Page 1

Putsentelas Violin Studio Project Collection of string instruments made by Myroslav Putsentela for Academic Chamber Orchestra “Lviv Virtuosos"


Academic Chamber Orchestra “Lviv Virtuosos” Created in 1994, the chamber orchestra “Lviv Virtuosos” has in a short time became one of the most elitist ensembles in Ukraine that successfully performs its cultural and educational mission. As a truly 'visiting card' of the ancient Lviv and its rich cultural traditions, the orchestra honorably represents our country in some of the most prestigious concert halls in the world. “Lviv Virtuosos” is distinguished from many ensembles not exclusively due to its unique manner of play elegant, refined, orotund, both deeply emotional and rationally circumspect in its slightest details. Another significant precondition for the orchestra outstanding achievements is constituted by an extremely engaging strategy of performance and concert bill compilation. Highly professional musicians of the orchestra remain in the constant search of the original conceptions: one evening, they portray the Lviv musical traditions; on another occasion, we are acquainted with the modern masterpieces of a certain European school; some other time, a forgotten name is being revived or a substandard topic around which the whole concert bill revolves is foregrounded. It is not surprising that the concerts of “Lviv Virtuosos” are always played to the full house. The founder, continuous artistic and production director of the orchestra is Serhiy Burko, an Honored Art Worker of Ukraine, a National Artist of Ukraine, a famous in the country and beyond its borders musical worker and organizer of various art projects. The concertmaster and orchestra leader is Volodymyr Duda, an Honored Artist of Ukraine, an experienced musician, a brilliant interpreter of modern and classical music, a participant of many European orchestras and festivals. The music consultant of the orchestra is Professor Friy Lutsiv, a proclaimed Ukrainian conductor, a National Artist of Ukraine, a laureate of Taras Shevchenko National Prize. Throughout its existence, the orchestra has given over 1500 concerts and successfully performed not only all over Ukraine, considering its main objective to be the education of a Ukrainian listener, but also in many countries of the world: Poland, Germany, Switzerland, Slovakia, Belgium, Israel, Columbia, Ecuador, Guatemala, Nicaragua, Honduras, Peru, Salvador, Costa Rika, Holland, Denmark, Vatican, Italy, Czech Republic.

Lviv Philharmonic Hall 04.02.2011


Myroslav Putsentela Lives and works in Lviv, Ukraine. Since 1982 has been working as a violin maker. Created over 400 instruments, incl. 30 cellos. Since 1999 has been studying at Antonio Stradivari International School of Violin Making in Cremona, Italy. Under the supervision of outstanding contemporary Maestro Gio Batta Morassi and professors Vincenzo Bissolotti and Angelo Sperzaga Myroslav Putsentela intently studies the system and main principles of bow instruments structure of the Violin-making School in Cremona, Italy together with Brescian, Venetian, Milanese and Neapolitan Schools. Since 2001 has been a Member of ALI international group of Gio Batta Morassi, a Member of National All-Ukrainian Music Union and a Member of Ukrainian Association of Violin Makers. In past graduated from Lviv Conservatoire named after M. Lysenko (studied viola), taught at Drohobych Musical College, conducted the Chamber Orchestra and “Orchestra of Ukrainian Classical and Folklore Music”. In 2001-2002 is a student of Regional Lombardian School of Bow Masters. On coming back to Ukraine along with his wife and his son Myroslav Putsentela creates the laboratory “Putsentelas violin studio”, where he continues to develop and master his theory of violin, viola and cello constructing and modeling using the style of Cremona Violin-making School. In 2007 becomes the Second Prize Laureate and is honored with the special award for “The Best Sound Quality of the Instrument” in V International Tchaikovsky Competition of Violin Makers in Moscow. Adhering to the style peculiarities of Cremona School of Violin-making and demands of modern music execusion Myroslav Putsentela works at violin, viola and cello creation. Accuracy, brilliance and silveriness of timbre, power, volume of sound, sound transmission, varnish intensity, limpidity and smoothness are characteristic features of each made instrument. Soloists of Kyiv and Lviv National Opera Houses, Kyiv National Symphony Orchestra, “Kamerata” of Kyiv Composer’s Union, “Leopolis” Orchestra, students and pupils of leading music schools of Ukraine, along with musicians from Switzerland, France, Italy, Japan, Mexico, USA are now playing Myroslav Putsentela’s instruments.

Myroslav Putsentela

Natalia Putsentela Lives and works in Lviv, Ukraine. In 1975-1980s studies at Lviv Conservatoire named after M. Lysenko (studies cello). In 1980-1999 teaches at Drohobych Musical College. In 1978-2007 is a soloist in the “Orchestra of Ukrainian Classical and Folklore Music”. In 2000-2002 studies at Antonio Stradivari International School of Violin Making in Cremona, Italy under the supervision of outstanding contemporary Maestro Daniel Scolari. In 2001-2002 is a student of Regional Lombardian School of Bow Masters. Up to the present time Nataliya Putsentela has come up with lots of brilliant investigations in the field of ground and old Cremona varnish. In 2007 she is honored with the diploma in the Violin-making Festival “MAESTRO”, Kyiv.

Orest Putsentela Lives and works in Lviv, Ukraine. In 1989-1997 learns piano playing in a studio affiliated to Drohobych Music College. In 1999- 2005 studies at Ivan Franko Lviv National University specializing in “Translation Studies”. Translator/Interpreter from English. A teacher of translation/interpretation and English language. In 2004-2008 studies at Ivan Franko Lviv National University specializing in “Accounting and Audit”. 2004-2008 studies at Ivan Franko Lviv National University specializing in “International Law”. When he is 12 he first starts instrument making being taught by his father. At the age of 14 he participates in the competition of H. Venyavsky. In 2007 is awarded with the Second Round Diploma for viola in V International Tchaikovsky Competition of Violin Makers in Moscow. In December, 2007 is honored with the diploma in the Violin-making Festival “MAESTRO”, Kyiv, Ukraine. In 2009 is awarded with the Second Round Diploma for violin and viola in XII International Triennale after A. Stradivari in Cremona, Italy. In 2011 published his manual on violin making - Violin Workshop : Theory and Practice of violin making Since 2012 a Member of National Ukrainian Music Union (NUMU) and a Member of Ukrainian Association of Violin Makers. According to the decision of NUMU Higher Board of Experts of the 20.09.2012 is awarded the qualification of ”artistic violin maker of highest category” Since 2012 a Violin Maker at Lviv Philharmonic Hall.

Natalia Putsentela

Orest Putsentela


History of the collection made by Myroslav Putsentela On the initiative and due to the persistent work of the outstanding Ukrainian workers of culture Serhiy Burko and Myroslav Putsentela, it became possible to expose the wide publicity to the first exclusive Ukrainian collection of the bowed string musical instruments, consisting of 11 violins, 3 violas, 3 cellos, and a double bass. The presentation concert was held on February,4, 2011 in the Lviv Philarmonic with the support of the academic chamber orchestra “Lviv Virtuosos”. The presentation was highly appraised in the academic circles and received the due press coverage – the local publications flourished with flattering remarks on the orchestra sounding and the uniqueness of the experiment within the all-Ukrainian context.

Orest, Natalia and Myroslav Putsentela The Putsentelas family possesses a masterful command of the theoretical violin making conception and the professional tools of its practical application – they adhere to the achievements of the Cremona, Brescian, Milanese, and Neapolitan Schools. This knowledge with a particular emphasis on the traditions of the Cremona Violin-making school laid the foundation of the presented collection. As far as models are concerned, the collection suggests a combination of Stradivari models of 1702-1715 and the recently developed model of the Putsentelas family, which has been described in detail in the monograph “Violin workshop: theory and practice of violin making”; the year of publication – 2011; the author – Orest Putsentela. The combination of different models eliminates the threat of monotonous orchestra sounding and ensures escalation of the acoustic message and harmonious poetics of the musical composition.


Since the work on it started in 2002, the collection has included the musical instruments made in different years. Producing each particular instrument, the violin maker rested on his own taste in sounding, as well as on the personal preferences of the orchestra musicians. Account of the their physiological features and acoustic preferences granted the musicians of the chamber orchestra “Lviv Virtuosos” an opportunity to feel a personal connection with the musical instrument, which, undoubtedly, contributed positively to the final musical interpretation and evoked special feelings on the part of a listener. Each particular instrument resembles a constituent component of a single mosaic that depicts an integral and complete musical image; a separate unit of the musical concordance is capable of performing both within an ensemble and as a soloist.

Academic Chamber Orchestra “Lviv Virtuosos” The instruments are made from the top-quality Alpine sycamore maple and spruce, selected intentionally for the collection. The wood material has gone through the 30 year period of natural seasoning, which secured the desirable visual and acoustic tandem. The accurately reproduced ornamental and expressive accents enable a musician to derive the aesthetic pleasure not exclusively from the exuberant sounding, but, as well, from the richness of wooden structure. Grounding and varnishing constituted the closing stage of this challenging work. The application of varnishes with different chemical compositions helped to complement each particular instrument with a unique tint and uncover its potential to the fullest extent. Already the fact that the collection has been steeped in the history of Ukrainian violin making as the first presented complete chamber orchestra deserves a due consideration. Today the collection is waiting for its genuine admirer.


Collection of string instruments made by Myroslav Putsentela for Academic Chamber Orchestra “Lviv Virtuosos"


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2010

Model: A. Stradivari

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2011

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2010

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2011

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2011

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2005

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2012

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2012

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2011

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2010

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLIN

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2009

Model: A. Stradivari

Collection of string instruments made by Myroslav Putsentela


VIOLA

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2011

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLA

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2006

Model: M. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLA

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2007

Model: A. Stradivari

Collection of string instruments made by Myroslav Putsentela


VIOLONCELLO

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2011

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


VIOLONCELLO

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2010

Model: A. Stradivari

Collection of string instruments made by Myroslav Putsentela


VIOLONCELLO

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2009

Model: O. Putsentela

Collection of string instruments made by Myroslav Putsentela


DOUBLE-BASS

LIUTERIA CREMONESE M.&N. PUTSENTELI

Anno 2010

Model: G.B. Ceruti

Collection of string instruments made by Myroslav Putsentela


Collection of String Instruments For The Academic Chamber Orchestra “Lviv Virtuosos” Collection of the bowed string music instruments for the academic chamber orchestra “Lviv Virtuosos” is the first exclusive Ukrainian collection of the bowed string musical instruments, consisting of 11 violins, 3 violas, 3 cellos, and a double bass. The author of the string instruments collection is Myroslav Putsentela, an Honored Art Worker of Ukraine; a Laureate of the International Tchaikovsky Competition of Violin Makers; a graduate of Antonio Stradivari International School of Violin Making in Cremona, Italy; a Member of ALI international group of Gio Batta Morassi; a Member of National All-Ukrainian Music Union, and a member of Ukrainian Association of Violin Makers of the National All-Ukrainian Music Union. The presentation concert was held on February, 4, 2011 in the Lviv Philarmonic with the support of the academic chamber orchestra “Lviv Virtuosos”. Its director is Serhiy Burko, an Honored Art Worker, and a National Artist of Ukraine. The presentation was highly appraised in the academic circles and received the due press coverage – the local publications flourished with flattering remarks on the orchestra sounding and the uniqueness of the experiment within the all-Ukrainian context. The collection has steeped in the history of Ukrainian violin making as the first presented complete chamber orchestra, and its prerogative is to engage into the social-receptive and cultural-aesthetic paradigm of the Ukrainian nation’s existence. Social-receptive dimension 1.

2.

3.

4.

5.

The collection of instruments is exclusive in Ukraine; being created by a sole violin maker, it has regional, all-Ukrainian and international cultural significance. The project lacks analogues in Ukraine (similar project were carried out in Europe of the 18 th c. under the patronage of the French and Italian kings, as well as of the Emperor of Japan). The due governmental consideration of such a narrow sphere signifies the active role played by the cultural sector of Ukraine in the process of globalization; it will, as well, stimulate the interest towards violin making on the country’s territory. The collection is capable of filling one of the lacunas of instrument making with its projection on the international reception, which, it its turn, will promote the maintenance of the positive image of our country on the international stage. In particular, it will suggest a quantitatively and qualitatively competitive perspective for violin making as a separate branch. The concentric character of handing instruments from one generation of musicians to another will play a significant role in the historical-cultural context of preservation and augmentation of the national heritage. The collection has the potential to be listed in the Guinness Book of Records of Ukraine as the first and currently unique orchestra of such a pattern.

Cultural-aesthetic dimension 1.

2. 3.

Each particular instrument resembles a constituent component of a single mosaic that depicts an integral and complete musical image; a separate unit of the musical concordance is capable of performing both within an ensemble and as a soloist. The collection will promote popularization of the classical and contemporary music in the Ukrainian educational environment. The unique concerts performed on the collection of instruments will become a visiting card of the musical Ukraine and, thus, attract the attention of international musical community to our contemporary art.

The significance of the collection is marked by the outstanding workers of Ukrainian culture and professional musicians, who support the idea that the orchestra of the bowed string instruments is supposed to fulfill its original function – please its genuine admirer.


Putsentelas Violin Studio Attainments and Rewards


Myroslav Putsentela


Mass Media about

Putsentelas Violin Studio


Mass Media about


Putsentelas Violin Studio Feedback


Gio Batta Morassi and Myroslav Putsentela Maestro Gio Batta Morassi, President of the Italian Association of Stringed Instruments Makers (ALI) “Creation of the stringed instruments collection, accomplished by the sole violin maker M. Putsentela for the chamber orchestra “Lviv Virtuosos”, makes strategic sense for the development of music art in Ukraine. The experiment bears a professional and aesthetic significance that exceeds the geographical borders of one country. The sounding of the instrumental ensemble united by the general constructive and philosophic idea grants the possibility to perceive the richness of tone palette and the beauty inherent of the performed musical compositions. The collection constituting an honorable heritage of the Ukrainian violin maker is, as well, an achievement of the Ukrainian culture in general. The Italian Association of Stringed Instruments Makers always supports its members, who familiarize the world with the knowledge gained in our acclaimed Cremonese workshop that originates from the outstanding figures of Amati, Stradivari, and Guarneri.” “Remark on the violin model developed by Orest Putsentela: … in this case, we may emphasize the quality of varnish colour, its evenness, depth, and gloss, which signify the high quality of varnish chemical composition. The characteristic features, particularly, the construction accuracy observed in making the model, in making the f-holes and in the sculpture of the violin “scroll”, confirm that the instrument was accomplished in the manner of the Violin-making school of Cremona. My appraisal of the instrument is very positive and I consider that the model should be registered for participation in competitions…”


“Your instruments sound tremendous. The smooth and rich tone colouring is impressive! Accept my sincere congratulations on the occasion of such a creative achievement!” “ I play up the violin, which I recently brought from you, and derive a great joy from it coming to life and charming me with its voice every day…” Oleh Krysa, The Eastman School of Music (Rochester, USA), The Manhattan School of Music (New York, USA), an Honored Artist of Ukraine

“Today I managed to watch till the end and penetrate carefully into the recordings of the concert “The Academic Chamber Orchestra “Lviv Virtuosos” on The Instruments Made by The Putsentelas Family”… I must acknowledge my excitement at the sounding of your family's creative masterpieces and the sounding of the chamber orchestra! All the instruments sound fascinating…, in their power and the tone colouring! It seems as if one is listening to an ensemble of instruments selected intentionally from a wealthy western private collection: smooth, deep, passionate!.... I also enjoyed the varnishing… With fascination, Yuriy Korchynskyi.”

Yuriy Korchynskyi, a Professor of Violin Studies at the Music academies in Germany, Italy, Belgium, France, Croatia, a Laureate of the Paganini Competition


Ricardo Cyncynates Assistant Concertmaster at National Symphony Orchestra John F. Kennedy Center for the Performing Arts Washington D.C., USA

"I can not tell you what a pleasure it is to play on your extraordinary violin. Besides being very beautiful it has a gorgeous warm and powerful sound. Its response is extremely fast and playing in tune on this violin is very easy because of the exact workmanship and by the way the instrument rings. I played the violin on the stage of the concert hall of the Kennedy Center and had a colleague go and listen. We both were very impressed by its projection on all registers. It clearly has the sound quality that is very italian and even when playing softly it still projects, which is the trademark of a great instrument. I look forward to continue playing this instrument for many, many years to come and seeing how it will further develop as it ages and is played more and more. Again, thank you so much for this fantastic instrument. Best wishes and my congratulations for your skill and expertise.”

“Instruments made by the Putsentelas family are distinguished from others due their protean tone colouring, evenness, balance and power of sounding that is complemented by the perfect woodwork and varnish coating accomplished in the best traditions of contemporary Cremona…. The rich and diversified sounding palette of each instrument without exception ensures the possibility to find one's own special technique of working with the acoustics of bowed instruments. I am very pleased to be the owner of the instrument made by the family… TUTTI BRAVI!!!” Matis Vaitsner, a Docent at the Lviv National Music Academy named after M. Lysenko, a Laureate of numerous international competitions, Lion, France


"Having performed on Mr. Putsentela's violins we can speak only the best of the instruments! Exceptionally beautiful to the eye with full, rich and warm tone, as well as seamlessly easy to play! Mr. Putsentela's creations are great solution for anyone who is looking for the sound and craftsmanship of the Old Masters in a modern violin. With warmest congratulations, ...”

Zino and Natasha Bogachek, Washington D.C. USA. Washington National Opera Orchestra, National Symphony Orchestra.

“In 2008, one student from my class bought a violin made by Myroslav and Nataliya Putsentelas. Working with this instrument, we revealed such qualities as evenness of sound across the strings and convenience of the violin neck. The violin has repeatedly performed as a soloist of the symphonic and chamber orchestras in Odessa and the Crimea. Against the orchestra background, the violin sounded very bright and orotund. The instrument perfectly suits solo performances. In general, we are satisfied with the instrument, its acoustic and aesthetic qualities.”

Zoya Mertsalova, a teacher-methodologist at The Odessa Special Music School named after P. Stoliarskyi, a privat-docent at The Odessa National Music Academy named after A. Nezhdanova


Ihor Andriyevskyi, an Honored Art Worker of Ukraine, a PhD in Art History, a Professor at the Violin Department of the Piotr Tchaikovskyi National Music Academy of Ukraine, a Conductor of the Classical Music Ensemble named after B. Liatoshynkyi in the National House of Organ and Chamber Music of Ukraine, a leading conductor and art director of the chamber orchestra “ARCHI”, a Member of the National Association of Composers, Ukraine “God be thanked that the outstanding family of violin makers headed by Myroslav Putsentela is working in Ukraine with inspiration and enthusiasm. Violins, created by those passionate people, convey the part of their soul and pour the light of genuine sound harmony. The instruments made by Myroslav Putsentela, his wife and son are characterized by the perfect woodwork. The workmanship of carving f-holes, bouts, and heads of the instruments, is of a high professional level. The careful selection of wood material, the ground glistering like gold, and the perfect varnish that covers the bouts of the instruments allow us to recognize violins, violas, and cellos made by the Putsetelas family without a moment of delay. But the main thing is that sounding of those violins, violas, and cellos meets the highest requirements imposed for the concert instruments. The instruments made by the Putsentelas reveal the depth, intensity and volume of the sound, its flexible and movable character, and the high formant, for which the sounding of instruments made by the brilliant Italian violin makers is so highly appreciated.”


Andriy Burko, Orchestra della Svizzera Italiana Lugano “Over the time span of more than ten years I remain enthralled with the instruments made by the family of Myroslav, Nataliya and Orest Putsentelas. Having played on numerous modern and early instruments of the acclaimed Italian violin makers, I failed to find for myself an alternative for Myroslav Putsentela's violas. The instruments of Putsentela are characterized by marvelous vividly expressed acoustic and perfect aesthetic qualities. Violas, in particular, possess the exuberant tone colouring, the wide but simultaneously well-balanced dynamic range, and the healthy structure. Currently, I am playing the viola Đœ&N Putsenteli anno 2010, which gives me a pleasure to enjoy the performance and interpretation of both soloist and chamber symphonic repertoire. I am sincerely grateful to the Putsentelas family for their high professionalism, workmanship, great talent for instrument making, their sincerity and good heartedness. I wish them strong health and much creative success in the future.â€?


“During almost 10 years of giving concerts on the cello made by Myroslav and Nataliya Putsentelas, I have performed the diversified repertoire of different genres and in different chamber casts. I can conclude that the cello easily responds and is extremely timbre (produces deep low tones and silver high tones), its sounding is floating and full even in the halls uncomfortable for performing. With its tone colouring and power of sound, the instrument has been ahead of practically each cello, with which I had to play in trios or duets. A brilliant instrument!”

Yaroslav Myhal, The Lviv Philarmonic, Director of the chamber orchestra “Leopolis”

“I liked the violin at the first glance; the colour and glistering of the varnish coating are charming. The instrument responds easily and it is comfortable to play on it because all the scale lengths correspond to the classical standards. During the short time when I own the instrument, I have managed to improve my sounding greatly. I recommend the instruments made by the Putsentelas family to all the musicians without any doubts. Many musicians from Europe and America are performing on the instruments made by these violin makers and I am already among those 'lucky dogs'.”

Joan Cerqueda, a Director of the orchestra l'Associació Orquestra Cadí, De la Seu d'Urgell, Lerida (Catalonia)


Artem Poludennyi, The Kyiv Chamber Orchestra, The National Philarmonic of Ukraine “I have been playing on the instrument made by M. Putsentela for already 11 years. Much has changed during this time: out of a school pupil I have grown into an adult musician, have finished the conservatory and the postgraduate studies. The cello has always been besides me, it changed and “grew” together with me helping to overcome the difficulties on the challenging path of a musician. Every day when I sit at the instrument, I derive a great pleasure from the sounding and the energy shed by it. After each performance I am indulged to listen to the flattering remarks on my instrument. As David Garingas claimed about it: “It uniquely combines the powerful sounding and the extraordinary softness of the tone colouring. A brilliant instrument!”

Volodymyr BANASHEK, Taras TURIANSKYI, instrumentalists at The Academic Chamber Orchestra “HARMONIA NOBILE” in The Ivano-Frankivsk Philarmonic “The cellos made by Myroslav PUTSENTELA are characterized by the richness of tone colouring and the strong even sounding. Starting with the year 2006, the cellos have shown themselves as both good orchestra instruments and as qualitative solo instruments with the intense velvet tone colouring and the richness of the palette that grant the possibility to convey the most subtle nuances, shades and dynamics to the audience. Besides, their wonderful sounding is complemented with the aesthetic execution and the perfection of form accomplished in the best traditions of classical instruments!”


“During all my musical life I am playing the modern viola. I have only one important requirement for the instrument besides producing a deep and beautiful melody, it should sound evenly stunning across all the strings. This quality was inherent not to all of the modern instruments, which I have encountered. And this is the even sounding that distinguishes the viola made by the Putsentelas, which I am temporarily using and have a great pleasure to play on. It is a very firm and good instrument.” Andriy Viytovych, a soloist of The Royal Opera, Great Britain

“I am playing the instrument made by maestro M. Putsentela with great pleasure. The beautiful deep viola tone colouring, the even sounding across the strings, the comfortable scale length and construction are peculiar to his violas. The viola is very expressive both as a soloist and as a member of an ensemble (orchestra) performance.”

Serhiy Kulakov, a soloist of The Symphonic Orchestra in The National Opera House of Ukraine, a Professor, a PhD in Art Studies, a Laureate of The National Competition


Vira Parashchak, Rainone School of Music, USA

“I am working in the theatre for more than 30 years. Currently, I have the instrument (viola) made by the violin maker Myroslav Putsentela. The instrument was bought in the year 2006. The tone palette, the power of sound, convenience, and the overtone saturation allow to conclude that the instrument meets the professional requirements of a performer!”

“… Holding the Viola, you forget the whole world… The sounds of music help to escape the daily routine… And only joy and happiness overwhelm the soul… This is because my Viola is a masterpiece of Myroslav and Nataliya Putsentelas, the violin makers famous in Ukraine and the whole world!!!... The Putsentelas family is not just a model to emulate for violin makers, but a sample of PERFECTION, KINDNESS, GENEROUSITY, I N T E L L I G E N C E … . Yo u r instruments, dear Putsentelas, are granted the “ETERNAL LIFE”, and p e r s o n a l l y I a m D E E P LY GRATEFUL to you.”

Ihor Melnyk, an orchestra performer at The Kyiv Municipal Academic Opera and Ballet Theatre for Children and Youth, Kyiv, Ukraine


Denys Lytvynenko, The Lviv Philarmonic, Phoenix String Quartet

“I have been playing the cello made by Myroslav Putsentela (a model of Stradivari) for 12 years. From the first day, I am deeply in love with its powerful velvet bassos and the deep penetrating tone colouring. The instrument is even, made from the seasoned wood material, and qualitatively varnished. It was played up with the flow of time and the accuracy of proportions eliminates any questions on its technical capabilities, the instrument sounds clearly and fully in any acoustics. I feel myself great while performing as a soloist with a symphonic orchestra. I am very grateful to the Putsentelas family!”

“For already a couple of years I have been playing the cello made by Myroslav and Nataliya Putsentelas. The instrument is even, very comfortable, and has an extraordinary rich and powerful sounding. The more I play, the better I feel the huge potential of my cello. I want to express my gratitude to Myroslav and Nataliya for making instruments with a soul!”

Dana Sharan, an orchestra performer at The Academic Symphonic Orchestra at The Lviv


Nataliya Kononenko, The Dnipropetrovsk Conservatory named after M. Hlinka, Ukraine

“After the long-term search and the trial hearing of numerous violas from different nooks of the world and different epochs of violinmaking, I am completely sure that my search has finally finished and my choice is the viola made by Myroslav and Nataliya Putsentelas (a model of O. Putsentela). The even and well-balanced sounding, the rich and saturated tone quality, the power of sounding these are the qualities inherent to my instrument. The peculiarities of viola allow it to perform as a soloist or as a member of chamber orchestras and quartets. Despite the fact that my viola has a large size 420 mm, it is very easy to play. I am very satisfied with the instrument…!”

“I would like to express my sincere gratitude for the viola made by Myroslav and Nataliya Putsentelas in 2010. It always sounds perfectly in any class room or concert hall. I love your instrument very much. Thank you for the part of your soul put in it, for the warmth of your hands and the love, with which you have made it. Always with the words of gratitude and the best wishes. God bless you!”

Ustym Zhuk, a postgraduate student at The Lviv Music Academy, Phoenix String Quartet


Tatyana Lavrova, an orchestra performer at The Shevchenko National Opera of Ukraine

“I am very happy to have bought in 2006 the cello made by Myroslav Putsentela! When I came to the workshop of Myroslav and Nataliya for the first time, the work on my future instrument has just been finished, but even then the cello has “came to life” and shown its extraordinary tone colouring. In an hour, I already knew that wouldn't be able to leave without this instrument it was the love at first sound! With the best wishes for the wonderful family, each member of which is a Professional from the capital letter Myroslav, Nataliya and Orest Putsentelas.”

“Your instruments possess a wide range, and a rich palette of colours and possibilities, about which a classical music soloist can only dream. I am very happy to have been playing your violin (2010) for two years. It has overwhelmed me from the first note; and with the flow of time, the more I play on it, the more it uncovers itself and always grants me with the new possibilities of self-expression. Now I cannot imagine myself with another violin. I am deeply in love with this instrument… My gratitude for reviving the forgotten secrets of Stradivari!!!” Ivan Dukhnych, The City of Basel Music Academy, The Basel Symphonic Orchestra, Switzerland


“It is a perfect combination of the powerful sound and the noble tone colouring. The cello is responding very well and, due to its large tone palette, is suitable for any kind of music. I was satisfied with the instrument from the very beginning, but every day the cello is being played up and becomes even better, giving me the additional stimulus to work on my musical workmanship. Also I am indulged to listen to the flattering remarks about the powerful sounding and the pleasant tone colouring of the cello, given after the concerts by the professors and the experiences cellists. The cello perfectly copes with any acoustics in any concert hall. A Brilliant Instrument!” Mykhaylo Dukhnych, The University of Music and Performing Arts, Gratz, Austria

“I can leave only the best comments about the violin. With the flow of time, the sounding is becoming more and more bright and noble. Its outer appearance gives an additional stimulus to hone my skills on the instrument!” Kyryl Markiv, The Odessa Special Music School named after P. Stoliarskyi,


Rostyslav Burko, The Lviv Philarmonic, The Academic Chamber Orchestra “Lviv Virtuosos”

“When I saw the double bass in the workshop of the Putsentelas family, I did not believe my own eyes. Just like a violin, it looks perfect; the accurate workmanship of each detail along with the one-of-the-kind whirlpool crimson varnish is impressive. I have been playing on the instrument for already two years and each time I convince myself that its sounding is perfect. All the ranges of such a big musical instrument sound with natural ease wherever that may be and under any circumstances: either in orchestra, in ensemble or as a soloist, in a concert hall or in a class room. Taking into account the specificity of a double bass, it is always challenging to fight the acoustics, but this remark does not concern the double bass made by the Violin makers from the capital letter Myroslav and Nataliya Putsentelas. It always has a soft deep piano and a piercing forte. Playing on the instrument, I understand (assure myself) that it was created with a huge love and that the violin makers managed to put a soul into the double bass, which has its life, its character and its beauty.”

“Until now, not a single orchestra has had a chance to achieve the maximum balance and harmony of sounding; such a happy opportunity, however, was given to the chamber orchestra “Lviv Virtuosos”. Not a single Ukrainian city could boast the orchestra, whose musicians were performing on the instruments made by a sole violin maker. Therefore, this concert presenting the Putsentelas collection is aimed to demonstrate to Lviv how it is possible to feel the perfection of sounding and the integrity of an orchestra as a unified creative organism; by words of music it appeals to those not indifferent admirers of art and great talent.”

Serhiy Burko, An Honored Artist of Ukraine, a director and conductor of The Academic Chamber Orchestra “Lviv Virtuosos”


Discography


Manual “Violin Workshop: Theory and Practice of Violin Making” by Orest Putsentela


Number Code of the Violin In the modern period, as far as the form of the violin is concerned, researchers and violin makers have developed numerous theories about the principles of violin building. The passion of the Italian school to perpetual search for the beautiful comes into focus here. It generated an intense interest to its form, thus, Italian masters have introduced a great many of new models since the time of Andrea Amati and Gasparo da Salo, the existence of multiple forms causes difficulty to eliminate the models to a single principle of violin building. Nevertheless, in the process of A. Stradivari instrument parameters study the following regularity was traced as to the ratio of body length and the width of the upper and the lower bouts. The same ratio is typical for some other masters of the Golden Age of violin making. As a result of one parameter dividing by another, decimal is received and in 90 per cent of cases the decimal is recurring or separate numbers are repeating. For example, 355,5/165= 2.154545454545454545454545454545..., here number 54 is repetitive. The theory might be easier perceived after analyzing the ratio of parameters on the example of Gasparo da Salo viola. Gasparo da Salo (the year of creation unknown) Body length.......................432 мм Upper bout ........................220 мм Lower bout ........................248 мм 432/220 = 1,96363636363636363636 (with 63 repeating) 432/248 = 1,74193548387096774193 (with 741935483870967 repeating ) 220/432 = 0,50925925925925925925 (with 592 repeating) 220/248 = 0,88709677419354838 (with 870967741935483 repeating) 248/432 = 0,57407407407407407 (with 740 repeating) 248/220 = 1,12727272727272727 (with 27 repeating) Decimal fraction is also present in Vincenzo Ruggieri viola. Cross-dividing of the parameters results in: Body length .......................385 мм Upper bout.........................180 мм Lower bout ........................222 мм Middle bout.......................123 мм


Received repeating: 2,138888888888888888888888888888... 1,7342342342342342342342342342342... 3,1300813008130081300813008130081... 0,46753246753246753246753246753246... 0,81081081081081081081081081081081... 1,463414634146341463414634146341... 0,57662337662337662337662337662337... 1,2333333333333333333333333333333... 1,804878048780487804878048780487... 0,3194805194805194805194805194805... 0,68333333333333333333333333333333... 0,55405405405405405405405405405405... The dominant repeating of our research is 142857; the choice is grounded by the fact the repeating is common for Antonio Stradivari's models. Antonio Stradivari, 1667 Body length ........................350 мм Upper bout ......................... 159 мм Lower bout ........................ 199 мм 0,45428571428571428571428571428571... 0,56857142857142857142857142857143... Antonio Stradivari, 1684 Body length ........................350 мм Upper bout ..........................160 мм Lower bout ..........................200 мм 0,57142857142857142857142857142857... 0,45714285714285714285714285714285... Antonio Stradivari, 1709 Body length......................355,5 мм Upper bout....................... 169,5 мм Lower bout..........................210 мм 1,6928571428571428571428571428571... 0,80714285714285714285714285714286... The repetition of 142857 becomes of intense interest as it occurs not only within the same maker models, but within the same instrument of the maker. This brings the conclusion that such ratio can not be simple coincidence but is definitely logically developed. Undoubtedly, Italian masters applied mathematical calculation when searching for the most appropriate parameter for their models, and it was Antonio Stradivari who became most successful in his search.


Thus, why is repeating 142857 of such an interest? 0,(142857) is a circulating fraction equal to 1/7, and possesses a number of interesting features illustrated further. Some mathematical tricks with 142857 are considered to try to depict its uniqueness in the world of numbers: Dividing numbers by 7 (apart from the numbers divisible by 7) contain period 142857: 1/7=0,14285714285714285714285714285714... 5/7=0,71428571428571428571428571428571... 13/7=1,8571428571428571428571428571429... 142 857 multiplied by 2, 3, 4, 5 or 6 will lead to the transformation of the very figures of the same number: 2 x 142857 = 285714 6 x 142857 = 857142 The results of 142857 multiplied by 1, 2, 3, 4, 5, and 6 divided into two equal parts in the middle and then added, sum in 999. 285 + 714 = 999 857 + 142 = 999 The results of 142857 multiplied by 1, 2, 3, 4, 5, and 6 divided into three equal parts and then added, sum in 99 and 99+99. 28 + 57 + 14 = 99 85 + 71 + 42 = 99 + 99 All the figures of 142857 number amount to 9 if added. 1+4+2+8+5+7=27=2+7=9 Mathematic study may uncover a lot more tricks like the mentioned above. The cyclic decimal with the 142857 repeating is not a novelty. It dates back to Ancient Egypt and pyramid construction (maybe even earlier). However, at that time the fraction 22/7 = 3,142857142857142857142857142857... was used as the analogue to modern Pi. The number 7 leaves the boundary of mathematics exclusively, it occurs in religions of different peoples. Besides, 7 is a magic number in writings, ancient and modern. The findings led us to the designing of our own violin model as based on the relation of form parameters and the 142857 period. The design is of interest as the principle was consciously or subconsciously used by A. Stradivari in the past and is, to our way of thinking, of great potential for the modern instrument.


All the parameters are calculated beginning with classical body length, i.e. 355,5 mm. The offer for the upper bout is 168,00 mm, middle bout 112,00 mm, and lower bout 210,00 mm accordingly. To check the justness of the choice the proposed parameters are divided as follows: body length (355,5 mm) is divided by lower bout (210 mm), upper bout (168), and middle bout (112). 355,5 / 210 = 1,6928571428571428571428571428571... 355,5 / 168 = 2,1160714285714285714285714285714... 355,5 / 112 = 3,1741071428571428571428571428571... Generally known, the basic parameters measuring is conducted on the ready made instrument, thus, corrections within the arch area should be taken into account. 355,5 мм – 354 мм 210 мм – 208 мм 168 мм – 166 мм 112 мм – 109 мм To create the model 10 circles of different diameters and 5 squares are used. Each circle is used twice. The diameters of the circles are given in Scheme 1. To sum up, the circles with diameters of 500,50 mm, 208,00 mm, 166,00 mm, 144,00 mm, 140,00 mm, 132,00 mm, 42,00 mm, 35,00 mm, 28,00 mm, and 21,00 mm are used; the squares: ABCD (side length 354,00 mm), A1B1C1D1 (side length 208,00 mm), A2B2C2D2 (side length 166,00 mm), A3B3C3D3 (side length 109,00 mm), and GEHF (side length 250,25 mm).


Схема 11 Scheme


Below the manipulations with the parameters which lead to 142857 repeating are illustrated: 1) 355,5 / 210 = 1,692857142857142857142857142857... 2) 355,5 / 168 = 2,11607142857142857142857142857... 3) 355,5 / 112 = 3,174107142857142857142857142857... 4) 144 / 210 = 0,6857142857142857142857142857... 5) 144 / 168 = 0,857142857142857142857142857... 6) 144 / 112 = 1,2857142857142857142857142857... 7) 132 / 210 = 0,62857142857142857142857142857... 8) 132 / 168 = 0,7857142857142857142857142857... 9) 132 / 112 = 1,17857142857142857142857142857... 10) 355,5 / 140 = 2,5392857142857142857142857142857... 11) 144 / 140 = 1,02857142857142857142857142857... 12) 132 / 140 = 0,942857142857142857142857142857... 13) 354 / 140 = 2,52857142857142857142857142857... 14) 208 / 140 = 1,4857142857142857142857142857... 15) 166 / 140 = 1,1857142857142857142857142857... 16) 109 / 140 = 0,77857142857142857142857142857... 17) 355,5 / 42 = 8.4642857142857142857142857142857... 18) 144 / 42 = 3.42857142857142857142857142857... 19) 132 / 42 = Ancient Pi 3.142857142857142857142857... 20) 354 / 42 = 8.42857142857142857142857142857... 21) 355,5 / 35 = 10,157142857142857142857142857... 22) 144 / 35 = 4,1142857142857142857142857... 23) 132 / 35 = 3,77142857142857142857142857... 24) 354 / 35 = 10,1142857142857142857142857... 25) 208 / 35 = 5,942857142857142857142857142857... 26) 166 / 35 = 4,742857142857142857142857142857... 27) 109 / 35 = 3,1142857142857142857142857... 28) 355,5 / 28 = 12,69642857142857142857142857142857... 29) 250,25 / 28 = 12,50892857142857142857142857142857... 30) 144 / 28 = 5,142857142857142857142857142857... 31) 132 / 28 = 4,7142857142857142857142857... 32) 354 / 28 = 12,642857142857142857142857142857... 33) 208 / 28 = 7,42857142857142857142857142857... 34) 166 / 28 = 5,92857142857142857142857142857... 35) 109 / 28 = 3,892857142857142857142857142857... 36) 144 / 21 = 6.857142857142857142857142857... 37) 132 / 21= 6.2857142857142857142857142857... 38) 354 / 21 = 16.857142857142857142857142857...


Some of the parameters are divisible by 7. 210 / 7 = 30 168 / 7 = 24 112 / 7 = 16 140 / 7 = 20 42 / 7 = 6 35 / 7 = 5 28 / 7 = 4 21 / 7 = 3 The calculations above allow moving to Scheme 2 model designing. Four squares A1B1C1D1, A2B2C2D2, A3B3C3D3, and GEHF are placed in the square ABCD so that the side C1D1 lies on the side CD, the side A2B2 lies on the side AB. The square A3B3C3D3 should have common diagonals with ABCD square. The square GEHF is positioned to halve A1B1C1D1, A2B2C2D2, A3B3C3D3 squares by the diagonal EF. Diagonal GH halves squares ABCD and A3B3C3D3. Lower bout is formed by 4 circles: 1 circle with diameter 500,50 mm, 1 circle with diameter 208,00 mm, and 2 circles with diameter 144,00 mm. The centre of the circle with D=500,50 mm lies on the segment EF and is tangent to the segment CD. Two circles with D=144,00 mm each have their intersection area on the segment EF, and their centers placed on the segment S1T1. One of the circles is tangent to the circle with D=500,50 mm and the segment D1A1. Accordingly, the second circle is tangent to the circle with D= 500, 50 mm and the segment B1C1. The circle with D=208,00 mm has its center in the intersection area of segments EF and S1T1. Upper bout is formed by 4 circles: 1 circle with diameter 500,50 mm, 1 circle with diameter 166,00 mm, and 2 circles with diameter 132,00 mm. The center of the circle D=500,50 mm is placed on the segment EF and is tangent to AB. Two circles with D=132,00 mm each have their intersection area on the segment EF, and their centers placed on the segment ST. One of the circles is tangent to the circle with the diameter 500,50 mm and the segment D2A2. Accordingly, the second circle is tangent to the circle with D= 500, 50 mm and the segment B2C2. The circle with D=166,00 mm has its center in the intersection area of segments EF and ST.


Схема 22 Scheme Middle bout or „С” is formed by 5 circles: 1 circle with diameter 140,00mm, 1 circle with diameter 42,00 mm, 1 circle with diameter 35,00 mm, 1 circle with diameter 28,00 mm, 1 circle with diameter 21,00 mm. (The left side С is described only). The circle with D=140,00 mm is tangent to circles with D= 208,00 mm and D=166,00 mm, and also the segment D3A3. The circle with D=35,00 mm is tangent to the circle with D=208,00 and the segment FG. The circle with D= 28,00 is tangent to the circle with D=166,00 mm and the segment GE.


To find the length of the corners two circles are used: 1 circle with D=166,00 mm for the limitation of upper corner and 1 circle with D=208,00mm for the limitation of the lower corner. The circle with D=166,00mm is tangent to the segment GH and has its center on EF. The circle with D=208,00mm is tangent to the segment A1B1 and has its center on EF. The circles with D=42,00mm and D=21.00 mm are tangent to the circle with D=140.00 mm. The distance of the curve KL is 7mm. K is the intersection point of two circles, one with D=166,00 mm and another with D=28,00 mm. L is the intersection point of two circles, one with D=166,00 mm and another with D=21,00 mm. The distance of the curve K1L1 is 7mm as well. K1 is the intersection point of two circles, one with D=208,00 mm and another with D=35,00 mm. L1 is the intersection point of two circles, one with D=208,00 mm and another with D=42,00 mm. Under the condition the circles forming the corners are placed correctly, the distance of LL1 amounts to 78,61 which is a classical measure.

Parameters of instruments are taken from: 1. Antonio Stradivari His Life and Work (1644-1737) by W. Henry Hill, Arthur F. Hill, Alfred E. Hill, New-York, 1963) 2. Umeni Houslaru by Vladimir Pilar, Frantisek Sramek, Praha, 1989


Violin

O&N Putsentelas Anno 2013

Model: O. Putsentela


“Living and working for the mankind prosperity is the true sense of life. The possibility of implementing one’s knowledge and skill in a single musical organism of high quality, understand and materialize laws of nature to be later heard and understood by the audience with the help of gifted musicians is the highest appreciation for years of creative initiatives for each violin maker. “

Master violin maker Myroslav Putsentela

79000 Ukraine Lviv P. Doroshenka Str. 38/10

Collection eng  
Collection eng  

Collection of string instruments made by Myroslav Putsentela for Academic Chamber Orchestra Lviv Virtuosos

Advertisement