SOUNDPOST

Violas of various sizes by Helen Michetschläger

HELEN MICHETSCHLÄGER

LETTER of the MONTH

UNNECESSARY EVIL

I have always wondered why viola players must learn to read the alto clef to play the instrument. After many years of playing the violin, I eventually learnt to read the alto clef to play the viola in our orchestra, as there were no viola players, but I must admit that it was quite a challenge.

I would have thought that with the development of music history, the alto clef would be abolished so that more violinists would play the viola, without having to learn the alto clef. I know for a fact that most of my students would play the viola if it were written in the treble clef. Playing on the C string is not really an issue. My argument is that it is not difficult to learn the four extra notes on ledger lines below middle C as violinists already have to learn at least six ledger lines in the higher registers.

What are other string players’ thoughts on this? Would this thinking cause a major strings revolution?

HANNEKE WILLSON

Abu Dhabi, United Arab Emirates

FOR OLD TIME’S SAKE

I was delighted to see your September article on varnish antiquing (‘The art... of deception?’, September 2021), as it plays such an important role in contemporary violin making. I have huge admiration for the skill and knowledge of my colleagues who have developed this art form to such a high level, and am deeply grateful to those who share their knowledge at programmes such as the Oberlin Violin Makers Workshop.

Every instrument I make is antiqued to some extent, and I see two major advantages to this. Firstly, it’s a great learning process for makers, helping us to improve our study of old instruments and to appraise the results of our work objectively. The other major advantage is that musicians can play a contemporary instrument without it being immediately obvious to their colleagues and audiences, who may be prejudiced against new work. As the owner of a very new-looking contemporary cello once told me with a sigh: ‘Audiences listen with their eyes.’

Antiquing is becoming increasingly popular among violin makers, who are dedicating ever more time to recreating extensive varnish wear. I wonder when we will reach ‘peak antiquing’? After all, the most prized instruments of the 18th century are those that don’t look as old as they are, like many of the fabulous exhibits at the Ashmolean Museum ‘Stradivarius’ exhibition in the summer of 2013. I am concerned that in our eagerness to make our new instruments look very old, we may actually compromise the quality of our future legacy.

ROBIN AITCHISON

Ely, UK

BURIED TREASURES

I am the nephew of the British amateur maker George Temple (1904–65), and have a collection of items related to his work. This includes his last violin (an ‘aged’ copy of a Guarneri ‘del Gesù’), a range of hand-made tools, several books and 37 colour plates relating to and depicting instruments by Stradivari and the Guarneri family. There are also various handwritten notes and sketches (some relating to varnish making) and some letters, mostly from violin maker Arthur Richardson.

My reason for making this approach is that I would like for the collection, if possible, to preserved as a whole. I hold a great admiration for my uncle’s skill and ability; indeed as a boy I witnessed much of what he did. That said, I am not musically inclined, nor are my relations, and I doubt that there would be much interest by anyone in the family in taking on custodianship. I believe the violin, bow and a couple of books would do well at auction, but interest, understanding and appreciation of the other artefacts outside the violin world would be little. I fear they could be lost to oblivion and for me that would be a tragedy.

If anyone would like further details of this collection, please email me at johnlluke@btinternet.com

JOHN G. LUKE

Bristol, UK

THE BIGGER THE BETTER

With regard to James Boyd’s light-hearted 2019 online article, ‘Should all viola players practise the violin?’ (bit.ly/3az70yE), I seem to recall that Lionel Tertis used to practise his viola wearing a thick overcoat to make it more difficult, so that going back to normal playing would feel easier. I believe that Yehudi Menuhin practised the Bach Chaconne on the viola. As a viola player myself, I wouldn’t touch a violin or a small viola, as I’d need to work so hard to get back to my usual set-up. The viola’s responsiveness is so much closer to that of the cello than the violin – at least that’s the way I think of it. The virtuosity of William Primrose is still virtually unsurpassed in my experience, and my jaw still drops when I listen to his recordings of the Paganini Caprices. However, if I were a violinist, I’d definitely practise on the viola.

CHRISTOPHER YATES

Birmingham, UK