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

Baron Johann Knoop’s instrument collection still stands as one of the finest ever assembled. The Baron was activeinto the first decade of the 20th century and transacted most of his business with W.E. Hill & Sons who referredto him as “the best customer we ever had.” Among the instruments that passed through his hands were nofewer than 14 Stradivaris including the “Batta” and “Duport” cellos, the “McDonald”, “Paganini”, “Cassavetti”,and “Gibson” violas, and the “Viotti”, “Alard”, and “Lady Blunt” violins. Del Gesùs were represented by four examples, the “King”, “Plowden”, “Rose, Hennell”, and “Gibson, Huberman.”

Even more unusual, the Baron owned the finest known examples of the next tier of makers, including the“Kreisler” Bergonzi, “Baron Knoop” Seraphin, “Baron Knoop” Landolphi cello, and “Alard” Amati.

The Vincenzo Rugeri violin we offer was bought twice by the Baron. First he gave it to a young Russian prodigynamed Gregorowitsch, who was a student of Joseph Joachim. Hill & Sons states that Gregorowitsch had “gone bad”and was “murdered by the Bolsheviks.” When the Rugeri eventually made its way back to the Hill & Son firm, the Baron purchased it for a second time and presented it to the Baroness for her use.

Hill & Sons states, “…the handsome Francesco Rugeri, which we sold to Baron Knoop…is one of the finest by this makerthat we have ever seen.”

It is our opinion that this violin was made circa 1700 (later than Hill & Sons’ estimate) not by Francesco, but by one ofhis sons, Vincenzo Rugeri, whose work has become recognized on its own merit. His design is more advanced than hisfather’s with broader and flatter arches. This violin is built on the grand pattern, from maple of exquisite beauty.Vincenzo frequently made violins using spectacular wood, covered with the finest, most transparent varnish. As onewould expect, the sound is also advanced. It possesses the Cremonese timbre but also the power that was desired inCremona during the time of Stradivari’s ascendancy.

This violin survives in nearly mint condition. While it is certainly suitable for the most discriminating collector, its real beauty can be appreciated in the concert hall where it would be a most suitable companion for any artist.

FALL 2005

“It’s a fantastic adventure getting to know aninstrument like this. It’s a little bit like a person; it has a real personality. I’m thrilled to have it.”

—Jeff commenting on the Stradivari he chose. The 1708 “Sir Bagshawe” from the golden period of Antonio Stradivari’s work and named for a 19th century owner.

Vincenzo Rugeri, Cremona, circa 1700 “Baron Knoop”

Last fall, Reuning & Son Violins sales consultant PeterJarvis flew out to San Diego with four of the best violins on the market, three Stradivaris and a JosephGuarneri del Gesu. Jeff Thayer would have the pleas-ure and privilege to choose the one he would play asnew concertmaster of the San Diego Symphony.Unexpectedly, it was no contest.

“I always had it in my mind I would be a del Gesuperson. I loved hearing del Gesus all my life,” Thayersays. “But having such a rare opportunity to choosebetween the two makers, it was clear within about anhour that my way of playing went straight toward theStrad. I had no doubt in my mind.” The Stradivari he

chose was the 1708 “Sir Bagshawe” from the goldenperiod of Antonio Stradivari’s work and named for a19th century owner. He is still enjoying the honey-moon period.

“It’s a fantastic adventure getting to know an instru-ment like this,” Thayer says. “It’s a little bit like a per-son; it has a real personality. I’m thrilled to have it.”

As concertmaster, Thayer had to balance his choicebetween blending with the orchestra and soaringabove it during solos. Even allowing for variations ininstrument and musician, Thayer says, del Gesus areknown for power, strength, and gruffness that project

Catching Up with Jeff ThayerSan Diego Symphony’s concertmaster talks about life with "Sir Bagshawe"

Reuning &Son Violins N E W S L E T T E R

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orking with John was unlike any previ-ous experience in many years of looking.He was truly tuned into my wishes as aplayer and able to envision which instru-ment would be the right match after abrief encounter. I am very appreciative ofhis extra effort to help with my decision.

I played the Testore with the first perform-

Violist Rachel Fagerburg has been a member of the Boston Symphony since1989. She continues to perform chamber music throughout New England.

An especially fine example, it wasowned by the Lady Mount Stephen atthe beginning of the 19th century andwas more recently part of the impor-tant collection of the late F. WilliamSunderman. Also in that collection wasthe 1694 “Irish-Burgundy-Maaskov”Stradivari, which we recently sold.

ance of the Prokofiev G Minor Concertowith the Espírito Santo PhilharmonicOrchestra in Vittoria, Brazil, and it hadgreat projection and color. People who hearit comment on its "Strad-like" sound. It is very clear, responsive, and warm. I wasdelighted to find these qualities in a violinthat was also very "collectible" because ofprovenance and condition.

Violinist Daniel Mason is in his twenty-third year as professor ofviolin and head of the string department at the University ofKentucky. He is concertmaster and frequent soloist with theLexington Philharmonic Orchestra.

Mason has performed widely in the United States and Europe,gaining recognition both as a soloist and as a chamber musician.He recently completed a series of master classes and performancesin Korea, China, and Brazil, appearing as soloist with the TianjinSymphony Orchestra and the Espírito Santo PhilharmonicOrchestra of Vittoria.

Che-Hung Chen joined The Philadelphia Orchestra viola section during the 2000-2001 season. He entered the Curtis Institute at age 14as a student of former Philadelphia Orchestra principal violist Josephde Pasquale and graduated in May 2000. Born in Taiwan, Mr. Chenmade his solo debut at age 9 and was a three-time top-prize winner at

the Taiwan National Instrumental Competition. He has performed assoloist with numerous orchestras in Taiwan and has toured through-out Asia. He is an active chamber musician and has performed atchamber music festivals throughout the United States.

This is a beautiful German cello we have sold manytimes to talented young cellists. We are pleased it isagain in the hands of a deserving young artist.

Istomin has provided many exciting opportunities for Clare in thelast three years. She made her debut with the PittsburghSymphony at age 7 in a children’s concert. She played the firstmovement of the Breval Sonata for Mstislav Rostropovich at amaster class he gave at Heinz Hall in Pittsburgh in February 2003.At the Pittsburgh Symphony’s recommendation, she performed atthe first National Performing Arts Convention in June 2004.

Clare Bradford studied with Dr. Kwang Yu at theSettlement Music School in Philadelphia. After moving to

Pittsburgh in 2001, she studied with Mikhail Istomin, a cellistwith the Pittsburgh Symphony and a member of the PittsburghPiano Trio.

Photo by Frank Doering

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What Christopher Reuning says about the violin...

What Christopher says about this cello...

This exceptional viola by Stefano Scarampella wasmade in his typical rustic fashion and covered with arich reddish-brown varnish. Its refined and powerfulsound belies its comfortable size.

What Christopher says about the viola...

What Christopher says about this instrument...

This rare viola shows the influenceof Count Cozio Di Salabue and isreminiscent of the work of Cozio’sother Turin collaborator, J.B.Guadagnini.

SALES CONSULTANT: Peter JarvisINSTRUMENT SOLD: 3/4 size German cello, Mittenwald, circa 1900

ine-year-old Clare Bradford was inspired to play the cello at age 4 by a recording of Yo-Yo Ma. Clareand the Bradford family are grateful to Peter Jarvisfor finding a generous patron to purchase herinstrument from Reuning & Son Violins, her second from the dealer. The privilege of playing on excellent instruments with such unique

character is tremendous.

Customer N E W S

SALES CONSULTANT: John Baldwin | INSTRUMENT SOLD: Carlo Giuseppe Testore violin, Milan, circa 1690

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SALES CONSULTANT: Susan HorkanINSTRUMENT SOLD: Sergio Peresson viola,

Haddonfield, 1969

R U S S E L L W I L S O N

felt completely comfortable with Susan. I appreciatedthat she always wanted me to have the best suitedinstrument. Fortunately, it was from Reuning & SonViolins.

Violist Russell Wilson was a featured guest artist with theMiami String Quartet during the2003-2004 season. An active performer, Wilson can be heard insuch diverse ensembles as theHartford and Albany Symphonies,Kalistos Chamber Orchestra,

Mercury Consort, Performance 20/20 (the Hartt School), and Longitude, one of Boston'spremier contemporary music ensembles. Festival appearances include Domaine Forget,LyricaFest, Las Vegas International, The Quartet Program Killington, and the Spoleto USAmusic festivals. A prizewinner in the Mosha Paranov Competition, he will be making his symphony orchestra debut with the Hartt Symphony Orchestra playing the Alan ShulmanTheme and Variations.

A graduate with distinction of the Longy School of Music, he completed his master’s degreeat the Hartt School of Music in spring 2005.

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Violinist Janice Martin (www.janicemartin.com)is known for virtuosic technique, richly resonanttone, and a passionately expressive approach.She most recently played on the BagshaweStradivari of 1705 through the generous loan ofits last owner.

Martin’s unusual talents have been refinedthrough a combination of traditional musicaleducation and wide-ranging experience.

A graduate of Juilliard and Indiana UniversitySchool of Music, she studied with DorothyDeLay, Yuval Yaron, Mimi Zweig, MasaoKawasaki, and Glenn Dicterow, earning herMaster of Music degree and Artist’s Diploma. Asa concerto soloist she has appeared with presti-gious orchestras including the MilwaukeeSymphony, Pilsen Philharmonic in the CzechRepublic, European Union Chamber Orchestra,the New York Symphonic Ensemble (2000-2003

Japan tours), the Victoria Symphony and manyothers.

An engaging vocal communicator with a dramatic presence, Janice is also a singer with abeautiful operatic voice, and she is an actress,pianist and dancer. These interests have inspiredher unique approach to performance and art in general.

Customer N E W S

..............................................SALES CONSULTANT: John BaldwinINSTRUMENT SOLD: Giacomo Rivolta viola,

Milan, 1818.

J E S S I C A T H O M P S O N

Violist Jessica Thompson is an accomplished and versatile performer who has appeared throughout the U.S. and abroad. Apassionate chamber musician, she spent several summers at theMarlboro Music Festival and has toured with Musicians fromMarlboro.

Thompson is a member of the Dædalus Quartet, which wasselected by Carnegie Hall to participate in the ECHO (EuropeanConcert Hall Organization) Rising Stars program during the2004-2005 season, in which it made debuts at eight Europeanconcert halls. They have been given the honor of performing theopening program of the Library of Congress's 2005-2006 season.

In addition, the Dædalus Quartet has been named by theChamber Music Society of Lincoln Center to be the ChamberMusic Society Two string quartet for the 2005-2006 and 2006-2007 seasons. As a member of Chamber Music Society Two, thequartet will perform at Lincoln Center in its own concerts and in collaboration with other Society members.

M O R E C U S T O M E R N E W S

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SALES CONSULTANT: Christopher ReuningINSTRUMENT SOLD: Stefano Scarampella viola, Brescia, 1900, the “Kurka” | BOW SOLD: Eugene Sartory viola bow

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SALES CONSULTANT: John BaldwinINSTRUMENT SOLD: Calcanius school violin, Genoa, circa 1750

SALES CONSULTANT: John BaldwinINSTRUMENT SOLD: Carlo Antonio Testore viola, Milan, 1756.....................................

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Violin ~ Giuseppe Giovanni Battista Guarneri, “filius Andreae”, Cremona, circa 1700-05

Representing the second generation of the Guarneri family, the work of Giuseppe Giovanni Battista Guarneri,known as Joseph “filius,” (1666-c.1740) established the link between the work of his father, Andrea, a studentof Amati, and that of his son, the famous Joseph del Gesù. Perhaps no maker more clearly embodies the evolution of the Cremonese violin than Joseph filius.

Built on a broad and flat model, the most desired of Joseph filius, the violin has survived the last 300 yearswith virtually no cracks or damage, and time has lent a natural, unpolished patina to the varnish. The soundcombines the beauty and complexity heard in earlier Cremonese work with the power that foreshadowed thenext generation’s sound. This instrument would be good match for a serious artist of the highest caliber.

Viola ~ Emidio Celani, Ascoli Piceno, circa 1885

Emidio Celani (1866-1898) was a prolific 19th century violin maker from the Marche region of Italy.Probably self-taught, Celani followed the traditions of his region by crafting instruments from localmaterials on a personal model. The workmanship is rustic and demonstrates the typical Italian charmthat prevails in instruments of this school.

The viola offered here is an early work. The size is ideal for most players at 16 5/16 inches, and thesound responds to what viola players listen for, a deep tenor with ample richness.

Violin ~ Stefano Scarampella, Mantua, 1895

Stefano Scarampella (1843-1925) was so prolific and his violins so much in demand, more have passed throughour hands than by any other maker. He made violins in the old Italian way with a strong connection to hispredecessors in Mantua such as Tomaso Balestrieri.

Scarampella violins are notable for their wonderful varnish, rustic and direct style of workmanship, and powerful and complex sound. The violin we offer is an early work dating from 1895. It would be suitable for a soloist or orchestral player and will offer many years of musical fulfillment.

Violin ~ Giovanni Francesco Pressenda, Turin, 1848

Giovanni Francesco Pressenda (1777-1854) and his student Giuseppe Rocca made the most valuable andsought after violins of the 19th century. Pressenda was prolific and made distinctive instruments built ona personal model, which he derived from Stradivari. Pressenda was trained in the French tradition thatwas prevalent in Turin at the time, but brought his Italian ideal of individual expression to his work.

The violin shown here is from the last period of Pressenda’s career. In “like new” condition, it demon-strates the dynamic sound with ample color that has made Pressenda a household name to violinists.

Cello ~ Matteo Goffriller, Venice, circa 1695

Matteo Goffriller (1659-1742) was known as the father of Venetian violin making. Only Cremona surpassedVenice as the center of Italian violin making, and Goffriller cellos rank alongside Antonio Stradivari's andDomenico Montagnana's as the most sought after by great cellists. Pablo Casals played one his entire career. But his cello and many Goffriller instruments were mistakenly attributed to Carlo Bergonzi until the late 19th century because Goffriller rarely labeled his work.

Goffriller was born in Brixen, Italy, a predominantly German-speaking area of the Alps. At age 26, he appearedin the Venice workshop of violin maker Martin Kaiser who taught him the trade and let him marry his daughter.Goffriller became a prolific maker and taught Montagnana and Francesco Gobetti.

The cello shown is the second we have offered this year. The first was played for many years by the principal cellist of the St. Paul Chamber Orchestra. This example is the same ideal size, 29 1/2 inches. It has the distinctive full bass sound that has enchanted audiences for centuries.

Cello ~ Jean Baptiste Vuillaume, Paris, circa 1845

The cellos of Jean Baptiste Vuillaume (1798-1875) have been well regarded by professional musicians for 150 years. Built on a Stradivari model, their consistency and quality was unsurpassedin the 19th century.

The cello we offer dates from circa 1845, considered the golden age of the Vuillaume workshop.Its sound is powerful yet rich in color. It would be an excellent match for orchestra, chambermusic, or solo work.

Violin ~ Franciscus Geissenhof (1754-1821), Vienna, 1808

Giovanni Battista Ceruti (1756-1817) is the last important maker who had a connection to the Cremonesegolden age of violin making. Ceruti supported himself as a weaver until age 40 when he began to make violins.Although we do not know where he trained, we can most clearly see in his work the influence of the Bergonzifamily. From about 1805, G.B. was assisted by his son Giuseppe, whose individual work is quite rare.

This unblemished violin clearly shows Giuseppe’s contribution. It is of modest size and would be suitable for aplayer of moderate stature. It boasts a warm Cremonese sound with ample carrying qualities.

Violin ~ Giovanni Battista Ceruti, Cremona, circa 1815

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

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

Franciscus Geissenhof (1754-1821) is considered the “Stradivari” of Austria. He was one of the firstViennese makers at the beginning of the 19th century who grasped the superiority of the Stradivari modeland abandoned Stainer’s. Geissenhof is best compared with Nicolas Lupot in Paris who also adopted theStradivari model. Geissenhof is known for fine craftsmanship and for developing a superior varnish.

The violin shown was discovered by a colleague traveling in Eastern Europe. It was made in Geissenhof’sbest, mature period and is the finest example we know. It is in nearly new condition and bears the maker’sbrand “F.G.” on the button. The bold, powerful, complex sound can be compared to such makers asCeruti and Lupot.

effectively over the orchestra. Strads tend to besweeter, brighter, and more responsive to nuance.

The San Diego Symphony is experiencing an excit-ing resurgence. Thanks to the generosity of patronsJoan and Irwin Jacobs, who purchased the “SirBagshawe” violin and loaned it to the orchestra,

the organization is emerging from some dark days in the past decade and now finds itself onsolid financial footing. The community is rediscovering the San Diego Symphony, in partwith Thayer’s help.

Concertmasters, in addition to their artistic andmanagerial roles, are often tapped to do publicity,representing the orchestra at events and receptionsand mingling with donors and supporters.

“I enjoy getting to know who’s supporting us andlistening to us,” Thayer says. “It’s a very importantrelationship between the orchestra and the supporters. There’s definitely a buzz in San Diegoabout the symphony and around the country, too.I strongly believe that it’s going to become some-thing wonderful or I would not have come here.”

Catching Up with Jeff ThayerC O N T I N U E D F R O M C O V E R

Susan Horkan brings a wealth of knowledgeabout contemporary instrument making toReuning & Son Violins. She joined the salesstaff in 2004 after 10 years at Johnson StringInstrument in Newton, Massachusetts, mostrecently as sales manager.

While at Johnson, Susan relished the oppor-tunity to explore and spotlight today’s mastermakers. She traveled extensively seeking thefinest contemporary instruments at competitions and exhibitions inthe U.S., London, Paris and Cremona and found that new work is blossoming.Today’s makers thrive in an atmosphere of collaboration that lifts the overall qualityto heights not seen in the modern day. She found an opportunity to collaborateclosely with one particular maker, Benjamin Ruth, who himself was a Reuning &Son Violins employee for many years, when he became her husband. She accompa-nied him to workshops where she experienced firsthand learning, laughing andsharing with a committed group of luthiers.

In 2003, Susan organized an enlightening concert/lecture series in the Boston areain which musicians played contemporary instruments and the makers discussedtheir approach to violin and bow making.

Susan earned degrees in music and business from the University of Massachusetts atAmherst in 1994. Her personal music making crosses over between classical playingand bluegrass fiddling, and she enjoys singing folk music and madrigals.

Susan’s experience with new makers perfectly complements Reuning & Son Violinsspecialty in old masters. She is excited to broaden her background to be more effective in guiding players who are seeking their ideal instrument.

Andrew Ryan Attends

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“I really like nuance and color. I strive for thatin my playing,” he says. “The Bagshawe hadthe most color, the most depth in the sound,

and while it did not possess the sheer power ofthe del Gesu, it’s darker than I envisioned aStradivari sounding. The selection turned out

to be a learning experience for me.”

"I find what I do to be very inspiring. I take a great deal of pleasurein the physical beauty of an instrument, and hearing that instrument

speak in the hands of the right player is extremely rewarding."

76 W W W . R E U N I N G . C O M

Bow Maker Wins VSA Award

Accent on New Makers:

Modern makers have become exceptionallyaccomplished and we are certainly in a renaissance of violin making.

Mindful of the need to link today’s talentedluthiers with the venerated old masters, Reuning& Son Violins is pleased to work closely withsome the best contemporary makers.

When receptive artisans explore our extensivecollection of antique masterpieces and talk withthe craftspeople who care for them, the inspira-tion can be profound. The opportunity for discussion, collaboration, and feedback on technique in general or about a specific work inprogress can foster a deeper relationship with theinstrument making process and result in betterinstruments for our customers.

Copying old masters is an especially effectiveway to learn the luthier’s craft. While working atAlf Studios in Ann Arbor, Michigan from 1998 to2004, Feng Jiang focused on studying and making accurate golden era Cremonese violins.His incredible skill and clear artistic visionresulted in earning the Gold Medal at the 2004Violin Society of America competition inPortland, Oregon. Christopher Reuning regardsFeng as one of the finest makers of his generation working today.

Born in China in 1970, Feng Jiang is asecond-generation violin maker. He firstlearned the craft from his father and laterstudied at China's prestigious CentralConservatory of Music in Beijing. As anoutgrowth of his time at Alf Studios,Feng views the tonal and visual qualitiesof a fine stringed instrument as a directexpression of a maker's choice of materials, working methods, andunderstanding.

Feng’s intelligently executed copy of aGuarneri del Gesù model is beautiful-ly crafted with a convincing antiquevarnish. The full, flat arch gives the violin an incredibly warm and powerful tone.

Feng still seeks every opportunity tostudy the works of master Italian makers of the 17th and 18th centuries.

. . . . . . .

Summer might be waning, but the fine instrument market

is still hot. Take advantage of favorable market conditions and let Reuning & Son Violins

handle the sale of your fine violin or other stringed instrument.

Boston-based Reuning & Son Violinshas 30 years experience catering tothe elite of the stringed instrument

world. We have the worldwide repu-tation and client roster to readilymatch up distinctive instruments

with discerning buyers.

In the last year we sold the 1705 “Sir Bagshawe” Stradivari, the1694 “Irish Burgundy” Stradivari,

and the 1692 “Gudgeon” Stradivari.Before that we sold two Guarneri delGesù violins, the “Zimmerman” of

1728 and the “Chatelanat” of 1742.

Entrust us with the sale of your fine instrument. We’re committed to

your satisfaction.

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“It has been a privilege to have this

collaboration with Reuning & Son Violins,”

Feng says.............

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MEET OUR STAFFSusan Horkan

Joins Sales Team Customer N E W S

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Violinist Meg Freivogel studies with Donald Weilerstein and LucyStoltzman at New England Conservatory and is a candidate forMaster of Music degree in chamber music. She earned a Bachelor ofMusic degree from the Cleveland Institute. She plays violin with theJupiter String Quartet, part of NEC’s Professional String QuartetTraining Program directed by Paul Katz, founding cellist of the Cleveland Quartet and a renowned performer, teacher,coach, and adjudicator.

NEC’s Jupiter String Quartet won the 2004 Banff InternationalString Quartet Competition. This was the second major win for theJupiter, which last spring received the Grand Prize at the FischoffNational Chamber Music Competition. Composed of Nelson Leeand Meg Freivogel, violins; Liz Freivogel, viola (Meg’s sister); andDaniel McDonough, cello, the Jupiter is the third ensemble to bechosen for NEC's Professional String Quartet Training Program. In2003, it received second prize and the Barenreiter Prize at the YoungConcert Artists International Auditions.

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I had put off searching for a violin for a few years, but I knew Iwanted John Baldwin to find me my next violin. As colleagues,we talked about violins, sharing thoughts on the difficulties musi-cians have in finding the right instrument. In addition to beinga very fine violinist, John has the wonderful ability to “see” therelationship between the player and instrument. Within a fewminutes of picking up the Sannino, John commented on how thisexperience was different. With the Sannino I was immediatelyconnecting with the instrument, eager to discover what we couldexpress together. I am very thankful to John Baldwin andReuning & Son Violins for all their assistance and support infinding me this violin.

It is an exciting time in the contemporary stringed instrument world.

Feng Jiang

SALES CONSULTANT: Susan HorkanINSTRUMENT SOLD: Gaetano Gadda violin, Mantova, 1919

After trying almost every dealer in New York City, I came back toReuning & Son Violins in Boston where I found the right violin for me.

SALES CONSULTANT: John BaldwinINSTRUMENT SOLD: Vincenzo Sannino violin, Naples, circa 1910

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Violinist Minda Cowen received her Bachelor of Arts degree fromSarah Lawrence College where she studied violin with Sung RaiSohn. She won the Sarah Lawrence concerto competition and wasconcertmaster of the Sarah Lawrence Orchestra. She went on to earna Master of Science degree in multi-media from the Tisch School ofthe Arts. She studies with Ann Setzer and is preparing to apply tograduate school.

Cowen is a certified Suzuki violin teacher and teaches at the Schoolfor Strings, New York’s premiere Suzuki-based music school.

SALES CONSULTANT: Peter JarvisINSTRUMENT SOLD: Benjamin Ruth violin, Boston, 2003

. . . . . . .

Reuning & Son Violins bow maker, Eric Lane, earned a Certificate of Merit at the ViolinSociety of America international competition and convention in November 2004 inPortland, Oregon. Renowned bow makers Lynn Armour Hannings, Bernard Millant,and Paul Martin Siefried served as judges. Bows were evaluated in six categories: stick,head, frog and button, playing function, finishing, and overall impression. Since 1975,the biennial VSA instrument and bow-making competition has been noted as one ofthe most prestigious and objective.

Eric’s award-winning entry was a gold and ebony mounted cello bow made from darkbrown Pernambuco wood. The frog and button were his own design, and he made thehead in the style of Jules Fetique (1875-1951). The bow was commissioned and isbeing used by a cellist in the southeast.

Eric joined the staff of Reuning & Son Violins in October 2002 to lead our bow repairand restoration department. To learn more about Eric’s background, visit our web site;www.reuning.com. To have Eric make a custom bow of your own, call Reuning & SonViolins at 617-262-1300.

Reuning & Son Violins has produced a CD-ROM of photographs of modelsfrom the Venetian instrument exhibit held in conjunction with the April2002 American Federation of Violin and Bow Makers annual meeting inBoston. Federation member Christopher Reuning organized the exhibit of 48 rare and remarkable instruments.

The 2002 exhibit began with an outstanding early bass viol made byVentura di Linarol in 1560 and finished with two 19th century violins bythe rarely seen maker Luigi Fabris. Great Venetian cellos were representedby three examples from Domenico Montagnana, four fine MateoGoffrillers, a Peter Guarneri, Santo Seraphin, Domenico Busan, andAnselmo Bellosio.

Violins included models by the above makers plus three rare examples byFrancesco Gobetti, two by Deconet, two by Carlo Tononi, and one each byFrancesco Gofriller, Giorgio Seraphin, and Marc Antonio Cerin. Fine violaswere represented by Deconet, Busan, Bellosio, and both Goffrillers.

The CD captures in professional quality photographs each instrument intop, side, and back views with measurement charts. Unique instrument features are shown in close-ups. The photographs are captioned withmaker, city, and date, when known. A navigable index helps viewers explore the content.

The CD costs $50 and all proceeds go to funding the 2006 AFVBM event jointly sponsored with and held at the Library of Congress inWashington, D.C. Called “The American Violin: From Jefferson to Jazz” (www.theamericanviolin.org), it will include a free, public exhibit ofAmerican string instruments and bows plus performances of Americanmusic by noted artists at the library’s Coolidge Auditorium.

u

See Pictures of BeautifulModels—And Help A Good Cause

To purchase the CD for your collection while supporting the American Violin Project, contact Reuning & Son Violins

at 617-262-1300 or email us at info@reuning.com.

Violin models, that is! Reuning & Son Violins produces aCD-ROM of Venetian instruments.

TEL 617-262-1300 FAX 617-262- 4645 EMAIL info@reuning.com www.reuning.com

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