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| Greg Sapp in his workshop. |
Three factors determine the price of a violin, Mel Sapp explained, just as I was leaving the bright, airy shop she and her husband Greg run in Batavia: one is workmanship. Two, materials. And three, the name of the luthier who built it.
“You notice I didn’t say, ‘sound,’” she added. “Sound is subjective. You can change it.”
Indeed, most masterpiece instruments of old —by Amati, Guernari, Stradivari — have been modernized over the years, their necks and fingerboards lengthened, to bring them into line with current musical tastes.
I am not in the market for a violin, alas. But I visited Sapp Violins earlier this month because of a quip. When the shaky future of journalism is being discussed, with what colleagues I yet retain in a rapidly contracting profession, I’ll sometimes attempt to both sound a positive note and move the conversation along by observing, “They still make violins.”
Meaning, even antique trades thrive, for some.
Though it got me wondering: How is the violin business doing? Chicago, being home to one of the world’s great orchestras, is unsurprisingly also a center of violin craftsmanship. After I visited Sapp, the January Chicago magazine took an in-depth look at John Becker, the Fine Arts Building luthier to the multi-million dollar instruments of musical stars such as Joshua Bell, the article by Elly Fishman itself a finely constructed marvel.
So how does one get into the violin making biz?
Greg Sapp was a music education major at Duquesne University in the mid-1970s when he had a realization that often comes to those whose ambitions lie in the arts:
“This isn’t going to work.”
Luckily, senior year, he had a class with the very 1970s name, “Creative Personality.” His final project was constructing an Eastern European folk instrument called a “prim.”
“It’s kind of like a mandolin,” Greg said, pointing to the ur-instrument, displayed on the wall. “I was the only one in my class that made something so functional.”
That wasn’t a complete accident — his father was a woodworker and singer.
Greg moved to Chicago in 1978 to attend the Kenneth Warren & Son School of Violin Making (now the Chicago School of Violin Making). He also bumped into Mel, whose car had broken down and needed a lift to the train station. When Greg told her he was going to violin school, Mel, who’d known her share of prevaricating creeps, assumed he was lying.
“How do I find these guys?” she asked herself.
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