SOUNDPOST

Letters, emails, online comments

HELP OR HINDRANCE? 

In response to Andrew Dipper’s poetic and romantic observations on tools (‘The Lost Art of Cremonese Violin Archings’, October 2020): we should recognise that good tools and understanding go hand in hand. ‘Why not program a computer to do the job of arching for you – just press a button and go?’ Dipper mercurially asks, to which hi daughter adds, ‘We should not let the robots win!’

Every tool is a prosthetic device, extending what we might otherwise be able to do: planes that cut straight lines, rulers that draw them, compasses that draw curves. A ruler and compass – essential to Cremonese violin design – would be an analogue computer that lets us add, subtract, multiply, divide and calculate square roots. Similarly, the truncated wooden cylinder in Dipper’s article (like assorted other curtate cycloid devices) invokes the sinusoidal curves of trigonometry.

‘Robots win’ whenever we use any tool – such as a computer – without understanding what we are doing. What’s different about a computer is that, in principle, it can effectively do anything, so we need to figure out how to constrain its actions. A good solution, as with those using other tools, gives an understanding and control of the salient aspects of what is being done.

We should not confuse the violin’s evocative voice, so poetically spoken for by Dipper, with the meticulous, mechanical work that is an essential, though not allencompassing component of musical composition and performance – and lutherie. When technology is a bridle (‘press a button’), it’s being done badly. When done and understood well, it enhances individual creativity.

HARRY MAIRSON

Waltham, MA, US

Andrew Dipper’s truncated wooden cylinder

SEEING THE BIGGER PICTURE 

Reading Cecilia Radic’s piece on the importance of building musical ‘consciousness’ in young players (Opinion, December 2020), I was reminded of myself in my early student days. ‘What is it,’ she asks, ‘that causes so many highly gifted individuals to fall behind other, apparently less talented, peers?’ As someone who didn’t develop the ‘critical self-awareness’ Radic settles on as the defining factor until too late in the game, I know very well the limits of technical proficiency and mindless dedication to a tough practice schedule.

I can still recall the bewilderment I felt watching peers I knew were less adept than me (or, more likely, did a little less practice but spent more time reading and listening to other things) do better in exams and competitions. Radic suggests that teachers help their students ‘think of the piece as a means to an end’. This line captures the point perfectly – focus too much on the notes themselves and the notes are all anyone will hear. Transport yourself beyond the page, however, and you’ll bring the audience with you.

CLARE MYNOTT

Montreal, Canada

THAT’S AMORE 

Rachael Durkin is right that the viola d’amore is undergoing a renaissance among early music players (‘For a sympathetic ear’, December 2020). However, I was surprised not to see any mention in her otherwise wonderful article of the instrument’s highly idiosyncratic appearances in music of the early 20th century. Hindemith, ever generous to his fellow violists, created a viola d’amore concerto of sorts in his Kammermusik no.6 (1927) and also wrote a less well-known Sonata for the instrument with piano (1922). Respighi’s Quartet (1906) for the delightfully obscure line-up of quinton, viola d’amore, viola da gamba and viola da basso deserves a listen, too. And in the orchestra pit, the gorgeous sound of the viola d’amore has touching roles in two of the 20th century’s best loved musical tragedies: Prokofiev’s ballet Romeo and Juliet (1935–6) and Janáček’s opera Káťa Kabanová (1919).

JAN NEWICKI

Manchester, UK

ONLINE  COMMENT

After an encounter with a bottle of hand sanitiser left a cello requiring 80 hours of work to restore its varnish, readers of The Strad’s website were quick to commiserate – and to warn of the dangers posed by the now ubiquitous substance bit.ly/2UTaeoU

MEGAN FARLEY 

The wall dispensers of hand sanitiser often have a drip catcher for this reason. The hand sanitiser bleaches and damages commercial floor tiles and coverings. Certainly, the damage to varnished or lacquered wood is going to be worse. If possible, use soap and water to wash your hands before playing.

PAUL PACKWOOD 

Hand sanitiser has a high alcohol content, like string cleaner. String cleaner comes with a warning to keep it away from varnish!

REBECCA KIEKENAPP 

Several years ago a musician walked through the middle of the string section, near to where I was sitting, while splattering hand sanitiser on their hands. It put me on red alert for the sake of my cello, which fortunately was spared this kind of awful damage.

OLWYN ATKINSON 

Well, it’s better than what happened to my cello. A stray cat came through the open door and peed on it. Big smelly repair bill!

Editorial note 

The article on Hollywood bow makers (‘Unsung heroes of the silver screen’, November 2020) stated that Frank Kovanda moved from Chicago to Los Angeles in 1951. He actually came to the city in 1946 to work for Ferris Brown, the exclusive agent of Wurlitzer in LA. Kovanda had his shop there until he bought his home on Bakman Avenue in 1951.

www.thestrad.com