Reuning & Son Violins ne w s l e t t e r

winter 2002-2003

I N S T R U M E N T S P O T L I G H T

Boston’s own seventeen-year-old violinist Stefan Jackiw is making a name for himself with audi-

ences at home and abroad. Following his debut with the Boston Pops under Keith Lockhart in

1997, he has performed with the Baltimore Symphony, the Minnesota Orchestra, the Pittsburgh

Symphony, and the Boston Philharmonic. Abroad Jackiw has performed in London with the Phil-

harmonia Orchestra under Benjamin Zander, the Orchestre Philharmonique de Strasbourg, and

the Bournemouth Symphony Orchestra. Born to physicist parents, Mr. Jackiw began playing the

violin at the age of four. He studies violin with Donald Weilerstein at the New England Conserva-

tory in Boston. His teachers have included Zinaida Gilels and Michèle Auclair.

What about violin playing completely blows your mind?

I’m fascinated with the instrument itself, namely the art of playing violin. Of course, for any violin-

ist, the ability to sing through the instrument is thrilling --- being able to convey something you

feel to your audience.

CONTINUED ON PAGE 8

Gaspare Lorenzini, circa 1760The reputation of Gaspare Lorenzini is surely in a stage of a meteoric rise. Lorenzini was a prolifi c maker

who worked his entire life in the city of Piacenza, which is just a few miles away from the cradle of violin

making, Cremona. Born in 1727, he lived and worked his entire life within a two-block radius, until he

died at the age of 87!

For well over a century, much of Lorenzini’s work has been mistakenly attributed to Lorenzo Gua-

dagnini. Consequently, a number of these instruments have become highly regarded as the violins of

such famous artists as Efrem Zimbalist, Harold Fielding and Arnold Steinhardt.

Lorenzini’s work has a unique and distinctive style that is easily recognizable and shows a connection to

an apprenticeship in Cremonese violin making. Despite a lack of factual evidence that Lorenzini apprenticed

in Cremona or that a Cremonese maker from the time, such as Francesco Rugeri II or M.A.Bergonzi, lived in

Piacenza, we can, however, look at specifi c geometric design principals in his work and conclude that Lorenzini

was a “Cremonese” maker, not a derivation of that school.

The example shown is certifi ed by the eminent fi rm of W.E. Hill & Sons as a work of Lorenzo Guadagnini and

can be traced in their archives back to 1800. Coupling the benefi t of today’s knowledge of Lorenzo Guadagnini

with the study of the work of Gaspare Lorenzini, today’s experts are unanimous in the reattribution of this vio-

lin. It affords investment opportunity that is unprecedented, as the reputation of Lorenzini will surely rise with

the acceptance of his place in the history of 18th century northern Italian violin making.

This violin remains in virtually perfect condition and has an open, full sound with great depth and

expressiveness. It offers unique tonal capacity for an instrument in that price category.

For more information on the violin, please contact us at 617.262.1300 or email us at info@reuning.com.

A C O N V E R S AT I O N W I T H

Stefan Jackiw

A perfect match--Boston musician Stefan

Jackiw and his 1704 Vincenzo Rugeri violin

acquired from Reuning & Son Violins.

By Carolyn S. Ellis

Helpful Thoughts on Choosing a BowBy Peter Jarvis

The process of choosing an instrument can be a daunting task, yet it is one

that most string players have either experienced or can expect to face more

than once in their career. Fortunately, most musicians understand basic

concepts of sound and can discuss them with colleagues and teachers when

comparing instruments. An instrument is ultimately a good match for the

player when it best responds to the varied demands of both the music and

the musician and possesses the player’s ideal sound. Each musician’s con-

cept of sound and level of technical ability are unique, often a result of the

individual’s experience and physiology. However, these factors change over

time and may, in turn, initiate a search for a new instrument. Surprisingly,

many string players underestimate the role the right bow plays in achieving

their ideal sound.

Many people are comfortable exploring an array of instruments, but

occasionally the process of choosing a bow can seem like navigating

uncharted waters. Because the bow is regarded as a tool that is designed

to capture the subtleties of expression, choosing a bow can be a highly

personal experience. Such a bow must perform with the refi nement of

a ballerina one instant, and be able to meet the demands of a symphony

orchestra the next.

I believe choosing a bow is a three-way partnership between bow, instru-

ment and the physical approach of the player. Just as an instrument cannot

sound exactly the same way in two different players’ hands, a bow will also

respond differently to each player. When given the opportunity to try a

variety of bows, the results can be eye opening. When successively played

on the same instrument, each bow’s unique voice becomes readily appar-

ent. The right combination can reveal or even magnify the instrument’s

strengths, while compensating for any particular weakness. For example,

if you have a particularly covered sound, it would be helpful to choose a

bow that articulates extremely well. However, if your instrument is on the

bright side and you seek a variety of colors, you may be drawn to a bow that

is more fl exible and produces as warm a sound as possible.

The best way to approach fi nding a bow is to choose a few short passages

that you are comfortable playing from memory. Use passages that are

very familiar to you, and have a concept of how you want them to sound to

your audience. It is important to have a combination of styles and tempos

for your “test drive”. I prefer to start with slow passages. If a bow cannot

produce a sound that captivates the listener and doesn’t produce

a wide spectrum of colors in a slow passage, you need not take it to the next

test. Presumably there will be a few bows from the fi rst round that satisfy

your demands.

The next round should test the bow’s ability to negotiate “the curves”.

Does it keep up with the instrument in spiccato passages? Does it cross the

string without thumping or taking off to the moon? In short, does it make

your playing easier or does it seem to have a mind of its own?

While exploring the agility of the bow, be conscious of the sound. I like

to hear a spiccato that seems to make the instrument vibrate throughout.

If you imagine your bow hitting the string much in the same way a mallet

resonates a timpani, you can listen for the depth of sound produced by each

stroke. Hopefully you can fi nd a bow that produces the most complex tone

for the shortest stroke, and ideally satisfi es the ear and matches the speed of

your left hand.

When one bow stands out as having both beauty of sound and versatility

of articulation, you have successfully found the partner best suited to your

instrument. The search for your new bow should be a rewarding experi-

ence, affording you an invaluable tool that also offers a special opportunity

to enhance your playing.

Sales consultant and violinist, Peter Jarvis has been with Reuning & Son for

nearly 15 years. He endeavors to match each player with the perfect instrument

and takes an enthusiastic interest in the careers of the musicians that he meets in

his work and travels. ®

This past May, Christopher Reuning organized an exhibit of instru-

ments representing the Venetian school. Hosted by the American

Federation of Violin and Bow Makers, of which he is a member, the

exhibit included forty-six violins, violas and cellos, as well as a bass

and a viola da gamba. The various instruments date from 1582 to

1885. On display were Yo Yo Ma’s Montagnana cello, Janos Starker’s

Gofriller cello, Michael Tree’s Busan viola, and Boston Symphony

Orchestra concertmaster Malcolm Lowe’s Montagnana violin, all

quintessential examples of the Venetian school. A pair of Gofriller

cellos, owned by BSO cellists Jules Eskin and Jonathan Miller, were

also represented.

The exhibit was highlighted by a joint lecture given by the eminent

British violin expert Charles Beare and the respected researcher/

author Duane Rosengard. Their enlightening discussion of the his-

tory and lives of the Venetian makers fully illustrated the vitality of

the era and revealed the men behind the makers.

A catalogue of the exhibition instruments is currently being pre-

pared that will contain photographs by Reuning & Son’s gifted

photographer and violinmaker, Tucker Densley. The photos will be

accompanied by brief biographies of the makers, as well as insights

into the instruments and their history. A dendrochronology report

by British specialist John Topham will also be included. Mr. Topham

is pioneering a database comprised solely of musical instruments.

(Look for a more expansive view of dendrochronology in our future

newsletters.)

In July, Christopher Reuning traveled to Venice to witness the prog-

ress of Mr. Beare’s and Mr. Rosengard’s research fi rsthand. Being

fortunate enough to personally examine historical documents in a

city that seems impervious to the passage of time greatly enhanced

Chris’ affi nity for Venice and its makers. (The superb food and wine

were merely a fringe benefi t!) ®

Venetian Violin Makers

E X H I B I T

[\ D E N D R O C H R O N O L O G Y

Determines the age of wood by measuring and comparing

the growth of its annualar rings to a database comprised

of both historical artifacts and musical instruments of

known age and authenticity.

V

iola

da g

amba sc

roll

by Ventura di Linarol, Venice 1582

2

Reuning & Son Violins Website Receives AccoladesSeptember, 2002

Reuning & Son Violins’ website, www.reuning.com, was the recipient of a

merit award at the 42nd annual Francis W. Hatch Awards. The awards are

given to honor creative excellence in advertising in New England.

Launched in November of 2001, the site is the work of

creative director and designer, Jodi Vautrin of Vautrin

Design (www.jodivautrin.com). We were very proud to

see Reuning & Son Violins’ website in the company of

such corporate giants as Volkswagen and General Motors!

If you haven’t already done so, please visit our website and

see why we are so proud.

Reuning & Son Violins is proud to introduce you to our new

bowmaker, Eric Lane. In October 2002 Eric moved to Boston

from Augusta, Georgia to become the head of our bow repair and

restoration department.

Eric has studied bowmaking with Jon Crumrine, Jerry Pasewicz,

Rodney Mohr and Reid Hudson. A graduate from the University of

Georgia, Eric holds a BM in music theory and double bass perfor-

mance.

Eric is proud to be a part of the current renaissance of bowmaking in

America. He has attended the Oberlin Summer Bowmaking Workshop

where he studied the traditional French techniques with the well-known

makers Stephane Thomachot and Eric Grandchamp. He derives inspira-

tion from the models of Pajeot and Lafl eur. His appreciation of their grace

and elegance is apparent in his own bows, which musicians admire for the

beautiful tone they produce.

We are very pleased to represent the bows of this very gifted bowmaker.

[ Meet Reuning & Son’s New Bowmaker, Eric Lane \

3

Eric Lane, using a traditional alcohol

lamp, adjusts the camber of a bow by

heating and carefully bending the stick.

R E U N I N G I N S T R U M E N T G A L L E R Y

Violin - Giovanni Floreno Guidantus, Bologna, 1737

Guidantus was one of the most prolifi c and successful makers in Bologna during the

golden age of violinmaking in that city. His violins are precisely made with a full

and strong arching. Guidantus had a fi ne, soft-textured varnish that has a light

golden-orange color. The example we are offering exhibits these characteristics

and the resulting sound is a big powerhouse with a broad tonal range. This violin

would be ideal for a soloist or concertmaster.

Violin - Matteo Gofriller, Venice, circa 1695

Gofriller was the fi rst important violinmaker in Venice. Prior to Montagnana’s arrival, Gofriller

was the only serious maker and single handedly took care of the bulk of the instrument making

duties of that busy city. His violins were made in a number of different styles to meet the needs

of the specifi c musician for whom they were made. We are offering this lovely early example,

which is slightly petite in size. Because the scroll is by another maker and due to an old, well-

repaired back crack, this violin is priced extremely reasonably. It does, however, possess the

luscious complex sound that is usual for these fi ne violins. It will surely provide a fi ne musi-

cian with many hours of musical enjoyment.

Violin - D. Nicolo Marchioni detto “Amati”, Bologna, circa 1720

The violins of Dom Nicolo Amati are well known to violinists and connoisseurs, but until recently,

the maker’s real name was unknown. We now know that Nicolo Marchioni took on the initial D,

for “Dom”, when he became ordained as a priest. He also adopted the name “Amati”, presumably

for marketing purposes, even though he had no connection to the famous family from Cremona.

The violin shown was made during Marchioni’s association with Guidantus and was made in the

latter’s shop and bears the Guidantus label. This violin shows the rustic hand of Marchioni, but

was built on the form of his teacher. It is of slightly small proportion, but nevertheless, possesses

an ample, full sound.

Violin - Domenico Montagnana, Venice, 1731

Domenico Montagnana, known as “the mighty Venetian”, was the most important maker from

the Venetian school, which is regarded as second only to the Cremonese school. Well known

for his cellos, Montagnana also made some robust violins that are highly sought after. The

example we offer was part of the famed Bloomfi eld collection and has since that time been

owned by a prominent player. It is widely regarded as one of the fi nest violins by this maker

in existence and was featured in the recent exhibition of Venetian instruments organized by

Christopher Reuning. It is in near perfect condition and is amply covered with a beautiful

cherry red varnish. The sound is clear, powerful and incisive.

We are both excited and proud to have the following instruments and bows in our collection.

4

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 that 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 fi rm.

Cello - Thomas Dodd, London, circa 1800

Thomas Dodd cellos are considered to be among the best from the great early 19th century

English school of cello making. The cellos were made mostly by Dodd’s assistants, John

Lott and Bernard Simon Fendt. These instruments combine Cremonese modeling, with

manageable dimensions, and fi ne varnish and fancy wood. The example we are offering is

one of the fi nest English cellos we have ever seen. Modeled after a Grand Amati, this cello

is ideal in size and is a spectacular and pure example of the maker. It is covered with an

unpolished craquelled varnish and possesses a sound that is both rich and projecting.

Violin - Enrico Clodoveo Melegari, Turin, circa 1892

We hesitate to use the “modern Italian” moniker any longer to describe violins that are now

more than one century old, and that applies especially in the case of Melegari. Unlike his

contemporaries in Turin, Melegari eschewed the French infl uenced methods that were popu-

lar in his time, preferring the old Italian traditions instead. His instruments, therefore, have

a more colorful tonality but still show the power and fi nesse that we see in other Turin vio-

lins at the turn of the century. This violin is in near perfect condition and is covered with

a soft, deep red varnish. We envision this violin in the hands of a young artist to whom

sound and investment value are both paramount.

Cello - Giacomo Rivolta, Milan, 1844

Giacomo Rivolta, whose work is quite rare, was the best maker in Milan at the beginning

of the 19th century. Rivolta, unlike many of his predecessors, recognized the superiority of

Stradivari’s work and indicated on his label that he was the resurgence of the school of the

celebrated maker. This cello was built on the actual “B” form of Stradivari, which Rivolta

had access to through the famous collector Count Cozio di Salabue. It is pictured in the

important work Meister Italienischer Geigenbaukunst by Walter Hamma, and is a cello

suitable for the discriminating collector and the concert artist alike.

Viola - Giacomo Rivolta, Milan, 1821

We are thrilled and privileged to offer this rare instrument. Having recently emerged

from an Italian collection, this viola comes to us in nearly new condition. As with the

Rivolta cello (see below), this viola also shows the infl uence of Count Cozio di Salabue,

and is reminiscent of the work of Cozio’s other Turin collaborator, J.B. Guadagnini.

At 16 1/2”, this instrument is larger than Guadagnini’s violas, however, and is ideal

for the most serious soloist. It has a deep tenor voice that is remarkable for its rich

sonority and power.

5

How To Make Your Violin Sound Like HeifetzBy Andrew Ryan

A woman once approached Jascha Heifetz after

a concert and praised the sound of his violin.

Heifetz, holding the violin up to his ear, replied,

“I don’t hear anything”.

Protestations aside, Heifetz was fortunate to play on instruments

made by the great Italian violinmakers Antonio Stradivari and Joseph

Guarneri “del Gesu”. These instruments may not have made any

sound by themselves but they certainly made Heifetz sound more

like Heifetz than any other violins could. They were perfect tools for

the transmission of his ideas. This relationship between violin and

violinist should not be underestimated. A violin of good quality and

in proper adjustment allows any player to progress quickly and feel

more secure in their technique. Flaws in the set up and adjustment

of an instrument that create barriers to progress and musical expres-

sion are often easily remedied.

I encounter many of these problems in my daily routine as shop fore-

man. Their successful solution involves not only listening to players

and their instruments, but also watching them play and thoroughly

discussing their perceptions. When the problem has been properly

identifi ed, the remedy can be decided on. The following are some of

the most common problems and the methods for solving them.

Violins, violas and ‘celli are glued together with a water-soluble glue

made from animal skins. The separation of these joints, especially at the

purfl ing and the joint between the top/back and sides, is the source of

most buzzing and loss of resonance. Gluing these is a part of the routine

maintenance of an instrument.

The fi ngerboard is another part that if not properly shaped and main-

tained can adversely affect the sound of the instrument and comfort of the

player. The fi ngerboard is made of ebony, a hard-wearing, dense, black,

tropical hardwood. A gentle concave curve called the “scoop” is planed

into its surface along its length. This curve, at its deepest point, is equal

to the thickness of the string above it. (Three-quarters of a millimeter

for a violin G string or one and one half millimeter in the case of a cello

C string.) This scoop allows the string to vibrate freely without rattling

against the fi ngerboard. If this scoop is excessive, the middle positions

and fi fths will be diffi cult to play. The height of the nut is worth mention-

ing here also. Its height is also determined by the thickness of the string.

If it is too low, the sound in the lower positions will be indistinct and

intonation will suffer from the players’ inability to “feel” the string. The

fi ngers and strings will wear pits and grooves into the fi ngerboard; these

defects will need to be planed away periodically.

A properly fi t and shaped bridge is also a necessity. Bridges that are

warped or lean forward rob an instrument of its power and make the

sound thin. When they are too high in relation to the fi ngerboard, they

choke the sound in the upper positions as well as make it diffi cult to play

on the middle strings without touching the adjacent strings. When they

In September 2002, Reuning & Son Violins was proud to be the fi rst host of the Il Marchio (the

trademark) Cremona Violinmaking Exhibition. This exhibition was the fi rst of its kind to

display the newly established trademarked instruments of the Consortium of Violinmakers A.

Stradivari of Cremona, Italy.

Cremona, the birthplace of Antonio Stradivari, has been synonymous with violin making

for over four hundred years. Today there are nearly 300 violinmakers living and working

in the small city of Cremona. Currently, the reputation of these makers is being chal-

lenged. There are people all over the world who are falsely labeling their instruments

as “Cremonese”. The trademark was established to ensure an instrument’s au-

thenticity to the customer, as well as promote the development of Cremona’s art.

Sponsored by the Cremona Chamber of Commerce, The Consortium of Vio-

linmakers A. Stradivari and Musafi a North America, this exhibition promoted

the legacy and high standards of the Cremonese school of violinmaking.

I L M A R C H I O “The Trademark”

Violin by Francesco Toto, Cremona, 2002.

6

are too low, the sound lacks clarity. A thick bridge mutes the sound. The cur-

vature of the top of the bridge is also important. Professionals generally prefer

bridges that are fl atter. Although one is more likely to hit the next string, it is

easier to cross strings and play chords.

Lastly there is the soundpost. There is a reason it is called the soul of the

violin. Its adjustment truly gives the instrument its voice. Mechanically the

soundpost immobilizes the treble foot of the bridge. Its action is that of a

fulcrum to the lever of the bridge. Adjusting the soundpost is the altering of

the length of this lever. If we move the post away from the bridge toward the

end button, the instrument will lose focus, but gain “cushion”. If we move it

away from the G string, toward the “C” bout, the G string will become looser.

Conversely, if we move it toward the G string the low strings will gain in focus

but will become more diffi cult to play. It is all a matter of fi nding the right bal-

ance for player and instrument.

Now that your instrument is in perfect shape it’s worth remembering another

famous story.

A musician was lost in New York City and wanted to know how to get to

Carnegie Hall… Practice! Practice! Practice!

Andrew Ryan oversees the Reuning & Son restoration workshop and has made a

specialty in the study of violin acoustics. He is a graduate of The Violin Making

School of America and is a member of the American Federation of Violin and

Bow Makers. ®

ß C

remona Violin Making Exhibition ß

For two weeks, nearly forty violins, violas, cellos and bows, made by Cremona’s fi nest contemporary,

professional violinmakers were exhibited. Musicians from all over the northeast traveled to Reuning

& Son Violins for the chance to see Cremona’s tradition come alive.

The exhibition began with a lovely catered party at the shop, where nearly one hundred musi-

cians, teachers and makers were able to eat, drink, mingle and enjoy the fi ne instruments.

Special guests of honor were exhibition coordinator Dominik Musafi a of Musafi a North

America, and Ettore Nordio, consultant and representative of the Cremona Chamber of

Commerce. An open house was also held that included a lecture by Christopher Reun-

ing on the history of Cremonese violinmaking and instruments were demonstrated by

New England String Ensemble concertmaster, Gregory Vitale.

At Reuning & Son, we enthusiastically support the efforts of the contemporary

instrument makers. We feel that, overall, instrument making is enjoying a

renaissance of quality. We strive to discover talented makers from around

the world and work with them to refi ne their models, style, workmanship

and sound. We pride ourselves in our ability to offer instruments of extra

artistic and tonal merit at good value. This exhibition was a perfect way

for us to refl ect that mission.

Reuning & Son Violins

shop foreman, Andrew Ryan,

working to adjust a violin

soundpost to fi nd the

instrument’s true “voice.”

Andrew is noted for his

precision and skill in

adjusting instruments.

Following a lecture given by Christopher Reuning, New

England String Ensemble concertmaster Gregory Vitale

demonstrated several of the instruments on exhibit.

Guests were afforded ample opportunity to com-

pare and contrast the sounds of the trademarked

Cremonese instruments.

7

Are there certain passages in the repertoire that really get you

going?

The second movement of the Mendelssohn. It has an innocent qual-

ity, which I think is extremely important to bring out. For me the

Mendelssohn is the most perfect violin concerto because every move-

ment in its own way is so beautiful and elegant.

Many in Boston heard you perform the Mendelssohn this fall.

Yes, in October I made my debut with the Boston Symphony under

Roberto Abaddo playing the Violin Concerto in E minor.

What are some of your upcoming concerts?

Upcoming engagements include performances with the Florence

Symphony Orchestra in Italy in December 2002 and with the Chi-

cago Symphony Orchestra in April 2003.

For you as soloist, does the audience make a difference?

The audience really matters. Performing is so much more intense and

exciting when you feel you are really connecting. In Boston we are

lucky to have great audiences, knowledgeable about classical music. I

just came back from performing in Japan, and even on the other side

of the world I could feel the same, strong connection.

What took you to Japan?

I went on my fi rst concert tour this fall with the Baltimore Symphony

Orchestra under Yuri Temirkanov. I performed three times in Balti-

more, and then gave four concerts in Japan.

How does an artist of your age have a universal ability to

communicate?

It’s mostly instinctual. Of course it’s important to think through an

interpretation to know why it makes sense harmonically and why it’s

appropriate, but basically I play it the way I feel it. Simplicity

and purity in sound and interpretation are what I am going for.

Do you have a new violin?

Yes, my concert instrument is a Vincenzo Rugeri violin from the early

1700s, which I got in 2002 from Reuning & Son. I searched for four

years, and many violins came close, but I wanted to buy an instru-

ment I could play in concert. This instrument is in perfect condition,

rare for a violin of its age. The workmanship is beautiful; it has a

one-piece back.

After such a long, patient search, did you know immediately that

this violin was it?

I knew right away that I liked this one, although all violins take some

time to fully understand. It has a darker sound than I would have

expected to choose. The more I played on it, the more types of sounds

and colors I could make. I have played it in many concert halls, both

good and bad. Without exception, the sound is clear, clean, and reso-

nant. At Reuning’s I worked closely with Peter Jarvis who has been

an invaluable help and advisor. I am very grateful to him for all his

assistance.

A Conversation with Stefan Jackiw continued...

Peter Jarvis, Reuning & Son Violins sales

consultant, and Stefan Jackiw collaborated

in the search for Stefan’s ideal concert violin.

How do you feel about practicing?

A lot of practicing is paying your dues,

but the end result is so satisfying that

it’s worth it. When I was very young,

my teacher, Mrs. Gilels, didn’t push me

to practice a lot. She taught me the importance of practicing cor-

rectly and effi ciently. I stick by that today. She also taught me how

to play the violin correctly, physically -- an important foundation

for everything else. How much do I practice? Not enough!

How do you prepare for a performance?

For out-of-town concerts, I try to arrive a few days ahead so I can

relax and adjust to any time changes. The day of the concert, I

don’t practice very much. You have to be feeling fresh to have spon-

taneity on stage. Meals? I eat lightly around concerts and never

right before performing. Up to now, I have traveled with either my

mom or dad, although I plan to go on the road on my own soon.

Have your parents been important in your development as a

violinist?

Yes. They have always given me full support. It’s important to have

parents who help you establish a healthy balance between practic-

ing, performing, and doing things completely unrelated to music.

I’ve been lucky because my parents value schoolwork very highly.

I plan on going to a regular college and to maintain the same bal-

ance.

How do you juggle your commitments?

My school has always been encouraging and supportive of my

music activities. This has been a tremendous help when it comes to

missing school and making up work.

Do you study music in other forms?

I studied piano and music theory for several years. Right now I’m

taking an Advanced Placement course in music theory at Roxbury

Latin where I am a high school senior. This is my fourth year in the

Youth Philharmonic Orchestra at New England Conservatory, and

I have studied chamber music in the summer at several institutes

and festivals.

Does anything compete in your heart with the violin?

No, I know that this is what I want to do. It’s been a gradual

realization as I have grown more interested, become more serious,

and spent more time on it. Of course, violin is not my only inter-

est…in school I enjoy languages. I speak French and enjoy French

and Latin literature.

How are you using the Avery Fisher Career Grant you recently

received?

I will use the grant to buy a bow.

When it’s time to have fun and let go, what do you do?

I spend time with my school friends. They are not necessarily inter-

ested in classical music, but we share lots of other interests and we

have a good time. ®

Ms. Ellis is a freelance writer in the Boston area whose work has

appeared in The Strad and Strings Magazine.

Reuning & Son Violins | The Electric Carriage House | 321 Columbus Avenue | Boston, MA | 02116-5168 | TEL 617.262.1300 | FAX 617.262.4645

8