The advertizing for the upcoming Cremona violin making competition, ouch!

[David Burgess]

I have both won and judged this competition, as well as many others, so I am not appreciating what sounds to me like a bunch of arm-waving hooey.
_________________________________________________________________________

 

Welcome to the Mayor

Dear Masters,
What an honor for me to be able to call you that: teachers. And what a responsibility. Master is the one who has found ‘something more’, more beautiful, the greatest, the most intense, who has matured and made this gift grow within himself and wishes to share it with others. He wants to pass it on and innovate it at the same time. Knowledge of luthiery is for you this “of more”, this gift that is then a gift for all of us and for humanity. The ability to make stringed instruments, which generate beauty, sound and music, is the most of which you bear responsibility, that gift of which all of us and Cremona bring responsibility. In the introduction to the last edition of the Triennale we wrote that the city of Cremona was preparing to build a plan to safeguard the intangible heritage of humanity of knowing how to make luthiery. I can say today that we have succeeded and that this path with the community of the Cremonese luthiers is in progress, intense years that have increased knowledge, study, research with respect to the heritage itself and the role of Cremona as a world center of know-how luthier is in progress. This path will continue and will strengthen further in the coming years. Because knowledge is the key and decisive factor in passing on and innovating at the same time. And it is also the decisive factor to grow in competitiveness on international markets.
This is why the Triennale, the most important luthiery competition in the world, takes place in Cremona. And for this reason the best luthiers are part of it and its history over the years is the extraordinary history of artisan artists who have made and are making the history of contemporary luthiery. That innovates and transmits to the highest levels the vital energy of Stradivari, Amati, Guarneri and the great classics, so that contemporary luthiery itself becomes classic in its contemporary being and in its design today the future of this art in the world.

Gianluca Galimberti
Mayor of Cremona and President of the Violin Museum Foundation

Message from the President

For the second time in a row I will have the honor of presiding over the Jury of the Triennale Competition, now in its 17th edition and which I believe will once again be confirmed as the most important event of its kind in the world. I accepted this assignment for a sincere spirit of service to the luthiers community, both the local one to which I am particularly attached, and the international one, which I had the pleasure of knowing in the many years of my commitment in the world of lutherie.
Once again a jury of high international standard has been selected, which I believe gives excellent guarantees for a careful and balanced judgment of the competing instruments and that will be my concern to work intensively and in full compliance with the regulations. This regulation has been confirmed in its essential structure, now tested by many editions, with some small but significant operational improvements suggested by the master luthiers, thanks to their direct experience, as always consulted in the preparation phases of the competition, and which I take this opportunity to thank.
To all the competitors, who I am sure will be numerous and qualified, the wish to live a qualifying and stimulating professional experience that, whatever the result, will be of help in their growth and in their careers. See you in Cremona

by Paolo Bodini

[Dwight Brown]

What is the difference between what the judges are looking for at this contest compared to what the judges are looking for at VSA?

DLB

[David Burgess]

1 hour ago, Dwight Brown said:

What is the difference between what the judges are looking for at this contest compared to what the judges are looking for at VSA?

DLB

A lot depends on the quality of the judges chosen. When I won the Cremona Competion, Charles Beare was one of the judges. When I participated in the judging of that competition, I was fortunate enough to be paired with Bruce Carlson and Otto Schenk, so we could sort of prevail over some of the other judges who didn't seem to have any idea what the phuck they were doing (even less than I did).

One potential flaw in the Cremona Competition is that according to their rules, they can not use any judge more than once (last I heard). Eventually, this would leave pretty slim pickings, seems to me.

Another difference is that the VSA allows artificially aged instruments, and also submissions from makers who are not professionals in the trade. I rather like that last part.

While I haven't always agreed with the selection of judges at the VSA Competions, or their decisions, my opinion is still that overall, this is the best violin making competition in the world.

[jacobsaunders]

19 minutes ago, David Burgess said:

One potential flaw in the Cremona Competition is that according to their rules, they can not use any judge more than once (last I heard). Eventually, this would leave pretty slim pickings, seems to me.

 

Once they’ve used you up....................

[Dwight Brown]

Sorry, my brain is moving at Dwight speed. Not exactly C. VSA is better?

DLB

”Captain, I can give you no more power the dilithium crystals will blow!”

[David Burgess]

38 minutes ago, jacobsaunders said:

Once they’ve used you up....................

I will pretty much be declining any future judging invitations, and have declined at least one or two already. The last two I accepted were in Russia and Mainland China, countries I had never visited, so that weighed in on my decision to participate, since I am a self-confessed experiential information and learning whore or addict.

 

[Andreas Preuss]

3 hours ago, David Burgess said:

I have both won and judged this competition, as well as many others, so I am not appreciating what sounds to me like a bunch of arm-waving hooey.
_________________________________________________________________________

 

Welcome to the Mayor

Dear Masters,
What an honor for me to be able to call you that: teachers. And what a responsibility. Master is the one who has found ‘something more’, more beautiful, the greatest, the most intense, who has matured and made this gift grow within himself and wishes to share it with others. He wants to pass it on and innovate it at the same time. Knowledge of luthiery is for you this “of more”, this gift that is then a gift for all of us and for humanity. The ability to make stringed instruments, which generate beauty, sound and music, is the most of which you bear responsibility, that gift of which all of us and Cremona bring responsibility. In the introduction to the last edition of the Triennale we wrote that the city of Cremona was preparing to build a plan to safeguard the intangible heritage of humanity of knowing how to make luthiery. I can say today that we have succeeded and that this path with the community of the Cremonese luthiers is in progress, intense years that have increased knowledge, study, research with respect to the heritage itself and the role of Cremona as a world center of know-how luthier is in progress. This path will continue and will strengthen further in the coming years. Because knowledge is the key and decisive factor in passing on and innovating at the same time. And it is also the decisive factor to grow in competitiveness on international markets.
This is why the Triennale, the most important luthiery competition in the world, takes place in Cremona. And for this reason the best luthiers are part of it and its history over the years is the extraordinary history of artisan artists who have made and are making the history of contemporary luthiery. That innovates and transmits to the highest levels the vital energy of Stradivari, Amati, Guarneri and the great classics, so that contemporary luthiery itself becomes classic in its contemporary being and in its design today the future of this art in the world.

Gianluca Galimberti
Mayor of Cremona and President of the Violin Museum Foundation

Message from the President

For the second time in a row I will have the honor of presiding over the Jury of the Triennale Competition, now in its 17th edition and which I believe will once again be confirmed as the most important event of its kind in the world. I accepted this assignment for a sincere spirit of service to the luthiers community, both the local one to which I am particularly attached, and the international one, which I had the pleasure of knowing in the many years of my commitment in the world of lutherie.
Once again a jury of high international standard has been selected, which I believe gives excellent guarantees for a careful and balanced judgment of the competing instruments and that will be my concern to work intensively and in full compliance with the regulations. This regulation has been confirmed in its essential structure, now tested by many editions, with some small but significant operational improvements suggested by the master luthiers, thanks to their direct experience, as always consulted in the preparation phases of the competition, and which I take this opportunity to thank.
To all the competitors, who I am sure will be numerous and qualified, the wish to live a qualifying and stimulating professional experience that, whatever the result, will be of help in their growth and in their careers. See you in Cremona

by Paolo Bodini

A lot of blahblah that Cremona is the best. Maybe I should provocatively enter my new concept violin. More precjjsely, no if the competition rules don’t mention anything about a symmetrical model they basically can’t kick met out based on their rules. (I guess they find another pretext to do that!)

[Urban Luthier]

.

[Davide Sora]

On 5/6/2024 at 9:07 PM, David Burgess said:

I have both won and judged this competition, as well as many others, so I am not appreciating what sounds to me like a bunch of arm-waving hooey.

Politicians...

Strangely they didn't use the term "Violin Making Olympics", usually they always do, and I always find it extremely annoying and inappropriate.

[iNeedAnswers]

The last time I visited Cremona I felt, like this kind of talk is partly spread amongst the luthiers there as well. Of course, there are also very great and at the same time humble luthiers there. Still, it is worth a visit.

[Davide Sora]

29 minutes ago, iNeedAnswers said:

The last time I visited Cremona I felt, like this kind of talk is partly spread amongst the luthiers there as well. Of course, there are also very great and at the same time humble luthiers there. Still, it is worth a visit.

I would extend the same argument to all luthiers in the world, just read what they write on the sites to get the impression that they are all great artists and that all their violins are top-level.
You know, it's marketing, which we could also call politics.
A little more humility wouldn't hurt, and from a marketing perspective it would help to stand out from the crowd, and would probably work better.

[Mark Norfleet]

2 hours ago, Davide Sora said:

I would extend the same argument to all luthiers in the world, just read what they write on the sites to get the impression that they are all great artists and that all their violins are top-level.
You know, it's marketing, which we could also call politics.
A little more humility wouldn't hurt, and from a marketing perspective it would help to stand out from the crowd, and would probably work better.

Well put Signore Sora!

[iNeedAnswers]

You are right, the others just leave the word Cremona out, I guess. 

I think in any profession it is a red flag, when people think they know all there is to know. Only those, who seek more, will get better. 

Of course, some violin makers produce violins, that are immensely beautiful and being proud about this work, is also very viable. 

[Urban Luthier]

Without putting too fine a point on it, some may classify statements like these from Italian politicians as 'Cultural Chauvinism'

[PhilipKT]

I have a couple of dumb questions. May allow other instruments? Viola and cello and bass?
And is the competition open to the public, and are qualified players allowed to play the various instruments? Or is it “look but don’t touch”?

David, what did you win with? I’m sure this is in your bio but I’m too lazy to check.

[Victor Roman]

7 hours ago, Davide Sora said:

Strangely they didn't use the term "Violin Making Olympics", usually they always do, and I always find it extremely annoying and inappropriate.

Hardly !    Architecture and painting were at some time Olympic categories and I believe sewing ( embroidery) was, too. Given that violin makers can hardly be accused of doping I am all for Lutherie as an Olympic Sport.    

[David Burgess]

4 minutes ago, PhilipKT said:

David, what did you win with? I’m sure this is in your bio but I’m too lazy to check.

A viola. I think it was the only instrument I had available at the time.

3 minutes ago, Victor Roman said:

Given that violin makers can hardly be accused of doping...

Are you sure?

[Dwight Brown]

1 hour ago, David Burgess said:

A viola. I think it was the only instrument I had available at the time.

Are you sure?

Do you know where it is now?

DLB

[Dwight Brown]

Because I am a pretty hopeless polyanna 

I should think the most important thing in any competition of any kind is the clearness of the rules and expectations and the impartiality of the judges. I know, fantasy land. Some situations are better than others and some actually try very hard to do a good job.  I hope this is one of those.

DLB
 

 

[David Burgess]

1 hour ago, Dwight Brown said:

Do you know where it is now?

As far as I know, it's still in the Museo del Violino in Cremona. The deal is (or was) that by entering, a maker agrees to forfeit the instrument if they win first place. The Competition pays the maker for the instrument, but it's not much.

So the best strategy is to win 2nd or 3rd place if one can figure out how to pull that off. That way, you get the publicity of having been a winner, as well as a little bit of prize money, but also get the instrument back.

[Dwight Brown]

12 minutes ago, David Burgess said:

As far as I know, it's still in the Museo del Violino in Cremona. The deal is (or was) that upon entering, a maker forfeits the instrument if they win first place. The Competition pays the maker for the instrument, but it's not much.

So the best strategy is to win 2nd or 3rd place if one can figure out how to pull that off. That way, you get the publicity of having been a winner, but also get the instrument back.

Well we could get a couple of tickets to Italy and an empty case a pull a caper:-) we may however be getting a bit old for the James Bond stuff.

DLB

[Davide Sora]

3 hours ago, PhilipKT said:

I have a couple of dumb questions. May allow other instruments? Viola and cello and bass?
And is the competition open to the public, and are qualified players allowed to play the various instruments? Or is it “look but don’t touch”?

David, what did you win with? I’m sure this is in your bio but I’m too lazy to check.

Violin, viola, cello, and double bass.

Only the acoustic test of the finalists is open to the public, and of course, the exhibition that follows the competition.

During the exhibition, it is possible to play the instruments, but only in the presence of the maker, I think for insurance reasons. But I'm not sure about this because it's not always the same with each new edition.

These are the admission criteria:

ART. 5
The Jury will not admit instruments to the Competition that:

1) have already won awards in either national or international competitions;
2) have been even partially machine-made or varnished by spraying;
3) break with tradition due to their peculiar form, decoration, colour or woods; Permitted wood are as follows: spruce, maple, cedar, beech, pear, poplar and willow. This limitation does not apply to fitting sets and accessories. Technological or composite materials can be used for fingerboard, endbutton, tailpiece and endpin.
4) show artificial antiquing in wood or varnish;
5) have abnormal dimensions. To this effect it has been determined that violas must have a body length
between 400 mm and 425 mm and double basses must have a string length between 104 and 110 cm;
6) show double purfling or other decorations;
7) show brand names on bridge or other accessories;

You can read the entire regulation here: https://museodelviolino.org/en/concorso-triennale-2024/

[PhilipKT]

Double purfling is verboten?

That sounds odd, considering double purfling was an accepted part of making for centuries

[Marty Kasprzyk]

 

It's  important to not change traditional art forms:

https://www.graceland.com/ultimate-eta-contest#:~:text=Elvis tribute artists competing during,Presence each count as 20%.   

Elvis tribute artists competing during the Semifinal and Final Round in Memphis are all judged using the same scoring sheet. Each of the judging criteria is scored on a scale of 1 to 10 with 10 being the highest score. Vocals will count for 40% of the score. Style, Stage Wear and Stage Presence each count as 20%. 

THE JUDGING CRITERIA ARE AS FOLLOWS:

Vocals - Overall singing ability

Style - Ability to present a look and style that well represents Elvis during the era of the song being performed

Stage Presence - Ability to recreate the charisma Elvis created when performing on stage

Overall Performance - Rating the overall quality of the performance

[Dwight Brown]

17 minutes ago, Marty Kasprzyk said:

 

It's  important to not change traditional art forms:

https://www.graceland.com/ultimate-eta-contest#:~:text=Elvis tribute artists competing during,Presence each count as 20%.   

Elvis tribute artists competing during the Semifinal and Final Round in Memphis are all judged using the same scoring sheet. Each of the judging criteria is scored on a scale of 1 to 10 with 10 being the highest score. Vocals will count for 40% of the score. Style, Stage Wear and Stage Presence each count as 20%. 

THE JUDGING CRITERIA ARE AS FOLLOWS:

Vocals - Overall singing ability

Style - Ability to present a look and style that well represents Elvis during the era of the song being performed

Stage Presence - Ability to recreate the charisma Elvis created when performing on stage

Overall Performance - Rating the overall quality of the performance

This has left me All Shook Up……

DLB