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Current OfferingsA viola byA viola byGIACOMO RIVOLTAFRANZ KINBERGGiacomo Rivolta is highly regarded for his excellent violasand cellos. It is thought that the legendary collector CountCozio di Salabue had the utmost respect for Rivolta andloaned the maker instruments by Stradivari to study in 1816.Rivolta’s workshop was under the sign of “Santo Re Davide“on Contrada Santa Margherita in Milan. While most of thedetails of Rivolta’s working life remain unknown, his legacyof superb violas and cellos is a testament to his great talent.This remarkable viola has a rich tenor quality of sound andincredible projection.Among the best of the 20th century American makers, FranzKinberg’s instruments have been owned by the esteemedconcertmasters Mischa Mischakoff and Sidney Harth as wellas members of The Philadelphia Orchestra and the Chicago,Detroit, and Pittsburgh symphonies. Kinberg is known for hismeticulous craftsmanship, strength, and rich, resonant sound.This marvelous example has those qualities in abundance.We look forward to placing this Kinberg viola with anotherdistinguished player.Milan, c. 1830Length: 16.5”Chicago, 1955Length: 16.5“Photos: Matthew Tolzmann5

Current OfferingsAn extraordinary cello byJOHN BETTSLondon, c. 1790John Betts is known especially for his superb cellos and asthe leading dealer and expert of his time in England. Hewas a student of Richard Duke and worked in his shop forseventeen years. Betts established his own shop in 1782in the Royal Exchange in London. He became one of thefirst to import Italian instruments, including Stradivaris,and was appointed the “Official Valuer“ of violins for theLondon Customs office. He is acknowledged as havingplayed a critical role in the establishment of London as animportant center of the violin trade. The great Hill familybased their shop on the Betts model. Along with making hisown instruments, Betts employed many of the best makersin London, including Vincenzo Panormo and Lockey Hill.The best of Betts’ cellos show the influence of Stradivari andare highly prized for their beautiful quality of sound whichcombines warmth and clarity with considerable power, allamply evident in this exceptional instrument. This cellowould be a great match for a top player or savvy collector.6Photos: Matthew TolzmannA cello byGAETANO GADDAMantua, 1932The only student of Stefano Scarampella, one of the foremostmakers at the turn of the 20th century, Gaetano Gaddabegan his training in 1919. His apprenticeship lasted untilScarampella’s death in 1925, with Gadda playing a critical rolein the production of Scarampella’s instruments during his finalyears. Gadda’s models were based on his teacher’s great workduring this period and in the years immediately following,though he was beginning to develop his own signature style.This outstanding cello has the great strength, depth, tonalrichness, and an evenness across all registers characteristicof Gadda’s best work and would make an ideal partner for alltypes of playing.

Current OfferingsAn outstanding violin bow byNICOLAS MAIRE(1800-1878)MirecourtWeight: 58.5 gramsThis truly superb violin bow by Nicolas Maireis as pleasing aesthetically as it is in hand.Maire’s distinctive style developed throughhis training and work with other great bowmakers and firms of the time such as: Lafleur,Pajeot, Gand, Vuillaume and Chanot. Maire’sproduction was rather prolific in spite of theeconomic crisis in France which began inthe 1830s. Retaining its original mounts thisbeautiful, strong bow’s ability to draw a rich,nuanced colors is near endless.A violin bow byPIERRE SIMON(1808-1881)ParisWeight: 58 gramsPierre Simon was one of the very accomplishedand prolific bow makers of his time. He was askilled descendant of the shops and guidanceof the great makers: Dominique Peccatte,Vuillaume and Gand. Clear and distinctive instyle, this particular bow is strong physicallyyet flexible in the tonal shading it is able toproduce. Original in all its parts, the bow is wellsuited to all concert repertoire.A violin bow byFRANÇOIS NICOLASVOIRIN(1833-1885)ParisWeight: 58 gramsF.N. Voirin, cousin to one of the most influentialbow makers, J.B. Vuillaume, produced someof the most sought after bows to this day.Also learning from the late Peccatte schooland inspired by Pierre Simon and FrançoisXavier Tourte, Voirin adapted his own stylewhile paying homage to the great masters.This particular example is robust and full inweight and strength and will certainly be afirst-class addition to any collection.Photos: Matthew Tolzmann7

Current OfferingsViola BowsIt is a distinct moment for Bein & Fushi to be able to offer such an extraordinaryselection of viola bows. The expansive range by these outstanding makers for everytaste, player, and collector, and at every price point, is unique and truly notable.A superb viola bow byDOMINIQUE PECCATTE(1810-1874)ParisWeight: 71.2 gramsNikolai KITTEL8Photos: Matthew Tolzmann(1805-1868)St. PetersburgWeight: 66 gramsAll original with stunninggold and tortoiseshellmounts.Classic and elegant both in its make and its playing, thisall original viola bow by Dominique Peccatte would be awise and strong investment. Endlessly rich in the colors itis able to draw and consistent in its command of strokesfrog to tip, there is little more one could desire in a bow.Its illustration in the authoritative Makers of the PeccatteFamily by Paul Childs is also a wonderful addition to thebow’s distinction as one of the most important works byone of the finest bow makers. It is our pleasure and honorto handle this beautiful bow.FRANÇOIS PECCATTE(1821-1855)ParisWeight: 69.7 gramsElegant and all originalin its parts.JOHN DODD(1752-1839)LondonWeight: 64 gramsRemarkable playingqualities and alloriginal.JOSEPH ARTHUR VIGNERON(1851-1905)ParisWeight: 72.2 gramsRobust and all original.JAMES TUBBS(1835-1921)LondonWeight: 64 gramsA striking example andall original in its parts.ALBERT NÜRNBERGER(1854-1931)MarkneukirchenWeight: 66 gramsClassically strong andall original.

RCurrent OfferingsA rare and exceptional cello bow byFRANÇOIS XAVIER TOURTE(1747-1835)Paris, c. 1815“DeLamare“We are proud to offer the exquisite “DeLamare“ cello bow by FrançoisXavier Tourte. Made during Tourte’s Golden Period for the celebratedFrench cellist Jacques Michel Hurel DeLamare, the bow is of extraordinaryquality with its original decorated gold and ebony mounts. The ferruleis engraved “Tourte DeLamare“ and the button beautifully adorned withdiamonds. Acquired for DeLamare along with a Stradivari cello by thewoman that he married that same year, the bow was later owned byFranklin Singer of the Singer Sewing Machine family (along with the“Bass of Spain” Stradivari cello) and subsequently purchased by cellistIrving Klase. In recent years, the “DeLamare” has been played by eminentconcert artist and former Stradivari Society recipient Wendy Warner.Coming from a distinguished lineage of violin and bow makers, FrançoisTourte quickly rose in the bow making world as an extraordinarytalent. Esteemed violinists Jean-Baptiste Viotti and Rodolphe Kreutzeremployed Tourte’s help and skill in crafting a bow that created furtherstability, comfort, and reliability from frog to tip for contemporaryconcert playing. His innovations and developments in the style andmake of the modern bow set a gold standard that forever changed thecraft and continue to influence bow makers today. While often copied,Tourte’s work has never been surpassed.The “DeLamare” is illustrated in Paul Child’s book Tourte Le Jeune andwas featured in his important exhibition of the maker’s work in Londonin 2008. One of the finest examples our firm has ever encountered,this superb Tourte cello bow is a true museum-quality piece with adistinguished provenance and exceptional playing qualities that wouldmake it a prestigious acquisition for a leading collector or artist.Photos: Matthew Tolzmann9

Customer SpotlightPhoto: Matthew TolzmannALEX KERRAlex Kerr is the recipient of the exquisite “Earl of Falmouth” Stradivari, Cremona, 1692 violin acquired through Bein & Fushi thanks tothe generosity of an anonymous patron. Kerr serves as Concertmaster of the Dallas Symphony and Professor of Violin at Indiana UniversityBloomington. He has also acquired a Charles Peccatte bow: “The ‘Earl of Falmouth’ has such clarity. It speaks so quickly and so true, andit’s even over all four strings. It’s so important to have a bow that can match the instrument and my Peccatte is a perfect match. It makeseverything so much easier to execute and brings out different sides of the violin.” Kerr also serves as principal guest concertmaster ofthe Indianapolis Symphony and has formerly been concertmaster of the Royal ConcertgebouwOrchestra and the Cincinnati and Charleston symphonies. Since 2009, he has been collaboratingwith cellist Eric Kim and the Starling Foundation on the Starling Chamber Players, a six-memberensemble that includes both students and professionals. The students have real-life experienceand responsibility as they rehearse, tour, and perform with the professionals. Upcoming highlightsthis season for Kerr include playingBarber’s Violin Concerto with the “Gabriel Ben-Dashan is so incredibly knowledgeableDallas Symphony and the American and helpful. He worked tirelessly to get me the ‘Earl ofYouth Philharmonic. He will also be Falmouth’ Stradivari. Thanks to both Gabriel and Johnrecording Strauss’ Ein Heldenleben Gerson for all their help with the Charles Peccatte bow.Salesman John Gerson, violinist Alex Kerr,with Dallas and is also working on I’m so grateful. Since the purchases, the customer serviceholding the “Earl of Falmouth” Stradivari,and Director of Sales and Bow Expert, a recital CD. For more information, has been amazing.” – Alex Kerrvisit www.alexkerrviolin.com.Gabriel Ben-DashanPhoto: Aimee BonhamJASON BONHAMViolist Jason Bonham balances a very full schedule as director of instrumental programs at the Tuachan Summer Music Institute andTuachan High School for the Performing Arts, principal violist with the Las Vegas Philharmonic, and Virtuosi West. He acquired anexcellent viola by Paulus Pilat, New York, 1937 in January: “The Pilat has a very complex sound and wide range of colors plusit really projects.” Bonham founded the Tuachan Summer Music Institute five years ago and in that short time, the Institute is fastbecoming one of the country’s leading summer programs. Faculty members hail from leading orchestras and conservatories includingthe Los Angeles Philharmonic,“John Gerson is very professional and attentive. HeEastman, Oberlin, and the Chicagounderstood what I was looking for. His customerSymphony and students fromservice was terrific. Everything John told me, he cametop music programs at Peabody,through on. I would definitely buy from him in theEastman, and Brigham Youngfuture and just recommended him to one of myUniversity among others. Bonham’sstudents.” – Jason Bonhamupcoming engagements includea western and midwestern tour with Virtuosi West as well as a recording in spring, a seriesof concerts in Utah and Nevada with retired Chicago Symphony member Albert Igolnikov’sGuadagnini Ensemble, and performances at the Malaga Festival. Check out www.jbonham.comfor more.Photo: Rebecca LemnaRACHAEL LEMNA“I could not be more thrilled with my Furse cello,” said Rachael Lemna of her purchase of an excellent cello by Lawrence Furse, SaltLake City, 1989. “I am certain that it is going to serve me extremely well throughout the rest of my schooling and into my professionalcareer. My Furse cello has an extremely rich low register, which is a thrill to play on as a cellist. The cello also speaks incredibly welland projects notes clearly throughout all of its ranges.” Lemna is currently in her second year at the Cleveland Institute of Musicwhere she is a student of Dr. Melissa Kraut. She was previously a member of the Chicago Youth Symphony Orchestra and EncoreOrchestra from 2010-13. Lemna was the recipient of the 2013 Marine Corps’ “Semper Fidelis”Award for Musical Excellence. Thecellist participated in the inaugural “Joe Bein was fantastic to work with. He was verySitka Cello Seminar in 2014 and attentive throughout the process and had my besthas attended the Meadowmount interest in mind as he introduced me to different cellos.School of Music. She has also This was my first Bein & Fushi experience and I amperformed in master classes for very grateful to have the ability to work with such anZuill Bailey, Amy Barston, Anthony incredible instrument shop. Joe Bein will be my first callElliott, Alan Harrell, Peter Slowik, when the time comes to upgrade my instrument andand Wendy Warner, as well as the bow.” – Rachael LemnaAlbers Trio and Cavani Quartet.10

Photo: Cutty McGillRising Stars of TheStradivari SocietyDazzle Audiences inPerformances in NewYork City and BuffaloTim Fain and Augustin Hadelich in performance at the PreservationLeague.Patrons Karen and Clement ArrisonGenerously Provide Exceptional PerformanceOpportunities for Recipients Tim Fain,Augustin Hadelich, and Mayuko KamioPhoto: Hirofumi IsakaPhoto: Cutty McGillThe Preservation League of New York State Turns 40Stradivari Society Patrons Karen and Clement Arrison brought the Rising Stars of TheStradivari Society and the League together in their first collaboration for an intimateevening celebrating the League’s fortieth anniversary. The elegant Americas Society’shistoric headquarters on Park Avenue in Manhattan was the distinguished venue forthe event on March 10. With a focus on the preservation of both historic buildingsand rare instruments,“In March of this year, two worlds of preservation cameguests were treated totogether for a magical evening. Tim Fain, Augustinvirtuoso turns by two ofHadelich and Robert Koenig gave inspired performancesthe Arrison’s recipients:to an appreciative audience. An exciting new friendshipTim Fain, of the “Moller”was formed with those who understand and support theGobetti violin of 1717world of rare instrument preservation and those whoand Augustin Hadelich,are involved with historic preservation in thePianist Robert Koenig, violinist Tim Fain, patronof the “Kiesewetter”Karen Arrison, violinist Augustin Hadelichbuilt environment.” – Karen ArrisonStradivari violin of 1723,with a program including works bySaint-Saëns, Stravinsky, Copland, “Karen and Clement Arrison have worked tirelessly inMoszkowski, and Debussy. The support of sustaining our classical music traditions.marvelous collaborative pianist As patrons of The Stradivari Society, the Arrisons haveRobert Koenig accompanied. New helped many important artists launch their careers overYork Social Diary gave the event a the years through loans of their exquisite collectionmulti-page feature. The event was of antique Italian violins and special concerts. Theirsuch a great success that the Rising dedication, generosity, and contribution have beenStars of The Stradivari Society has extraordinary.” – Suzanne Fushi, Executive Directorof The Stradivari Societybeen invited back next year.Violinist Mayuko KamioBuffalo Philharmonic OrchestraJuly 18 marked the first Rising Stars of The Stradivari Society concert with the Buffalo Philharmonic Orchestra conducted by MusicDirector JoAnn Falletta thanks to the generous support of Society patrons Karen and Clement Arrison. With stellar performances andstanding ovations, the concert was a triumph. Recipient Augustin Hadelich joined forces with violinist Mayuko Kamio, recipient ofthe “Sennhauser” Guarneri del Gesù of 1735, for a performance of Bach’s Concerto for Two Violins, also known as the Bach “Double,” inD Minor, BWV 1043. Kamio then thrilled the audience with her beautifully “When Kamio and Hadelich became the focal points fornuanced playing of Vaughan Williams’ The Lark Ascending and Sarasate’s the remaining pieces, it became apparent that theseZigeunerweisen. Hadelich also received kudos from the audience for his guys were well worth booking.” – Garaud MacTaggart,captivating performances of Ravel’s Tzigane and Sarasate’s Carmen Fantasy.The Buffalo News11

Photo: Leonard Belsky Photo: Leonard BelskyPhoto: Leonard BelskyThe North Shore Chamber Music Festival’sFourth Season is a Spectacular SuccessWhen Stradivari Society Artistic Advisor and long-time recipient of the “Auer” Stradivari of 1690, Vadim Gluzman and pianist AngelaYoffe founded the North Shore Chamber Music Festival (NSCMF) in 2010, they wanted to offer an intimate performance experience,eclectic repertoire, and extraordinary music-making with friends from around the world in asetting where there is no border between the audience and stage. Four seasons later, with soldout concerts, kudos from the critics, amazing performances, and standing ovations, NSCMFhas become one of the most anticipated musical events of the season in Chicago. And thisseason did not disappoint with concerts at The Village Presbyterian Church in Northbrooklast June that included theworld premiere performance of “The performance culminated in a thrilling finale withAram Khachaturian’s Waltz from exhilarating playing and a clear infectious enjoymentMasquerade arranged by Ljova by the smiling musicians in the final race to the coda,and music ranging from Bach showcasing the collaborative spirit of great chamberand Beethoven to Pärt, Webern, music playing at its best.”and Gershwin, plus a tribute to– Lawrence A. Johnson, chicagoclassicalreview.comPianist Angela Yoffe, conductor and pianistjazzgreatOscarPeterson.TheAndrew Litton, violinist Anne Akikoparticipating artists, in addition to Gluzman and Yoffe, included conductor and pianist AndrewMeyers, and violinist Vadim GluzmanLitton, cellists Wendy Warner and Ani Aznavoorian, violinist Anne Akiko Meyers, violist PaulNeubauer, and pianist Alessio Bax. Henry Fogel, dean and distinguished professor of the artsat Roosevelt University’s Chicago College of Performing Arts, gave a fascinating lecture aboutchild prodigies throughout history. Concerts were broadcast on WFMT and could be heardonline at wfmt.com. Presentingpre-concert performances were “When Angela and I walked into Geoff and Suzanneartists from the International Fushi’s office five years ago and said we were hoping toCenter on Deafness and the Arts, start a chamber music festival, it would have been easythe Magical Strings of Youth from for them to have replied, ‘Creating a festival during athe Betty Haag Academy, and recession is impossible.’ But instead, they cheered andchamber ensembles from The said, ‘Go for it.’ That really means the world to us.”– Vadim GluzmanMusic Institute of Chicago. WeFestival Co-Founder and violinist Vadim can’t wait for next se

Prior to Posselt, the violin had a series of owners in Europe, including Mrs. Renee Philipp of Rotterdam, the violin’s other namesake and an amateur violinist who studied with Willy Hess. Philipp acquired the instrument through the Dutch violin maker Jacob Hakkert in 1918. In