The Violin in America - Benoît Rolland

Violin
The Violin in America
Old World Tradition • New World Sound
and bow making owes its presence in America to the great waves of European immigrants
who came to the New World in the 19th and 20th centuries. The new residents brought with
them many talents, including a long tradition of fine woodworking and instrument making skills, musical mastery
and a rich and diverse repertoire. This exhibition includes rare historic examples of the work of early American
masters that directly resulted from these influences. Additionally, stories of luthiers such as John Pfaff, A.W. White,
Carl Becker, Mario Frosali, George Gemunder, and Simone Fernando Sacconi illustrate the steady development
of the American school from the late 1860s through World War II, and demonstrate the importance of the local
violin shop and a master luthier in establishing local traditions in violin and bow making, and in fostering an
appreciation of classical music and high quality instruments. Their inspirations—based on classical European
models exemplified by the work of Amati, Guarneri and Stradivari—serve as a starting point to
showcase the interpretation and reproduction of European traditions on American soil.
A unique aspect of the show is the inclusion of the perhaps lesser known story
of innovation in violin design. The Stradivari violin, along with its Amati and
Guarneri counterparts, is commonly hailed as a perfect design. These mythic
masterpieces, however, have actually gone through many stages of design
evolution, spurred by changing tastes in music as well as musical demands of
virtuosi. Today, innovations in violin making are driven by working violinists who
cope with certain imperfections in their “perfect” vintage instruments.
Black Violin.
By Guy Rabut.
Cutting edge acoustic and scientific research in instrument building of the last
forty years, and an open minded atmosphere created a fertile environment
for experimentation with man made materials, sound qualities, and instrument
proportions. As an example, “The Violin in America” features the innovative
work of Carleen Hutchins whose widely recognized acoustic experiments
of the 1960s not only produced instruments of fascinating nature,
but also inspired a new generation of innovators. In addition, the
show highlights the work of contemporary luthiers who pushed the
boundaries of the classical design to expand sonic, aesthetic, and
functional qualities of the violin and bow. The exhibition comprises
examples of violins and bows constructed by Gregg Alf, Joseph
Curtin (2005 recipient of the MacArthur “Genius” Award), Guy
Rabut, Anthony Lane, Benoît Rolland, Samuel Zygmuntowicz, and
others.
Violin, 2005.
By Francis Kuttner.
“The Violin in America” also spotlights the story of the electric violin. It features
some of the first electric violins introduced in the 1930s by Lloyd Loar as well
as the Electro String Instrument Company (now known as Rickenbacker). The
exhibition reveals how these early experiments continue to resonate today
in the work of leading acousticians and companies such as Jordan Electric
Violins, Ned Steinberger, Mark Wood, Yamaha Corporation’s Band & Orchestral
Division, and Zeta Music.
Electric 4-String Violin, 2007.
By Ned Steinberger.
Experimental Graphite-Epoxy Violin, 1972.
By Carleen Hutchins. Photo by Bill Willroth, Sr.
Courtesy of the National Music Museum, Vermillion, SD
Viola with map of Italy, 1992
By Joseph Grubaugh & Sigrun Seifert
Cello, 2002
By David Folland
Ultra-light Violin, 2007
By Joseph Curtin
Violin, 2007
By David Burgess