SassyMama is a one stop go to guide for parents in Singapore for stuff to do with their kids and important announcements and Schools recommendations. In their recent revamp to their website, they included us in their round up feature on the Best Music Schools in Singapore 😍. Even though I’m the only teacher at the Violin Studio at the moment and it is certainly counted as private learning! Well it is a vision at Belcanto Violins that we will become a full music school one day! Read the full article here
Over the years having performed and taught many students in different countries, I have had the privilege of playing violins in every size and lineage of American, Eastern European and European makers to the China makers and I even now sell my own line of violins. So what makes a good violin and why do violins differ from a meagre $100USD to $20million?
I recently have been on a journey to rediscover my own violin. My violin is a beautiful Guarneri Del Gesu remake by an Italian maker in 1966. I bought it at a hefty sum (well at least to me it was my entire savings at that time! Thankfully then I still lived with my parents so I didn’t have to become a starving artist as I had already quit my job as a lawyer at the time of buying the instrument.) This violin has brought me through my Journey from playing it in the early days for my boyfriend (now Husband) to impress him and then with my Professor in Beijing-with the tireless and grueling on some days, 10 hour practises and the meaningful time I had spent with him under his tutelage to understand so much more about playing and learning the violin. It has a lot of sentimental value and to me so predictable. Perhaps too predictable, that in this hot and humid climate where I live in at the moment in Singapore, the violin just sounds under the weather lately and I find myself on days too frustrated to work with it. Wood certainly doesn’t fair well in humidity and heat! It does something to the otherwise crisp tone.
So when a friend of mine told me that he could alter the acoustics of my instrument and make it come more alive, I jumped at the prospect that there could be a change without having to change my violin to an entirely different one. It has been hard, because I do love my violin so much even though it is not one of the Greats. I remember being in New York on Labor Day and had the whole music shop to myself, they brought out Strads, Guaneris and an Amati all for me to have a go. The cheapest violin that day I played had a price tag of $300,000USD. I remember being very disappointed as I left the shop I thought I’d be overwhelmed by playing such an expensive instrument commanding a priceless sum, just to discover it’s power to be the same as my ordinary violin just with a more historical tone color due to its aged wood. So since then, I’d been aware that my violin lacks this certain richness of tone color that comes automatically in an aged instrument dated in the 1700s, but not the playing experience and projection so I had no more excuses not to play as good on it as if it were one of those.
This same friend of mine has proved me completely wrong with the minute changes that he made to my violin (he did more than move my sound post and bridge and other movable parts but am not at liberty to disclose as he guards his brilliant skill and precision as one BIG secret). All I know is that my violin now sounds absolutely spectacular, I will not be selling or ditching it anytime soon. And I’m so excited to be rediscovering my Pieces and working through new ones with my more balanced and better acoustically attuned instrument. I am eternally grateful!
Incidentally this article from the Strings magazine resounds my new found understanding of the value of instruments and what makes a good violin. It is a myth that all old violins would sound better than a new one. As new violins these days by good experienced makers go through a lot of research and development to achieve better acoustically sounded violins with quality aged wood that they use.
To sum up what makes a good violin, Wood plays an important role, the maker plays an important role to gathering the wood and materials and the carving the violin out to precision, the luthier can play an important role too in restoring and upkeeping the violin, the violinist plays an important role in ensuring that the violin is well kept (sending it to the Luthier for periodic checkups) and preserved (buy a good case and keep it out of harsh elements such as the sun or rain and too much or too little humidity) as each violin is unique and some violins can be important historical pieces just like art, it is important to be sensible to keep your violin in good shape as you are responsible for its well-being. You will find that these people and factors surrounding the construction and upkeep of the violin would make a good violin. And if you are famous, the violin you own may also appreciate in its value. Although most incredible violinists have their expensive instruments sponsored and loaned to them including the great Maxim Vengerov!
Here are some pointers from Strings Notes for those of you with a budget to buy a violin at (USD) $10,000 to $15,000. This category price would also put you in what is classified as “Professional Instrument” category.
According to this article, this price range is very safe especially if you were to buy an instrument from a modern maker who made the violin from start to the very end. (as opposed to it being assembled by different hands) from experience, the violin would retain its value just in case you would like to resell your instrument in the future. This means, a cheaper violin may cost less but when selling it, it may be harder to change hands without incurring a loss. You will also get what you are paying for as the maker would have had the necessary experience, tried tested to incur a sale of his masterworks at this price range.
Buying old French and German Instruments at this price is also a safe value. Of course, do make sure your violin always comes with a valuation or maker’s authenticity certification and check for cracks and other flaws. Some maybe easily fixable while others may cost hefty sums to reinstate its condition. For such old instruments, it is advisable to seek help from an external Luthier to give you the correct advice before proceeding with your purchase. You may want to consider all costs before buying the instruments.
In this regard, a lot more players are turning to modern instruments as it is now well researched that modern instruments can sound as well or if not better than their older contemporaries. Ever wondered how much to spend on a violin? Now we know the price tag!
In my final year of law school in England, I had my dissertation paper on Corporate Social Responsibility (CSR) and it’s relevance in the modern world. So this article from Strings Magazine really caught my eye in doing it in relation to music education being an educator of Music myself. Though this was all the way archive from September 2016, it still left me with a warm feeling that people were being helped by big corporations like Yamaha with their new Music Essentials programme.
This would help music educators to get funding in projects they are embarking on for their students. Music production events are always hefty costs (which I do every twice a year for my students) sometimes costing thousands just for venue rental and other ancillary costs. Wish I could get into this Music Essentials programme too since we do concerts twice a year!
However, at this point my contribution though small, I have priced our Violins and bows (Belcanto Violins) at a reasonable cost, made affordable for more to enjoy a good sounding instrument without a having to compromise on quality. I also donate some Violins to schools around Singapore to promote music education. Interested Schools with violin programs or other art forms do contact us on this. At Belcanto Violins, we support every art form and would be glad to help to be sponsor/partner/donor to your programme.
It is true and well known that antique violins fetch high prices for their antique value if made by a famous maker. It is well documented who these makers are and there is actually a guidebook with their names recorded in it. To think that that all violins that are old would be worth that sort of value though, is untrue. In fact many old violins that are kept for a long time are just old violins. To be of value, they must be made of fine pieces of wood and accurate craftsmanship.
Violins made today with these fine woods such as Tonewoods (The photograph taken above is by the supplier Tonewoods of fine quality European wood where Violin makers can get fine quality woods to make their violins) or other good sources can fetch high prices for the workmanship. The fame of the maker if he is well known, also attributes to the value of he instrument In some cases, much research and development into choosing the wood and developing the right sound through modern technology. I have tried modern instruments that sound and play as good as old ones. So the next time you do choose a violin, do give the modern instruments a chance as they can sound just as good for the value you are paying for and sometimes in fact better!
Though playing the violin is not a contact sport and it is classified as a mild activity, you can still get repetitive stress injuries or other injuries over time if not careful with your daily routine and posture.
I read an interesting strings magazine write up on a luthier that makes unorthodox shaped violas to prevent injuries. We are not talking about just removing a part of the upper bout of the viola so as to reach better on the fingerboard. But seriously funny odd shaped ones, some looking like a splat! Or that it had been initially made of playdoh in its perfect traditional hourglass shape and then sat on by an elephant. The review of the maker Luthier David Ravinus creations are good too: despite its odd and uncanny design, the violin is powerful and resonant and has gained popularity with many long standing viola players
For professional players who practise at least 3 hours and over each day, it would be a good idea to get an ergonomically designed instrument so that injuries like tendonitis at the elbows or finger/arm or back injuries will be cut down or not occur.
Unfortunately, there are currently no violin instruments in the market resembling Ravinus’ so for now being be cautious to take some steps against injury will be the only preventive action available. And here is my personal list of how:
1. Warm up by Moving your Body
I do stretches especially for the arms fingers and back and tend to do a short workout before actually going into violin practise for the day. (The two pose charts above are some of the stretches that I would do that you could also find useful.) Some Yoga poses to stretch out your body would also be useful in maintaining a good balance and helps your mind to be calm before practise.
2. Work at strengthening your Core Muscles
At my gym work out I work to strengthen not only my arms and shoulders but my core muscles as well because playing the violin as a solo instrument requires a lot standing up and movement around the core, you would want your core to be stengthened in order to build endurance for playing the violin. With strength, there will also be endurance and less stress on the muscles to do the work.
3. Always checking my posture
At all times while playing the violin, I work at checking that I have a good posture. In standing, I stand upright and not slouch as that will cause undue stress to the back. In sitting I make sure that my feet are in a 90 degree angle and that I am not sitting completely into my seat but a little more towards the edge. To help me with this, I use Backjoy, a nifty contraption that enables me to sit with less strain on my back.
I also check that my fingers are in the correct position and that my thumb is not pressed too tightly against the neck. When I am playing the different strings, I coincide the angle of my elbows and arms accordingly and not use my back or neck to compensate the movement instead.
4. Practising with the 4th finger
Finger no.4 which is our pinky is often overstretched when doing 10ths or playing octaves with alternating 1-3 and 2-4 fingerings. Sometimes to avoid an entire change in position, we can also stretch out 4th finger to reach the note (for example a C on E string in the first position). When encountering rigorous practise involving a lot of stretching of the 4th finger it is best to be cautious to do the practise efficiently only for a very short while and not to dwell too long in over stretching this.
5. Take breaks
If having a five hour practise schedule, it is not advisable to practise all five hours at a go. Personally, I do one and a half hours at a go but it would be more realistic usually to break the praictise up into one hour routines-55minutes practise and then take at least a 5 minute break before moving on to the next section of practise. This gives your body a break and stretch in between, your eyes and mind will also thank you for this short breather. And you can find your practise a lot more effective than to have gone on the whole duration at one go without stopping.
6. Go for periodic massages
For hard to stretch areas, massage is a good way to prevent injury and to make sure the muscle knots are dealt with regularly and not left for a long time as there can be acid build up and poor circulation for healing. The best places to go for massages would be shops specializing in sports injuries they tend to be less therapeutic and soothing but they do get to the painful roots of my aches and pains on my arms, hands and back.
Hope these six tips will revolutionalize your violin practise before an ergonomically designed violin is available for sale.
In this post, I shall endeavor to cover the differences you will encounter with the two instruments as this is a popular question I get, “Which should I start my child with first? The Piano or the Violin?” So hopefully after discussing some differences in learning and playing the two in this blog post, there can be some conclusion to this matter
- Size matters
This would be the first difference between the Piano and Violin, a Piano no matter at what age, is a “one size fits all” instrument. Whereas a Violin grows in size as you grow starting as small as a 1/32 size for a 2 year old. For a good article on sizing Violins please refer to my other blog article about Violin sizing. This means that proportionally, if you have really small hands like I do, the piano would be more daunting to achieve than a Violin would. It is also not as portable so for example when you travel you would have to leave your piano behind or if you do concerts, you will always need to get used to the key touch and resonance of the instrument…constantly. The violin once chosen by you is yours and follows you like a beloved pet or favorite pillow wherever you would like it to go and whenever you would like to be with you. Which is why choosing a violin that you like to play and hear is so important!
- Precise Intonation, playing the Right notes
On the Piano, you are not in control of intonation, one just merely hits the right notes and the sounds come out as the notes. On the Violin, the notes are more obscure and you are in charge of the intonation, likened to knife thrower, a small minute misplacement of the finger even in a millimeter would render the target out, disqualifying the player from a perfect rendition of a piece. Hence, constant ear training to be sensitive to intonation- being able to play immediately the true pitch of a note should be paramount in learning the violin. You need to even differentiate between enharmonic notes such as a B flat and an A sharp. On the Piano they would be regarded and struck on the same note. On the Violin, this is not so and would require the player to know the subtle difference of pitch even between these two enharmonic notes. (For example, the B flat would be placed lower on the fingerboard than an A sharp)
- Right and Left Hand functions
On the Piano, most of the time the Right hand plays the melodic line while the left plays an accompaniment (e.g. Alberti Bass common with Sonatinas or Sonatas). While sometimes where there is a more polyphonic texture like in playing Bach pieces, the Left hand would be playing a counter melody as well. Or both hands could take turns playing the accompaniment and melody. On the Violin, the Left hand plays the notes, while the Right hand bows or plucks (pizzicato) the strings, they work hand in hand to produce a melodic line with accompaniment or polyphonic parts. As Solo Violin Music is usually just a melody and lacks accompaniment, (except for Bach’s composition of the Sonatas and Partitas for Solo Violin and other rare compositions that feature the Violin as a Solo instrument) a Piano accompaniment is usually written for its performance of the piece. So most of the time, the Violinist does not perform by himself or herself but with an accompanist on the piano (or an orchestra). However, a Solo Pianist usually is able to have a music performance without any form of accompaniment necessary since the Right and Left hand has enough harmonic structure to support a range of music for the listener. The concept of harmony for the Pianist would be more important than the Violinist (though it should be as important) as the Pianist will have to consider his Left hand harmonising with his Right hand (especially for the process of memorization) and the different importance and voices of the two almost always. The Violinist will also need to think about the Harmony and how his part would fit and harmonize with the accompaniment, but less for sure (though it should be just the same).
- Range of the Piano Vs Violin
The range of the Piano is 7+octaves (a group of 8 notes), whereas a Violin is only a range from G (just before middle C) to a High C about 3 octaves up. The Violin has a more limited range of notes that it can play, and only requires reading in the treble clef with all the lower notes on the ledger lines being played on the G string (the lowest string on the violin). The Piano on the other hand, has typically the Left hand reading the Bass clef and the Right hand reading the treble clef. This means there is another clef for the Pianist to learn. There are also more notes to learn as there are about 4 more extra octaves both higher and lower in registers that a Pianist will have to encounter. The Pianist also can play cool melodic structures like contrary motion, whereas the Violinist will only encounter this upon harmonizing with another instrument like in a trio, quartet or piano, orchestra. (Only in rare cases in a form of a double stop sequence)
- Violin Invisible Notes Part 1 – (Harmonics) and Piano Pedals
On the Violin, one can play magical sounding notes where you do not depress your finger on the string and play “harmonics” when bowed. These notes have an ethereal effect and are widely used in many compositions to create this angelic tonal quality that is peculiar to the Violin but impossible to do on a Piano Keyboard. The Piano usually has three pedals (if not two) the right pedal sustains any note or notes played on the keyboard. It gives an effect that even though you may be in a small room with sound proof padding, it can give an acoustical effect that you are in a large hall with a lot of echo. Some music in Piano playing will require this maneuver.
- Violin Invisible Notes Part 2 – just a black fingerboard? No black or white Keys!
The notes on Violin on the ebony fingerboard can be said to be intangible and cannot be seen where to press to a layperson who has no idea how to work a Violin. The Piano on the other hand, is more welcoming and even babies which are starting out to grasp coordination of their limbs are able to hit the notes and produce different notes and sounds. The Violin relies mostly on muscle memory to grasp the distance and situation of the notes on the fingerboard. This is where I would say if one has learnt the Piano first, would have the advantage of grasping the concept of the note distances clearer and faster. The fingerboard of the Violin is simply just the same keyboard as the Piano and would have the white and black keys in the exact situation with the exact semitones and tones. So to play a scale, someone with prior knowledge of how a keyboard looks like will be able to press the strings of the violin and bow just by working out the tones and semitones (distances) on the Violin fingerboard. This is the same where grasping concepts of the accidentals (namely flats, naturals and sharps), where sliding your finger along the fingerboard toward your face while holding the violin would achieve a higher note than the notes toward the scroll of the violin.
- Moving Up and Down the Registers Easier on the Violin
As the Violin has strings in perfect 5ths, one is able to play and jump notes easier than on the Piano. Therefore, Violin music and composition will often be more “acrobatic” in texture than Piano music there are often notes in 10ths on the Violin as it is possible to stretch that far and most virtuosic pieces would feature 10ths as part of their scoring. But you will not see a Pianist practising scales in 10ths on the Piano.
- Musical Key Patterns make a bigger difference
As music Key moves in a circle of 5ths (C-G-D-A-E major etc.) and the Violin is also in string intervals on open strings of a perfect 5th. Transpositions and patterns are slightly more recognizable and similar on the Violin than on the Piano where the piano is only a lateral movement up and down the keyboard. Whereas the Violin is able to move a 5th up simply by changing the strings they are playing. A case in point is that you can have the exact position and fingering playing “Twinkle Twinkle Little Star” on the D-A strings Vs A-E strings of the Violin. Whereas on the Piano you would need to consider finger positions on the black keys depending on which key you are in. Intervals and semitones are therefore harder to count. Violinists think of positions of their finger patterns, i.e. playing in the first position to the tenth position but there are not really such finger patterns on the Piano, you simply need to understand a good concept of maximising your finger range and different ways to achieve good seamless fingering to go with the music.
This is purely out of experience that I am writing this, so it may not be as founded ^_^ I find that as a Violin student, a little goes a long way. When my teacher told me to be louder on the piano, I needed a great deal of energy to strike the keys, whereas on the Violin, just a slight forceful and more added pressure or speed with the bow will go a long way.
- The Bow
There seem to be 101 ways you can play with your bow on the Violin which is almost true! You can play a detache bow, a martele bow, a ricochet bow, a colle bow, a mixture the list goes on. You will also have to learn that slurs and bowing are directly related. On the Piano, you will not need to use anything but your fingers and hands to play the instrument. This usage of the bow has to be grasped as part of violin technique. The bow also produces the tone of every note so much practise is needed to concentrate on just Right hand technique on the Violin to achieve a good sound. I would say that the Violin could be equated more to a sport than the Piano. I actually give my students physical exercise to do with their bows. (like sword wielding!)
This list of 10 differences isn’t exhaustive and I’m definitely biased as the violin is my major instrument though I have played the piano since I was three and nothing is more satisfying than digging into the harmonies of Chopin or playing the ethereal Grieg Piano Concerto! Violins tend to start cheaper than Piano, by miles, The cheapest violin in my shop in a full set is $150. I think with $150 you will not be able to buy a Piano unless perhaps second hand. Piano classes are also thought to be less costly than Violin classes as the Violin teachers are usually rarer to find. A very important consideration to make is also the true interest of the child or student learning. If the child gravitates to liking one instrument over the other, I’m of the opinion that upon fulfilling a certain aptitude with the less liked instrument, they should concentrate and specialise in just one.
Lastly, the piano is an important instrument to learn if in all doubt as to what instrument you should do. It features the entire keyboard perception clearly with the white and black keys. You would find most instruments collaborating with the piano (like in Sonatas) and most orchstral scores are reduced into a piano score for accompaniment with the violin. So having prior knowledge about the collaborating instrument does make a difference to how you want your performance to turn out as a whole. Nothing is wasted in music learning. And most importantly, try to keep the passion for learning alive!
The Suzuki Talent Education Association (STEAS) arrived in 2014 actually…! Sponsored by my friends at Synwin Music, today I participated at a Teacher’s workshop on the Suzuki Values & Teaching Method and to bring awareness to STEAS. Guest Speaker Mr Martin Rüttimann flew in to give us the insights of Dr Suzuki’s violin Methodology and why it works particularly well for young learners. There were also some young performers who gave us a demonstration of the Suzuki Method in action.
There will be two different training workshops for piano and violin coming up this year for teachers. If you would like to join do contact the Suzuki Talent Education Association Association Singapore. The dates of the piano teachers’ training is on an earlier date while the violin course is planned at the end of May. Do contact them directly at the STEAS website for more information. To join this workshop you need to be a member of the Association and also need to send in an audition demo of yourself at the highest proficient level: choose and play a level you are at from book 4 to 10, hence book 4 is at its lowest entry level in order to be qualified to be trained for Book 1 at the workshop in May 2017. (If you send in a level at book 10 Mozart’s Violin Concerto in D major this would just mean you will not need to send in any more auditions for the training for book 1 through to 10. ) note that it is required to be trained from Book 1 and the workshop training sessions are approximately 35 to 42 hours to cover each volume.
For those who are not familiar with the Suzuki Method. Here are some features of the Method that I have summarized below:
- A concept of nurturing an individual through music to learn discipline and a community spirit, which would lead to ultimately having a “beautiful heart”
- Believes that learning music is like learning a mother tongue language where a young child would be able to learn music and an instrument just like learning their own native language. The Suzuki Method strives to teach a musical instrument (piano, violin, guitar, viola, cello, flute etc.) this way.
- Usage of familiar songs in first books to keep the students and child interested in learning as this would be easy to train the ear as well as play from memory which is a compulsory component.
- No particular written technical method reduced into writing (except Dr Suzuki’s concept of Tonalization) as compared to the French or Russian schools of learning but the musical abilities and techniques are passed down from teacher to teacher, thus the need for the Associations for training teachers to be “Suzuki ready”.
- Method encourages a Child, Teacher and Parent triangle where the Parent plays a vital role as much as the Teacher and Child in the Learning Process.
- Lots of group playing in unison are encouraged as one of the key visions of Suzuki is that the child is nurtured into a not being competitive but to having a communal spirit.
- A large range of repertoire focusing on early classical and baroque pieces (my observation of the Violin Method) and an absence of the traditional Etudes like Wolfhart, Kayser, Dancla, Dont, Gavinies, Kreutzer etc. no Romantic period concertos but ends at Mozart Violin Concerto. The idea is that afterwhich, teachers would progress to teaching the Bruch and Mendelssohn Concertos.
- Usage of Solfege instead of note reading initially for ear training as well as easy pick up for even toddlers which is why more students can pick up the violin with scaled down instruments at an early age.
For more of the Suzuki Method and how it is taught, it is best to join one of the teachers training courses available in your region worldwide to have the know how to teach and understand this concept better.
How I would teach and use the Suzuki Method for my Students
The Suzuki repertoire is a popular choice for teachers and students and almost a staple for Beginner’s repertoire as they are really catchy tunes and the songs have been reduced in a way that initial bowing methods for the violin and certain technique can be taught easily. I personally do use the first Volume for a typical beginner for the same reasons but I perhaps teach it in a very different way from a typical Suzuki teacher would (unfortunately out of group lessons or the occasional special concert arrangement, I do not have students playing in unison) and I would graduate much sooner (at about song no.10 this also depends on the aptitude of the student) to a wider range of classical genre and Etudes to explore more aspects of violin and bowing technique appropriate for a beginner.
The focus would be more on grasping the correct posture, basic music theory concepts and learning completely the permutations of the first position of the violin as an initial hurdle. For e.g. Oskar Rieding’s violin concerto in B minor which pretty much covers the first position (though it can be played in higher positions) would be taught and is a catchy and exciting tune as well! I like to start with the Rieding piece as it offers a glimpse of the many solo violin repertoires to come with great concertos written in D major/Bminor.
After which grasping the entirety of the first position, more keys and the intensive grasp of the second position will be introduced before the third, vibrato and shifting. This would be a contrast to the Suzuki repertoire where they go straight to the Vivaldi pieces at the intermediate level and into the third position seemingly straightaway.
Dissecting what is taught in my lessons:
Apart from daily left and right hand exercises, I would also add in Etudes by Kayser, Wolfhart and and others and a series scales and arpeggios to learn the different keys in the first then second position, then third and onto higher positions.
No student is the same, so one would expect the repertoires and also concepts to be taught at different paces. But I would like the student to follow up the classes efficiently as the classes were as mini lessons on their own till our next class in the same format. Hence, instead of achieving one lesson per week they would have done at least 4 to 6 on their own. So their hard work and commitment to what was taught proves their own success. This would help them to gain independence much sooner as that is my fundamental goal for them to do without me and become their own teacher as soon as they can.
I do agree that parents have to be in the class for any child under the age of 8 years old and are as important in the learning process as the child or teacher is to encourage development. Which is the same triangle concept that Suzuki has for their courses.
I do follow through with some of the selected songs in Suzuki in the later books and find them useful in exploring technique and compartmentalizing the different concepts of Violin Technique. But there is a vast range of repertoire out there to be covered such as the 6 Bach Partitas and Sonatas which are a staple for my more advanced students.
I wanted to write about learning the violin from the standpoint of someone who has already mastered the piano and the differences in thought and action of both the instruments this week. But this article from the strings magazine for the week was just too interesting to hold off from sharing.
I send my violin in every other year for a good French polish and revarnishing in certain areas like on the top right areas of the ribs close to the fingerboard where playing on the higher registers make the violin need the added TLC more frequently. This maketh sure that every part of the violin is being well protected and so protecting the original varnish that came with the violin.
The original process of varnishing a violin could have been as simple as boiling a pot of rosin and oil. The experts like Amati and Stradivarius probably tried many times or even maybe just a handful of times (in those days things weren’t so complicated) to get the balance right to accomplish that brilliant shine or chatoyance which is a sparkling and multifacetaed light reflection effect needed, not affecting the sound quality. These days to recreate the same mixture according to the author of the article might actually be explosive with the different chemicals during the process of experimentation.
The pursuit to get the right varnish that is protective enough and gives off the correct amount of aesthetic appeal can cost up to thousands of dollars (USD not rupiahs) just for the ingredients to yield a gallon of varnish. I never knew that! No wonder even modern instruments are demanding high costs, this is not factoring that they also need to have been doing this over a period of years (some take as long as 5 years), one layer at a time as they need to wait for it to dry before setting the next layers.
It takes great skill as well to be able to check that the violin is being protected but not being over varnished such that the wood doesn’t breathe and so this affects the acoustic quality of the violin. So it is not a piece of furniture but a piece of art! Again this article reminds us violinists to treat our instruments with more care as they are unique, created with much tender care and absolutely the one and only in the world.