Cremona Triennale 2012 winners


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Violin

1 Ulrich Hinsberger – Germany

2 Nicholas Gooch – UK

3 Gonzalo Bayolo – Spain

Viola

1 Ulrike Dederer – Switzerland

2 Charles Coquet – France

3 Florian Geyer – Germany

Cello

1 Not awarded

2 Krzysztof Krupa

3 Lorenzo Rossi – Italy

Double bass

1 Marco Nolli

2 Marianne Lenzini

3 Francisc Gyorke

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Congratulations to all! Krzystof Krupa is a friend and student of my workshop partner Roman Barnas [who directs the violin making program at the North Bennet Street School in Boston]. I recently saw a cello scroll he had just finished carving...amazing skill...

....and all those "pristine" instruments......

on we go,

Joe

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I believe the judges for the Triennale as well as the VSA are international. I don't believe there is an American style that is recognizable, although I could be wrong. We here in the US are all over the place. This straight making and varnishing (no antiquing) is incredibly beautiful. Congrats to all participants.

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what weve been hearing time after time here and on violinist .com, is that the top makers are here in america, award winning makers from china are winning competitions, and last but not least the real bargains are in modern cremonese violins

it would seem the judges in this competition see things differently, does anyone know if any top makers from USA or china entered this competition, enquireing minds want to know.....

well one maker trained in boston, is he american?

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i see a strong cross country eurocentric result, but no cremonese dominance, im sure the VSA would have a strong american bias too

I believe the judges for the Triennale as well as the VSA are international. I don't believe there is an American style that is recognizable,

Yes, both competitions have international panels of workmanship judges. I've got to hand it to the Cremona competion for that one, because results not favoring Cremonese entries can produce bitter local outcomes. Yet, they continue to do it.

Tone judges are more likely to be regional, probaby to save money.

Lyndon, how would judges express a regional bias (even if they wanted to), when it's getting near impossible to recognize that a fiddle from a high-level individual maker is from a certain region? Nowadays, many of these makers spend time working and studying together, so the regional differences have become blurred. Sure there are clues on a small percentage of instruments, but those tend not to be the winners anyway.

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what weve been hearing time after time here and on violinist .com, is that the top makers are here in america, award winning makers from china are winning competitions, and last but not least the real bargains are in modern cremonese violins

it would seem the judges in this competition see things differently, does anyone know if any top makers from USA or china entered this competition, enquireing minds want to know.....

well one maker trained in boston, is he american?

One needs to filter competition results with some auxillary information. The VSA boots competitors once they have established a certain track record of wins. The Cremona competition is so expensive to enter (and if you win, you forfeit the instrument.... they pay you for it but probably a lot less than you get get on the open market), that I think once one has a first place win, there's little incentive to enter again. That's how it worked for me anyway.

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Yes, both competitions have international panels of workmanship judges. I've got to hand it to the Cremona competion for that one, because results not favoring Cremonese entries can produce bitter local outcomes. Yet, they continue to do it.

Tone judges are more likely to be regional, probaby to save money.

Lyndon, how would judges express a regional bias (even if they wanted to), when it's getting near impossible to recognize that a fiddle from a high-level individual maker is from a certain region? Nowadays, many of these makers spend time working and studying together, so the regional differences have become blurred. Sure there are clues on a small percentage of instruments, but those tend not to be the winners anyway.

That's easy : a scottish fiddle speaks with a scottish accent. And so on...

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david, were actually in agreement here!! im a firm believer the truly great modern makers are spread throughout the world, i was just pointing out that this competition gave no credence to the idea of great makers being localised in one region, although as i said ive heard a lot of this idea on the internet

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well one maker trained in boston, is he american?

Krzysztof is Polish. He did not attend NBSS, though he has been to the Oberlin Makers Workshop. He and Roman [who is a naturalized Pole] are friends. Roman has been part of his development as a maker and has done a lot to introduce him to the making community outside of Poland. There is a large and multi-generational making community in eastern Europe.

on we go,

Joe

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ive often wondered about polish violins, my best friend is polish, all we ever hear about is german, czech and maybe hungary, certainly there must have been some fine historical makers in poland, i once went a little crazy and "decided" i had a polish violin, i actually got on the phone to charles beares shop, i think, and asked them about polish makers, they mentioned a couple fine makers

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