are proud to have helped many young musicians acquire a violin, viola, or cello.

If you own an instrument suitable to lend or are interested in discussing an instrument purchase, please contact us. Your inquiry will be handled with the utmost discretion.

PassionatelySeekingPatrons

8 www.reuning.com 9

Reuning & Son Violins has chosen “String-In”, the leading firm in Seoul, as its exclusive agent in South Korea. The three principals, Kevin March, his wife Min Suh Park, and her brother Jin Suh Park, trained at the Chicago School of Violinmaking. Their fine skills in restoration and repair together with an impeccably ethical reputation reflect the same commitment to quality that is fundamental to the business ideals of Reuning & Son Violins. We trust String-In as our stand-in to sell and adjust the finest instruments and to attract new customers across the Pacific Rim. Their knowledge of the Seoul dining scene is a bonus!

Reuning & Son Violins Signs Agent in Korea

Hilary Hahn Follows Her Heart . . . C O N T I N U E D F R O M C O V E R

Emmanuel Feldman has emerged as one of the most innovative cellists of his generation and one of the busiest musicians in the Boston area. Known for his intense soulful playing and wide ranging repertoire, he enjoys an active career as a soloist, chamber musician, recording artist, composer, educator, and champion of new music.

His album of all American music “Rider on the Plains” has just been released by Albany Records. It features concertos and cello-piano duets (Joy Cline Phinney on piano) by Virgil Thomson and Charles Fussell. Of the four pieces, three are world premiere recordings. Fussell’s “Right River” was recorded with Boston’s own New England String Ensemble.

Feldman has recorded and performed with bassist Pascale Delache-Feldman as Cello e Basso (previously the Axiom Duo), which is dedicated to new music and has commissioned more than a dozen new works.

Feldman was born to a large musical family in New York City. He began studying cello at age 12 and gave his first solo performance at age 14 with the Great Neck Fine Arts Festival Orchestra. He studied with Orlando Cole at the Curtis Institute where he earned his Bachelor of Music degree and later attended the Paris Conservatory on scholarship. Today he is on the cello faculty at Tufts University, Brown University, and New England Conservatory while performing and teaching at festivals and master classes across North America and Europe.

In 1999 Christopher Reuning found him his cello, a beautiful 18th century Italian instrument:

Chris knew I had been looking for a fine instrument for many years. One day he called me and said he thought he had the right cello for me. Even though it was still in pieces when I first saw it, I fell in love, and when I played it

there was no turning back! I will always be grateful to Chris and Reuning & Son Violins for selling me a cello with the Strad sound without the Strad price!

Great American Cello Music bya Great Boston-based Cellist“with sweep and spirit, Feldman offers a fine variety of tone color, from the dark richness of his C string to the penetrating clarity of the upper positions”

Fanfare Magazine, James Reel October/Novemeber 2006

photo credit: © Mathias Bothor / Deutsche Grammophon

Now a “big name” herself with a dozen albums, a Grammy award and an Oscar nomination to her credit, Hahn attracted a long line of autograph seekers, despite a steady drizzle, after performing her Tanglewood debut this past August. At a youthful 26, one can hardly call her seasoned. Yet she seems to have effortlessly evolved from pre-teen phenom to sought-after international concert soloist and Deutsche Grammophon recording star. She was blessed with a solid support structure of family, teachers, and mentors every step of the way.

From age 10, Hahn commuted between the Curtis Institute of Music in Philadelphia and her Baltimore home on weekends, where she made her debut with the Baltimore Symphony at age 12. The two separate but complementary musical communities were a resource for her, and her teachers, like Klara Berkovich and Jascha Brodsky, and mentors David Zinman and Lorin Mazel, took her under their wings. They brought her along slowly and focused on a solid musical foundation.

“My teachers weren’t pushy about career stuff. No one wants to be responsible for someone’s burnout,” Hahn says.

Hahn completed her degree requirements by age 16, but opted to stay in school for three more years, taking elective courses in languages and literature, studying and playing chamber music during the summers, and starting a recording career.

An only child, Hahn’s parents enabled her travels. Her father shuttled her to lessons and lived with her in Philadelphia while her mother stayed in Baltimore as the family breadwinner. In fact, Hahn’s father accompanied her on the road until she was 22.

“It was a pretty big sacrifice on my parents’ part not to be together. It’s a huge thing I really appreciate,” Hahn says. “I’m really glad I had that support.”

Meanwhile, the teenaged Hahn took advantage of her close relationship with the Baltimore Symphony to learn about the career choices available to a classical musician.

“Someone would always let me backstage and introduce me to the soloist or conductor that week. I would ask questions about how they managed their lives doing what they do,” Hahn says. “So I had a pretty good idea of the lifestyle of a soloist and traveling performer.”

Turns out, she loves the life. But she doesn’t sugarcoat it. When she does a Q&A with students, she tells them realistically what to expect. “Your home is on the road, but you still have to take care of yourself, feed yourself, exercise,” Hahn says. “It’s fun, challenging, unglamorous, busy, unusual, and odd. It’s not well suited to everyone, but it’s a perfect match for me personality-wise.”

Hahn believes in being true to one’s heart. It’s the crux of her advice to any young musician or artist.

“Know your own mind, know what’s important to you and stay in touch with that,” Hahn says. “Even if no one agrees with you, you have to do what your own path leads you to do.”

As long as it includes performing. She describes how practice and performance coexist in a perpetual feedback loop.

“There’s a lot about performing that’s spontaneous, but if you don’t have a structure in place, or you only practiced a piece one way, you can set yourself up for some awkward moments during a concert,” Hahn says. “When you’re at ease with the technical demands, when you perform, your practicing will have been effective because you’ll be much more free and alert to focus on anything you want to change.”

“Musically, I don’t think you know what’s effective until you’re on stage,” she continues. “Every performance is part of long process.”

Hahn suggests that students get out and perform at community centers, senior citizen facilities, school outreach programs, or even busking on the street.

“The street is a really good place to play. If people like it they stay; if not, they walk by. It’s good performance preparation and fun, especially if you think you’ll make some money,” Hahn says.

Her latest venture is an album of Paganini and Spohr concertos (2006 Deutsche Grammophon 477 623-2), but she doesn’t hesitate to mix it up with other genres like ballet and film.

Collaboration has opened her eyes to how other artists hear music and incorporate it into their creative work. It has led her to broaden her own interpretive development. This merging of artistic fields is not taught in conservatory, she says, although classical music has traditionally bent genres. For example, Paganini was influenced by Italian opera. Classical musicians mingled with writers and artists in the Paris salons of the 1920s.

“We shouldn’t lose sight of that cross-pollination in the arts. The earlier we start as students to try to understand how the arts all relate, the more interesting music will be to us as we mature,” Hahn says. “It’s such a multimedia world now. Everyone is multitasking, and if we multitask art, we’ll get fantastic results. It will help all the different arts to survive.”

“I was comfortable buying an instrument

from them. They treated me with a lot of respect and were helpful when I was young,” Hahn says.

“They still treat everyone equally whether you’re a big name or a student.

That’s important to me.”

- Hillary commenting on her experiencewith Reuning & Son Violins.

Often, the only feasible way an up-and-coming musician can obtain a fine instrument is through the generous support of a patron. Such generosity is rewarded chiefly by the gratification of supporting an artist and the thrill of following her or his career.

A more tangible benefit does exist in that violins, violas, and cellos of a certain class have proved to be worthwhile investments. To avoid adding to market speculation, we do not recommend instruments solely as investment vehicles. However, a well-chosen instrument can add diversity to an investment portfolio and hedge against financial market volatility.

At Reuning & Son Violins, we have 30 years experience advising our clients on the fine points of instrument purchase and lending. We handle all the service and administration details and can match up donors with outstanding musicians in need of instruments. In this way, we are proud to have helped many young musicians acquire a violin, viola, or cello.

If you own an instrument suitable to lend or are interested in discussing an instrument purchase, please contact us. Your inquiry will be handled with the utmost discretion.

PassionatelySeekingPatrons

8 www.reuning.com 9

Reuning & Son Violins has chosen “String-In”, the leading firm in Seoul, as its exclusive agent in South Korea. The three principals, Kevin March, his wife Min Suh Park, and her brother Jin Suh Park, trained at the Chicago School of Violinmaking. Their fine skills in restoration and repair together with an impeccably ethical reputation reflect the same commitment to quality that is fundamental to the business ideals of Reuning & Son Violins. We trust String-In as our stand-in to sell and adjust the finest instruments and to attract new customers across the Pacific Rim. Their knowledge of the Seoul dining scene is a bonus!

Reuning & Son Violins Signs Agent in Korea

Hilary Hahn Follows Her Heart . . . C O N T I N U E D F R O M C O V E R

A Passion For Bows

Carriage House Violins employees standing at the front entranceto the building which houses both Carriage House Violins and Reuning & Son Violins.

From left to right:James Hull (customer service), Dee Ann Fleming (manager), Ethan Ladd (sales), and Christo Wood (luthier).

For New England-based teachers, we offer a special arrangement. Carriage House violins sales consultant Ethan Ladd is eager to bring a sample of instruments for you and your students. He welcomes inquiries.

Call Ethan at 617-262-0051 or email him at [email protected]

www.carriagehouseviolins.com

In the 18 months since Reuning & Son Violins expanded to add Carriage House Violins showroom and studios to the sixth floor, we have focused squarely on our loyal student customers and their need for reasonably priced instruments.

Under the direction of Dee Ann Fleming, a fine violinist and seasoned sales consultant, the reaction to Carriage House Violins has been gratifying. She reports that customers are happier than ever with the quality of their instruments and the caliber of customer service.

Carriage House Violins’ exciting line of superior quality instruments is finished in the same expert workshop that serves our customers downstairs at Reuning & Son Violins. And, Carriage House offers the same generous trade-in terms as students advance.

We are happy to send student players a selection of instrumentsto try out. Contact the Carriage House Violins sales staff at617-262-0051.

Devoted toStudent String Players

of All Generations

Upstairs,Downstairs:

Carriage House Violins a Success!

Born in London in 1972 to violin-making parents, Doriane Bodart was inspired by an environment of music and craftsmanship. With the moral support and advice of her father, she first apprenticed in Paris with Stéphane Thomachot, considered by Christopher Reuning and others to be the father of the modern renaissance in bow making.

Bodart’s interest in bow making blossomed into her passion. From 1994 to 1995, she trained with Gilles Duhaut in Mirecourt, France. During the same busy year, she learned bow restoration in Pierre Guillaume’s Brussels workshop where she was exposed to particularly beautiful and rare bows. Bodart returned to Thomachot in 1996 to further refine her skills and technique, making bows to Thomachot’s exacting standards.

Her rigorous apprenticeship notwithstanding, Bodart continued to study and take classes at the Oberlin Workshop, with Charles Espey in the Seattle area, and with Noel Burke in Ireland.

Since October 1999, Bodart has been making and restoring bows in her Paris workshop, which was once the sculpture studio of her grandfather, Marcel Bodart. She shares this majestic space with violin maker Stephane Bodart, her cousin.

The sumptuous style of Bodart’s bows reflects the trend among modern makers toward emulating earlier French makers such as Peccatte, Pajeot, and Persoit, Reuning says. This style of bow making emphasizes tone production and is artistically very direct.

Bodart also works on commission. She crafted a magnificent cello bow of dark brown pernambuco wood mounted with ivory and gold, which is now in the private collection of Micha Maisky.

Reuning & Son Violins has been selling Bodart’s work for about five years and currently has several of her bows available.

Doriane Bodart:

Influenced by his grandfather, sculptor Louis Slobodkin, Nathan Slobodkin found that instrument making combined his loves of music and woodcarving. Born in 1954 in Ann Arbor, Michigan, Slobodkin made folk instruments as a teenager. He first made violins at William Harris Lee & Co. in Chicago, a prolific shop where makers worked on several instruments at once under strict supervision. He advanced to become a lead maker in the cello department. He went on to train in New York in 1991 at Jacques Francais, Rare Violins and has been a full time maker since 1993.

Slobodkin likes to experiment with varieties of wood to achieve different tone colors. He focuses on arching and graduation for desired tonal quality and pays attention to details of edge work, scroll, surface texture and varnish for visual interest and individual personality. Slobodkin’s background and education gave him a profound understanding of the acoustic principles of cellos, says Christopher Reuning, who tapped Slobodkin to make cellos for the Reuning & Son Violins label.

But not just any cellos. When Reuning & Son Violins, in 1999, had the Guarneri del Gesu “Messeus” cello of 1731 for sale, Reuning thought it would be the ideal cello model from both an acoustic and aesthetic standpoint. Before it was sold, Slobodkin carefully studied the cello and took precise measurements and photographs. Six years and 40 Messeus-based cellos later, Slobodkin’s fluency with the model has allowed him to refine the workmanship characteristics and acoustics of the instruments in collaboration with the Reuning workshop. The cellos have been sold to working professionals and fine players in top conservatories.

Today, Slobodkin’s Messeus model cellos are sold exclusively by Reuning & Son Violins. We can arrange a timely trial; however, the instruments are in such demand there is usually a waiting list. We welcome your inquiry.

Modeled from the Guarneri del Gesu “Messeus” of 1731, these instruments alsorepresent Slobodkin’s “profound understanding of the acoustic principles of cellos”.

Nathan Slobodkin:Deconstructing the Cello

Accent on NEW MAKERS:

10 www.reuning.com 11

Reuning & Son Violins staff members Tucker Densley, violin maker and photographer (left), and Eric Lane, bow maker (right), were elected to the American Federation of Violin and Bow Makers at its annual meeting this past April at the Library of Congress. Along with Christopher Reuning, company president, and Andrew Ryan, violin maker and shop foreman, Reuning & Son Violins is well represented in the prestigious organization.

The prerequisite for membership in AFVBM is at least seven years of training and experience as a violin or bow maker. Applicants must submit examples of their work to the membership for approval and voting.

Reuning, currently serving as AFVBM vice president, will move up to president next spring. He has been active in the Federation, organizing exhibits of special interest about every other year. Among them have been Venetian instruments in Boston in 2002 and Neapolitan instruments in Pittsburgh in 2005. In addition, Reuning helped Christopher Germain and John Montgomery assemble an outstanding collection of American violins for the April 2006 “The American Violin” celebration at the Library of Congress. Reuning is already at work on the spring 2008 exhibit, which will focus on the great Cremonese makers.

Staff Members Elected to AFVBM

A Passion For Bows

Carriage House Violins employees standing at the front entranceto the building which houses both Carriage House Violins and Reuning & Son Violins.

From left to right:James Hull (customer service), Dee Ann Fleming (manager), Ethan Ladd (sales), and Christo Wood (luthier).

For New England-based teachers, we offer a special arrangement. Carriage House violins sales consultant Ethan Ladd is eager to bring a sample of instruments for you and your students. He welcomes inquiries.

Call Ethan at 617-262-0051 or email him at [email protected]

www.carriagehouseviolins.com

In the 18 months since Reuning & Son Violins expanded to add Carriage House Violins showroom and studios to the sixth floor, we have focused squarely on our loyal student customers and their need for reasonably priced instruments.

Under the direction of Dee Ann Fleming, a fine violinist and seasoned sales consultant, the reaction to Carriage House Violins has been gratifying. She reports that customers are happier than ever with the quality of their instruments and the caliber of customer service.

Carriage House Violins’ exciting line of superior quality instruments is finished in the same expert workshop that serves our customers downstairs at Reuning & Son Violins. And, Carriage House offers the same generous trade-in terms as students advance.

We are happy to send student players a selection of instrumentsto try out. Contact the Carriage House Violins sales staff at617-262-0051.

Devoted toStudent String Players

of All Generations

Upstairs,Downstairs:

Carriage House Violins a Success!

Born in London in 1972 to violin-making parents, Doriane Bodart was inspired by an environment of music and craftsmanship. With the moral support and advice of her father, she first apprenticed in Paris with Stéphane Thomachot, considered by Christopher Reuning and others to be the father of the modern renaissance in bow making.

Bodart’s interest in bow making blossomed into her passion. From 1994 to 1995, she trained with Gilles Duhaut in Mirecourt, France. During the same busy year, she learned bow restoration in Pierre Guillaume’s Brussels workshop where she was exposed to particularly beautiful and rare bows. Bodart returned to Thomachot in 1996 to further refine her skills and technique, making bows to Thomachot’s exacting standards.

Her rigorous apprenticeship notwithstanding, Bodart continued to study and take classes at the Oberlin Workshop, with Charles Espey in the Seattle area, and with Noel Burke in Ireland.

Since October 1999, Bodart has been making and restoring bows in her Paris workshop, which was once the sculpture studio of her grandfather, Marcel Bodart. She shares this majestic space with violin maker Stephane Bodart, her cousin.

The sumptuous style of Bodart’s bows reflects the trend among modern makers toward emulating earlier French makers such as Peccatte, Pajeot, and Persoit, Reuning says. This style of bow making emphasizes tone production and is artistically very direct.

Bodart also works on commission. She crafted a magnificent cello bow of dark brown pernambuco wood mounted with ivory and gold, which is now in the private collection of Micha Maisky.

Reuning & Son Violins has been selling Bodart’s work for about five years and currently has several of her bows available.

Doriane Bodart:

Influenced by his grandfather, sculptor Louis Slobodkin, Nathan Slobodkin found that instrument making combined his loves of music and woodcarving. Born in 1954 in Ann Arbor, Michigan, Slobodkin made folk instruments as a teenager. He first made violins at William Harris Lee & Co. in Chicago, a prolific shop where makers worked on several instruments at once under strict supervision. He advanced to become a lead maker in the cello department. He went on to train in New York in 1991 at Jacques Francais, Rare Violins and has been a full time maker since 1993.

Slobodkin likes to experiment with varieties of wood to achieve different tone colors. He focuses on arching and graduation for desired tonal quality and pays attention to details of edge work, scroll, surface texture and varnish for visual interest and individual personality. Slobodkin’s background and education gave him a profound understanding of the acoustic principles of cellos, says Christopher Reuning, who tapped Slobodkin to make cellos for the Reuning & Son Violins label.

But not just any cellos. When Reuning & Son Violins, in 1999, had the Guarneri del Gesu “Messeus” cello of 1731 for sale, Reuning thought it would be the ideal cello model from both an acoustic and aesthetic standpoint. Before it was sold, Slobodkin carefully studied the cello and took precise measurements and photographs. Six years and 40 Messeus-based cellos later, Slobodkin’s fluency with the model has allowed him to refine the workmanship characteristics and acoustics of the instruments in collaboration with the Reuning workshop. The cellos have been sold to working professionals and fine players in top conservatories.

Today, Slobodkin’s Messeus model cellos are sold exclusively by Reuning & Son Violins. We can arrange a timely trial; however, the instruments are in such demand there is usually a waiting list. We welcome your inquiry.

Modeled from the Guarneri del Gesu “Messeus” of 1731, these instruments alsorepresent Slobodkin’s “profound understanding of the acoustic principles of cellos”.

Nathan Slobodkin:Deconstructing the Cello

Accent on NEW MAKERS:

10 www.reuning.com 11

Reuning & Son Violins staff members Tucker Densley, violin maker and photographer (left), and Eric Lane, bow maker (right), were elected to the American Federation of Violin and Bow Makers at its annual meeting this past April at the Library of Congress. Along with Christopher Reuning, company president, and Andrew Ryan, violin maker and shop foreman, Reuning & Son Violins is well represented in the prestigious organization.

The prerequisite for membership in AFVBM is at least seven years of training and experience as a violin or bow maker. Applicants must submit examples of their work to the membership for approval and voting.

Reuning, currently serving as AFVBM vice president, will move up to president next spring. He has been active in the Federation, organizing exhibits of special interest about every other year. Among them have been Venetian instruments in Boston in 2002 and Neapolitan instruments in Pittsburgh in 2005. In addition, Reuning helped Christopher Germain and John Montgomery assemble an outstanding collection of American violins for the April 2006 “The American Violin” celebration at the Library of Congress. Reuning is already at work on the spring 2008 exhibit, which will focus on the great Cremonese makers.

Staff Members Elected to AFVBM

��

��

Reuning & Son ViolinsReuning & Son Violins ��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

��

��

��

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

��

��

��

��

��

Documents

newsletter to pdf - Reuning & Son Violinsreuning.com/wp-content/uploads/2012/10/reuning_newsletter_06_07.pdf · Jeff Hood began playing cello at age 2 with a toy guitar and a chopstick