Karen Tuttle

I remember vividly, as a 17 yr. old, arriving fresh from Ohio where I was plucked from high school because Karen Tuttle wanted to teach me viola.  I had just arrived at Peabody Conservatory of Johns Hopkins U. and I was excited of course.  Leaving high school early was a perfect chance to escape from the anxieties of adolescence.  But there was no one more welcoming, loving or protective as KT, which we fondly called her.  She was the truest mentor imaginable, pouring her entire energy into forming our talents.

And perhaps it was that she would stick her head out the window of the 3rd floor of the music building, and at the top of her lungs bellow 'Rosie!!!' that told me this was no ordinary teacher.  Not only would I learn something about viola playing, but I would learn something about life from this true trail blazer. While Karen always managed to teach at the best schools in the country, she was never a slave to formality when teaching her charges. She lived and loved with a passion that could not be bound by any shackles, but expressed itself fully to each pupil.  She was the mother, best friend, and biggest fan to each one of us.  In each of us she saw our unique possibilities in ways most teachers could not.

She would often tell me I should find ways to marry playing with acting and other mediums, seeing that my personality couldn't fully express itself in the most conventional ways. Few teachers would even consider such a possibility, but thank heavens I found  teacher who made room for who I was. And she had the love & patience to work with me when, after breaking my neck at age 15, was faced with the challenge of rebuilding my playing, and even my self esteem. But she saw possibilities yet unformed, which inspired my own unique path. And how lucky I was to work with someone who tirelessly challenged her own playing, mastering open strings and a profound understanding of the physical and emotional components of great artistry.  And in each student was forged a sense that is was not just about how well you played, but the human being that shone threw in the music. This was surely one of her greatest contributions.

My dearest Karen Tuttle, I determine to reply to all your expectations and be for others what you have been for me.

Sound vs. Visual Effect: Does it have to be either/or?

Recently, having the good fortune of making new friends as I introduce our new product to the industry, an important question came up:  Is your focus for Designer Violins the sound or visual effect?

Simply put,  it is both. Children may not naturally understand the aesthetic value of a beautiful piece of wood or even the fine carving of the violin.  But they do relate to stimuli that engage their imagination and senses.  Our aim is to achieve both quality of instrument plus an aesthetic that is relatable to young children.
In addition, it's our philosophy that engaging children in music in a manner that stimulates multiple senses, can develop a more complete musical understanding and experience.

But we are also responding to a larger picture, namely the currents of the music world and how they are playing out on string players.  Certainly there are opportunities that didn't exist years ago, despite the fact that certain sectors of the industry are having a more difficult time in the tough economy.  With rock stars that include violinists in their band and string players finding their way into mainstream media, it is impossible not to be influenced by the large and multiple scale productions in pop music.  Years ago it might have been fine to play on a standard body violin, but now, now there's Mark Wood and NS Design and now there's Rozanna's Violins, which explores the visual and sonic possibilities of the performer who's artistic output may incorporate visual drama, including the look of the violin.  Is it sacrilege to take a cue from the thriving guitar world and develop instruments with visual impact beyond the traditional look that has proven it's worth for centuries? Or is it Darwinism in action? Is it the violin and the violinist being forced to  evolve so that it may continue to serve a purpose in the world at large?

These are questions that percolating string players may choose to ask themselves. In the meantime, we'll keep making instruments, if for no other reason than the fact that they put a smile on children's faces.

Enterprise, Inspiration and Designer Violins

It's a funny thing being a classically trained violist, honed on concertos and International competitions, and at the same time, passionate about an enterprise that includes creating a line of string instruments, and having to evaluate my moves like a business person. Most of my career I considered the two paths - music and business - to be mutually exclusive.  As an artist I felt it important to share music without calculation. As a business person I must calculate the effects of my decisions on a monetary level and my ability to get the general public to respond positively to my business enterprises. I think the only way I can make sense of these opposing impulses is through spirituality and finding a way to create value in life.

Having a spiritually humanistic path in life, I am inclined to think the most certain road is one forged with hard work & planning plus illuminated with compassion. I suppose that may sound idealistic but the reason it makes sense to me is because for me, gain isn't just monetary, it's also the ability to create value, put simply, do some good through one's personal pursuits.

And so, when I originally conceived this concept for a line of instruments, starting with 'Designer Violins' that could stimulate children artistically on many levels, it was because I knew it was for perpetuating a musical evolution in the 21st century and had to begin with the way children are taught music.  Reading, not long ago, an article in the New York Times tracing the careers of several Juilliard graduates 10 years after graduating, there was a significant number that had to find jobs outside their musical training.  While some analysts might speculate this is because of the dwindling job market, such an attitude places zero responsibility on the artist to remedy the situation.  From my perspective this was primarily because their musical training didn't adequately prepare them to survive upon graduation and so they may have lacked the tools to adapt.

Mind you, my own path hasn't always been easy, despite some glowing moments and doors now opening. But I think there was something really great about my talent and life being forged amidst the flames of reality and having to hopefully turn into a diamond in the process. Because in the end, evolution, in it's cruelest Darwinian sense means we must adopt to survive. And compassion teaches me I must contribute something of value at the same time.

And so, as the business side of my thinking cap goes on, I fret over one design, vs. another, wonder if people will be open I am certain my pet project to create a line of children's and adults violins that delights children's hearts, and gives professionals the creative tools to be part of the huge landscape of possibilities, I'm quite certain our baby is right in rhythm with the universe.
The time has finally come.

Music, Marketing and the 21st C. Violist

BLOG PART TWO

This past week has been exciting with the Arabesque Recordings  release of my new recording, ‘Sweet Thunder’, an album I’ve wanted to release for sometime.  Here’s the link:

http://www.arabesquerecords.com/

I guess it’s also amazing when a record label is interested in a violist, largely because we’ve often been treated like the ‘snoozer’ instrument although there are plenty of admirable colleagues who’ve helped to undo that image, along with my own contributions.  Certainly being relevant if not interesting and ‘marketable’ are valuable assets and considering the history of our instrument, may require some pioneering efforts.

That’s not to see that some of my very favorite music from Walton and Hindemith, Bach and many other composers, shouldn’t continue to find their way into the hearts of more and more people.  But the reality is that most people speak a certain language and relate in a certain way.  In many cases, these great classical composers may be an acquired taste and at the very least, requiring more than one listening to appreciate more fully.

But I think the challenge facing many classically trained musicians is a gift in disguise because if forces us to challenge the well-worn paths and forge new ones.  While doing so invites the risk of gimmickry or attention getting ploys at any artistic expense, I think the real path merges an understanding of the world we live in, together with the wisdom to do some good through our lives and art.

 For much of my career I concerned myself with how I could be a certain ‘ideal’ of what a concert violist was but somewhere in my heart I knew my path would inevitably be forged with my unique gifts and those included, not just playing the music, but experiencing it on a nos. of levels.  Being approached by Arabesque to record for them was a great sign of confidence for me from the environment, after years of struggling to find my voice and footing as an artist, given my unique path and musical interests in crossover/pop/world/dance and Jazz music. Amazingly enough, while there will probably always be some market for more typical kinds of classical artists, it’s interesting to note that the artists who are forging paths, creating unique sounds, and in particular going beyond traditional boundaries, are the ones creating real traction and interest in the industry these days.

Daniel Bernard Roumain is one of my favorite examples as is Elan Vytal, DJ Spooky and many others.

While being marketable has always seemed  abit unsavory to me as a goal per se, since it seemed to imply trying too hard to  be liked or to get over on the public, the idea that my music could find relevancy in the world and inspire and touch hearts, has always seemed like a real goal.

I discovered that the world opens up when we make up our minds that we will be the creators of our own unique path rather than waiting for our freedom to be handed to us on a silver platter.  And it has certainly become clear that it’s important to understand the times we live in and evolve so that we can survive.  Case in point is learning how to record myself and collaborate with artists around the globe via the internet. Years ago I never would have thought this is possible but over time it became obvious it’s a necessity.

It’s simply unrealistic to expect labels to front all kinds of money on an artist that may or may not pay off in the end.

 Learning to record my own music and collaborate on the internet as well as the music and projects I’ve worked on, is Darwinism in action, I suppose and survival of those willing to evolve.  If the trying economy and uncertain landscape of the classical music world has taught me anything, perhaps it’s this:  ‘Popular music’ means it appeals to many, and that isn’t necessarily a bad thing.  It might just mean I’m on the right track!

Rozanna's Blog about music & path March 28th 2010

I suppose there are many experiences in one’s life that can shape the course of a musician’s path.   Many  classically trained musicians for instance may draw inspiration from attending concerts by great orchestras, dreaming one day to perform in such a group.  I too was fortunate enough to have parents that took me to concerts by the Cleveland Orchestra along with the opportunity to listen to great music in my home.  But there were other experiences that seemed to have destined me to forge my own path, rather than following someone elses.

One of my earliest memories from around 4 yrs. Old were the little performances we put on in our garage, with my mom as director.  She would include all us kids  in little concerts and set the stage, including costumes and props. From the very beginning my understanding of performing drew on this experience, with little more than my imagination, and my mom’s costumes to set the stage in our garage!

The seeds of possibility wouldn’t resurface until years later when I saw a music video of Laurie Anderson for the first time.  Laurie is not just an interesting violinist, she has used technology and creativity unlike any performer I had seen before. While her work was often characterized as ‘performance art’ rather than a mere violin performance, for me, she was and is a master story teller.  More than any specific detail of the experience, I remember coming away with a sense of possibilities that could be explored and boundaries for the classically trained musician that could be transcended.

These experiences all played a role in my decisions as an artist from music videos to crossover music projects as well as multi-media technology in my various performances.  And most recently they inspired me to create a line of violins!

A few years back, I remember reading an article in the New York Times about the numbers of graduates from Juilliard that actually survived as artists upon graduation.  While there was a percentage that found jobs in traditional music settings, a large number were not able to do so, ultimately finding themselves without  a career in the arts upon graduation. My own artistic experience lead me to the belief that music students, from the very youngest, should not just experience music, but delight in music. I realized that while kids may not appreciate the fine wood used for the violin, or even the craftsmanship, they would delight in an experience that ignited their imaginations and inspire creativity. Say, a violin with a Twinkle Star on it, in addition to the sound of music.  Music is not just heard, it is felt.  And so my path has been forged with this belief and conviction it’s a means to address the needs of the 21^st c. I knew that if children could experience music and all in a more creative environment, they might just have the tools to survive as artists in the 21^st  c.  It seems music is a 2 way street.  There’s the irrepressible message of the artist, but there’s also the smile on the face of the listener.  So just maybe, the smile on the child’s face will one day be the evolution of the human-being.

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