SOUNDPOST

LETTER of the MONTH

Juliet Barker in August 2014 with student Susanne Koch

A LIFE CHANGER

In 1968 I joined the violin making class run by Juliet Barker (1934–2022), which took place on Wednesday evenings at the Cambridge Tech. At the time my day job was with a Cambridge firm of solicitors. On Friday evenings, by way of contrast, I did motor mechanics. I was privileged to know luthier Roland Gentle as well, both at the Tech and later in Juliet’s new workshop, There, I was also taught by all the expert violin makers mentioned in the tribute to Juliet by Christopher Beament (bit.ly/3g9ufFn). I also made three bows under the eagle eye of Richard Wilson. Juliet was very keen on smaller instruments probably because a lot of amateur makers wanted to make instruments for their children or grandchildren.

Having made my first instrument, which was a success, I was hooked and decided that I would go to the Newark School of Violin Making (NSVM) when I retired, for the full professional training. Following a health problem when I was 52 years old I retired earlier than expected. But having recovered my health at 58, I went to NSVM.

Apart from violins and violas I made two small cellos in Juliet’s workshop and, as my grandchildren showed no interest in stringed instruments, I gave them both to the Benslow Loan Scheme. One of them featured in The Strad, in a photograph of a new building being opened at Benslow.

In his tribute, Christopher mentioned the Rowan Armour-Brown Trust, which counted Juliet and Wilfred Saunders among its founder trustees. This trust has helped many violin making students with tools, money, and workshop placements. I was delighted to work with Juliet while I was treasurer of the Trust for 18 years. Juliet started a lifelong interest in the violin making world and now, at the age of 80, I am still involved. She literally changed my life.

COLIN GARRETT

Berkhamsted, UK

ALIVE AND KICKING

Scottish fiddlers Niel and Donald Gow

BARKER PHOTO CHRISTOPHER BEAMENT. GOW IMAGE COURTESY NATIONAL GALLERIES OF SCOTLAND

As a keen Scottish fiddler from Glasgow, I was eager to read Aaron McGregor’s article on Scottish fiddle dance music (‘Invitation to the dance’, October 2022). What a shame no mention was made of the relevant and vibrant living tradition that Scottish dance music is today.

I speak on behalf of those immortal and glorious old tunes, of which there are thousands. Every one was once a brand new composition. Today, you can still hear them, played lustily, singing out from fiddlers of all ages and abilities, in living rooms and village halls, in formal ballrooms and on the concert stage, as well as on iPads and laptops.

Thankfully, the old tunes were written down. I’m grateful for the collections mentioned in the article. I refer to them regularly. Music of an aural tradition, however, is best absorbed in person, learnt from one player to another. As my fiddle teacher would say, ‘Better a tune in the head than a fistful o’ manuscripts.’

Any transcription can only serve as an outline at best. Tunes need context. Are those dots for dancing to, or is this a listening tune? The ancient music of Scotland is alive and well. It continues to evolve, to be composed and performed, while still taught in the oral tradition. One excellent example of this is the music of Alasdair Fraser (fiddle) and Juilliard graduate Natalie Haas (cello).

The history of traditional Scottish dance music is certainly fascinating. I agree it is of scholarly and historic relevance, but I find it more exciting to seek out the music first. Find live performances. Attend a Scottish fiddle camp. Check out YouTube recordings. Go to the manuscripts later, after you’ve danced and played with others, when you have an idea of what to do with the chicken scratch found in those old collections of ancient manuscripts.

ARLENE PATTERSON

Longmont, CO, US

HOME ADVANTAGE

I enjoyed Boston Symphony principal bass Edwin Barker’s views on the importance of an orchestra’s concert hall in shaping the home ensemble’s signature sound and character (Opinion, October 2022). I am not a professional orchestra player myself but I can share my experience as an audience member to confirm, or at least add, to his argument. I once heard a famous orchestra (which will remain unnamed) perform in my home city of Chicago. I was so excited to see them in the flesh at long last! To my disappointment their sound was dry, the instruments did not mesh well and it was overall an underwhelming performance to say the least.

A few years later, I travelled to said orchestra’s home city, and decided, despite the earlier experience, to see them on home turf. They must be famous for some reason after all? And I am so happy I did. Their way of playing, approach to the music and sound now made sense. It was one of the concerts I remember best to this day. I, therefore, agree very much with Barker’s argument and look forward to hearing the orchestra again the next time it is in town!

MARILYN FETTER

Chicago, IL, US

ONLINE COMMENT

When violinist David Garrett wrote about the journey to acquiring his Guarneri ‘del Gesù’, fans from across the world responded to the story with everything from praise and support to Guarneri facts and stories of their own bit.ly/3Ti6cCn LUDMILA SMOLYANSKAYA You followed your intuition and made the right decision. A Guarneri is magical.

PATRICIA NEWNHAM I hope one day to hear you play this wonderful instrument in the Sydney Opera House concert hall!

MIKE STEVENSON Paganini’s favourite violin was a Guarneri, which he won by sightreading a supposedly impossible piece of music. His is on display in Genoa. It is said that people hear music coming from the building at night!

---Editorial notes The article on the Schroetter and Roth dynasties (April 2022) stated that Anton and Andreas Schrötter were father and son. They were in fact brothers.