A private collector of Cremonese instruments, David Fulton grew up playing the violin from an early age. His love of violins grew as he served as concertmaster of the University of Chicago Orchestra and then as a section violinist in the Hartford Symphony Orchestra. Throughout his career, he acquired an impressive instrument collection that was documented in his most recent book, "The Fulton Collection — A Guided Tour."

Full of musical anecdotes, historical context, insights on the craft of fine instrument-making, and autobiography, the book tells the tale of how Fulton went from tech entrepreneur to building one of the finest stringed instrument collections of the modern era.

Readers are taken into the world of Fulton's fiddles, chronologically ordered by the date on which he acquired each extraordinary instrument.

The Violin Channel had the chance to ask David's advice on selling, buying, and investing in an instrument.

If you had to give your best piece of advice when selling an instrument, what would that be?

I suppose it depends on whether you use it in practicing your profession. For example, if you happen to be a concert artist, then you need to have one of the great violins, you really do. It's not a qualitative judgment, it's just the fact that if you're going to be a concert artist, you must have the “official” sound.  That’s the sound produced by great violins.

That said, I know a few concert artists nearing the end of their concert careers who are seeking to sell their beloved Strad or del Gesù, buy a fine lesser instrument for future performing, then use the resulting money to fund a comfortable retirement.

If you’re a collector, once you are satiated with your collection, then I believe you should disperse it over time…  while you still have the wit and energy to do so.

If you're an orchestra musician with a fine violin, I think that when you're ready to stop playing in the orchestra is the time to sell your instrument and/or downgrade to a lesser instrument.

What would be your advice for purchasing a quality instrument?

It depends on your financial situation, but I think a quality instrument makes a huge difference. I’d get the best instrument you can.

One thing people overlook, I might add, is a great bow. If you had to choose between a great bow and a great instrument, a great bow can be a good financial compromise.

"A fine bow can make a huge difference on an average violin."

How do you ensure you're going to get the best price for it?

You have to be really opportunistic about that. You must also consider what’s happening in the world and the state of the market.

An example, our last big collection sale was concluded on January 6th, 2020.  And then COVID hit.  At that point, no one could travel anywhere, and selling a fine violin became essentially impossible.

Since there are so few purchasers of fine instruments and most are international, I think the world situation can be a very significant factor.

For someone who's possibly looking to invest in an instrument, what would you advise to watch out for?

I feel that while violins are not bad investments, they are tricky investments.

First, you have to contend with violin dealers. You’ve heard the expression “fiddling the books”? That comes from the 1800s when violin dealers became a byword for false dealing. Some dealers are completely honest and reliable, some are in between, and some are out-and-out crooks.

Then, you must understand the market.  With the sort of instruments I was collecting, at any given point in time, there were no more than five or six parties in the world willing and able to buy them. It is a very, very small market. Great violins are not liquid investments and the returns are modest.

Another point that must be made is that rare instruments can be depressed in price for long periods of time. For example, the 1714 General Kyd Strad, which I owned and had been Perlman’s violin, was purchased in 1927 for $50,000. It did not reach that price level again until the 1950s. Of course, the Great Depression intervened, but my point is that you cannot safely assume that violin values are always going up.

Another point to consider is that violins are fragile. If you ever have had the experience of holding the top of Strad (that’s open for maintenance) in your hand, it feels as insubstantial as a potato chip.

"Violins require loving care."

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“When you’re presented with a large selection of string instruments, what are the systematic ways to test them? How do you narrow down your search? What are the things you’re testing for?”

1. Start in groups of three or four at a time. Many instruments that make the initial cut can then be compared to the next group, and so forth.

2. Play the same passage of a piece that you’re very comfortable with on each instrument.

3. Also test a basic scale over the four strings of each instrument.

4. Make sure to keep other things constant, like the bow and rosin.

5. Although physical factors can be adjusted, test for playability and comfort.

5. If you can, play the instruments at least twice. You’ll find different factors when you revisit it

6. Look for a connection with the general voice of the instrument. If it seems compelling somehow, keep it in play.

7. Pay attention to the ones you’re immediately attracted to.

8. Write everything down. You might think you can remember everything, but it’s like an assignment, you should take notes when making this big of a decision.

9. Once it’s whittled down to a small group, then a more thorough analysis of projection, response, and balance is necessary.

10. If there is a wolf note, remember that it is actually a good thing; it means the instrument is vibrating really well. There is a misconception that it is bad, but in time, good players learn how to overcome it as the relationship with the instrument develops.

11. If possible, take them to different settings to hear the instruments in different acoustics.

12. While playing it for colleagues, friends, and teachers can be helpful, remember it’s your opinion that matters the most. You’re the one that’s playing and convincing people that this is your musical voice.

13. If buying from a contemporary maker, remember that you could be the very first owner of the instrument, so it’s quite possible to get one that is as close to your ideal as possible.

14. Take into account that it’s crucial to take the time to adapt and explore the full range of possibilities of each instrument. In time, a front runner will emerge.

New York's Contemporary Violin and Bow Makers Exhibition Co-Founders, Julie Reed of Reed Yeboah Fine Violins and Yi-Ping Yang

2021 celebrated the 10th anniversary of New York's Contemporary Violin and Bow Makers Exhibition — hosted annually by Julie Reed Yeboah of Reed Yeboah Fine Violins and Yi-Ping Yang

The post Yi-Ping Yang — How to Test String Instruments to Find the Right One For You appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with respected New York-based luthier Julie Reed Yeboah, owner of Reed Yeboah Fine Violins in New York.

Taking place at New York's Kosciuszko Foundation, the Contemporary Violin and Bow Makers Exhibition is being presented by Reed Yeboah Fine Violins and Yi-Ping Yang.

“When buying a string instrument, Julie, what do you need to look for? What are the ‘dos and don’ts’ so you make the best investment?”

Things you need to look for:

1. Sound

-While it can be slightly modified, you have to feel like the sound is something you can work with

-It should resonate and speak even when playing pianissimo passages

2. Craftmanship

-Don’t only look at antiques or instruments that are made to look old

-Look for a visible “flow,” meaning the instruments’ lines look like they’re “in movement” and the scrolls look like they’re “unwinding”

-While a bit indescribable, the instrument should look like “it’s alive”

-Make sure it was varnished and finished carefully

-Remember when makers are trying to copy older instruments, they often try to replicate its rough or quirky qualities

3. Power

-Especially for soloists, remember that it will need to project over an orchestra

-The instrument needs to have the ability to be played in a bigger space

-You want the overtones to be able to carry out through the audience

4. Comfortable Setup

-To avoid injury, one needs to feel an ease of playing

-While a maker can reshape a neck or alter a bridge, if the instrument feels weak, it would be best to try something else.

5. Ability to make the player better

-The instrument should push the player past their comfort zone and overcome any problem they had with the previous instrument

6. That "love at first sight" feeling

-Ask yourself “Does the instrument speak to me? Is this my voice?”

-Watch out for that “OH MY GOSH” feeling, since often times, it’s a matter of trusting your gut

Other important things to remember when buying:

1. Don’t discount the younger makers, modern instruments can increase in value over time

2. Instruments will improve with time, they open up a lot the more they’re played

-Modern instruments will grow with you

-They usually improve in a matter of weeks

3. Try to find a maker, dealer, or shop you trust

4. There is no set timeline on how long it should take to buy an instrument. Take your time and be patient. If taking longer, make sure to take notes so that you remember certain aspects of different instruments

5. Finding an instrument is like trying to find a mate, if it checks every single box, you’re lucky

6. Exhibitions are a great place to develop your taste, gain exposure to different makers, and see what’s out there

7. Do your research and look up the biographies of different makers.

New York's Contemporary Violin and Bow Makers Exhibition Co-Founders, Julie Reed of Reed Yeboah Fine Violins and Yi-Ping Yang

2021 celebrated the 10th anniversary of New York's Contemporary Violin and Bow Makers Exhibition — hosted annually by Julie Reed Yeboah of Reed Yeboah Fine Violins and Yi-Ping Yang

The post Julie Reed Yeboah — What to Look for When Buying a New String Instrument? appeared first on World's Leading Classical Music Platform.

Bow expert Stephan Jansen shares his expert advice on the topic.

Bow Expert Stephan Jansen discusses important tips When Buying a Bow

While we may be inclined to relegate the bow to mere accessory – dare I say second fiddle – status, it is ultimately so much more: the bow is the crucial connection between the musician and the instrument.

A musician’s right hand influences and determines the timbre, the volume, articulation and expression.  A fine bow is an indispensable prerequisite for good playing – at least as important as the instrument itself. But what constitutes a fine bow? What should be observed when selecting and buying a bow? What makes for a good decision?

It goes without saying that budget constraints play a role.  But within a certain price range it is all about arriving at the best possible decision. I draw a basic distinction between the objective and the subjective criteria that shape a good choice.

The objective criteria for choosing a bow include:

- authenticity

- beauty

- condition

- price

To verify the authenticity of a bow we ask whether it is an original, and whether all its constituent parts are original, or whether frog or button for example may have been replaced at a later date.  A correct attribution requires a certificate of authenticity.  These are issued by only a handful of experts who have made a name for themselves in the field. 

As far as beauty is concerned, our task is to determine where the bow figures within the work of that particular master bowmaker.  Are we dealing with a particularly fine and exquisite specimen, or is it merely an average or even below-average example? 

The bow should be in a better than average state of conservation: its handle must not be heavily worn and the contours of the head should remain crisp. If the stick has any cracks, it is about finding out where exactly they are and how they were caused.

And finally, the price is obviously of great importance: how is the bow priced, and how does its price relate to the other objective criteria such as beauty, condition and authenticity?

These objective criteria should precede the subjective criteria. Only once the objective criteria are fulfilled can we proceed to select those bows which match the player’s personal expectations in terms of technique and sound.

Again, as a general rule, considerations of sound and tone should be given priority over those of technique.

This is for the simple reason that expectations with regard to technique and habits may well change over time, while any merits of tone will remain.

Broadly speaking, I would say that the trend towards rigid, heavy bows is something of a one-way-street. The most interesting bows tend to be those which are “as strong as necessary and as flexible as possible“. Bows which tread this fine line also display complexity and sustainability with regard to tone and volume and color. Surrendering to bows of this calibre, to “great” bows, is its own reward.

–Stephan

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Stephan Jansen was born into a German-French family of musicians who inspired his passion for music and instruments at an early age. He began studying viola under Prof. Barbara Westphal at the University of Lübeck in Germany. After his graduation in 2001, he moved into a different métier in order to gain a variety of business experiences. He worked as a New York Wall Street licensed stock trader at the investment firm Prudential Securities Inc. for four years, but eventually turned to his real passion, fine bows, and founded JANSEN FINE BOWS.

The post Bow Expert Stephan Jansen on The Essentials When Buying a Bow appeared first on World's Leading Classical Music Platform.

PICTURE?

Kenneth Cox Discusses What to Keep in Mind When Purchasing a String Instrument

Choosing a new violin, viola, or cello is an exciting process! Once you have found an instrument with that perfect sound, it’s time to make sure it’s fit for purchase. When planning for a significant financial commitment, it’s important to make an educated investment. Here are a few suggestions for criteria to assess, and questions to ask, as you prepare for a new musical acquisition.

Comfort is one of the keys to a long career on an instrument. Many times I have seen a musician love the sound of their instrument, but eventually find it uncomfortable to play for long periods of time. Make sure that the body and string length is manageable for your hand size. Too much stretching can lead to injury over time. Be aware of the shape and size of the shoulders and upper bouts of the instrument. Can you comfortably reach upper positions without changing your approach to shifting? Players can typically adapt quickly to small changes in size from their previous instrument, but be prepared for a longer adjustment period if you are purchasing something of significantly different size.

The condition of an instrument is a key factor in determining its value. Antique instruments are often preferred by performers, but time inevitably takes its toll with accidents and wear. Ask the seller to go over the condition with you in detail. Are all of the key parts (top, back, ribs, and scroll) of the instrument original? What repairs have been done? If you have a qualified and independent luthier as a resource, ask the seller if you may bring the instrument to them for a second opinion. Another set of eyes might save you from a costly mistake.

Don’t necessarily be afraid of instruments with repairs, though; antique instruments with major restoration are often an opportunity to find great sound at a lower price. Make sure that the price of the instrument is commensurate with the restoration that has been done. As long as the repairs are done properly, they should hold for many years. Along those lines, in the event that a repair fails, what is your recourse with the seller? Are they willing and able to provide repairs for a reasonable amount of time? It’s a good idea to have an understanding of “warranty” at the time of purchase.

Authenticity is of paramount importance when purchasing an instrument. Is the instrument made by who the seller claims? Does it come with certification? The ideal buying situation is one in which the seller personally has the expertise to authenticate, certify, and guarantee an instrument at the time of sale. This level of expertise is rare and only comes with many years of careful study, but it gives the buyer the greatest level of safety. If buying from a different type of seller, ask if are they willing to provide a third-party certificate. Some instruments may come with old documentation from prior owners, but many will not. Remember, at the end of the day, the responsibility lies with the seller to guarantee your purchase. Make sure you are working with someone reputable who will stand behind the sale.

Finally, what sort of options do you have for future resale of the instrument, should you eventually choose to shop again? If you are working with an established dealership, they may allow you to trade the instrument in towards an upgrade in the future. This can be an extremely valuable resource. It can take time to sell a violin, and without a trade-in option you might be in a situation where putting your instrument on the market would leave you without something to play in the interim. If you do have the trade-in option, does the dealership have a good selection of inventory at higher levels? If the seller does not offer trade-ins, will they sell it for you on consignment in the future?

Keeping these ideas in mind, and doing the right homework when purchasing, can make all the difference in ensuring your instrument purchase is a good investment for your wallet as well as your career.

-Kenneth

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Kenneth Cox is a violinist and sales manager for Reuning & Son Violins in Boston and New York. He brings over a decade of experience with helping string players find their ideal instruments. Kenneth can be reached at: kcox@reuning.com.

The post Kenneth Cox Shares the Essential Checklist When Purchasing a String Instrument appeared first on World's Leading Classical Music Platform.

THE BOW SERIES | SELECTING A BOW WITH ERIC SILBERGER & MATTHEW FRITZ | CARRIAGE HOUSE VIOLINS

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