Jamecyn Morey, violin

Karen Cueva performs on
From the Top at New England Conservatory's Jordan Hall.

Raushan Akhmedyarova
San Francisco Symphony
New Century Chamber Orchestra

Lambert Chen, winner of
the "Golden Violin" prize

Todd Reynolds, Adams, MA

Lino Tanaka, Boston, MA
read about Lino's organization, Beethoven Society of Melrose

Cello en route to Iraq for S'diq Azia through Sonad Project

The vision of the Sonad Project is to present concerts and to create artistic, creative, and participatory performance and learning environments, open to all. This process inspires transformational personal connections that transcend political, economic, racial, cultural, ethnic, religious, gender, skill level, education, and generational boundaries. Read about Doug's donation of a cello for a young Iraqi here, and more about the project itself here.

Fall crop of violas

Two new violas have been set up and will be ready for trial after their settling-in time: one 16" and one 16-3/8". We have in the studio a number of larger violas including three 16-5/8" Cox violas, four more ranging up to 17-1/4", and a 17" Marten Cornelissen 2003, his Opus 508.

Showings

Visitors are welcome at the studio in West Brattleboro. Call before making the drive to be sure that Doug will be there.

Boston 2009-2010

Call (802) 257-1024 or email for an appointment. Dates may be subject to change.

The "Goldberg" Violin

On April 30, 2009, Doug set up a copy of the Guarneri del Gesu "Goldberg" violin, a twin to the "Kreisler" violin he has been so fond of over the years. Made in the same year from the same wood by the great Joseph Guarneri, both violins now belong to the Library of Congress, and have been studied extensively by Nicholas Kitchen, violinist with the Borromeo Quartet. This very special instrument was donated to the Yellow Barn Music School & Festival in nearby Putney, Vermont, to celebrate the 40th anniversary of the festival.

To learn more about these wonderful Guarneri violins and the collection at the Library of Congress, please visit the LOC website, which includes articles by Nicholas Kitchen.

Cox Violins joins From the Top providing scholarships to young musicians

Cox Violins offers a limited number of scholarship opportunites to young people without the resources to purchase one. From the Top has a vital and vibrant scholarship program funded by the Jack Kent Cook Foundation. Already this year, one young scholarship recipient has used her From the Top scholarship, combined with the Cox Scholarship, to purchase a Cox violin.

For more information about From The Top Scholarships, visit www.fromthetop.org or contact Megan Lantz, Scholarship Program Coordinator at 617-437-0707 x114.

For information about Cox Violins scholarships, download our scholarship information pdf.

Douglas Cox quoted in New York Times

On December 4, 2009, Doug was quoted in a New York Times article about a recent study of the varnish used by Stradivari. Click here to read the article.

2009 Quartet Project

Building the quartet for Lawrence University opened the door to musings about the pros and cons of making matched sets of instruments.

While the practicality of doing so might be questioned, the pleasure and fascination of the process led Doug to start another quartet, modeled after the Lawrence instrument but with some modifications.

The instruments are hanging in the greenhouse (photo at right taken December 4, 2009). They will be ready to varnish and set up soon. Look for them to be playable in the spring.

Lawrence University Quartet

In 2007, Douglas Cox was commissioned to build a quartet of instruments for the Lawrence University Conservatory of Music.

To design a quartet that would be visually interesting, acoustically exciting and well-matched, Doug decided upon the following: one violin is a "Kreisler" early Guarneri model, somewhat Strad-like and medium bright in tone and response; the other is a "Leduc" late Guarneri model, darker and more highly colored in tone. The viola is a 16-3/8" Andrea Guarneri viola as it might have been built by Guarneri del Gesu, somewhat brighter than the more highly arched original; and the cello is modeled from Montagnana's work, with del Gesu styling.

To learn more about the quartet and Doug's objectives in designing and building it, click here.

Caring for your instrument

We recommend Commonsense Instrument Care by James N. McKean, published by the String Letter Publishing. It includes an in-depth description of how instruments are made, as well as advice on care and prevention. We also recommend Robert Cauer's website which has detailed information and fascinating photos.
Here are some basic care principals.

Prevention:

• Invest in a good solid case with a suspension system.
• When you are not using the instrument, put it away in the case.
• Don’t leave it on a chair or table, especially in a high-traffic area with people, kids, and dogs coming and going.
• Don’t leave it unprotected on the floor.
• Never leave your instrument in a car for any length of time, especially in hot or cold weather.

Insurance:

• Insure your instrument for the full value. If you don’t know the value, have it appraised.

General Maintenance:

• Use a clean, dry cloth to wipe rosin and dust off the instrument after each use. Otherwise, don’t clean it yourself. Don’t use paper towels, any kind of household cleaners, soap or water on your instrument. If it must be cleaned, take it to a professional.

The Bow:

• When your bow no longer grips the string and gives you the results you like, it may be time to have it re-haired.

The Bridge:

• Start with a bridge that is carefully fitted to your instrument by a professional maker. As you go through the year, keep an eye on the bridge to make sure it stays straight. If it becomes warped, have it straightened or replaced.

The Soundpost:

• Don’t string up an instrument if the soundpost inside the instrument is not in place, or missing. It’s best to have the soundpost adjusted by someone with the proper training and experience. Instruments respond to seasonal changes, and some instruments will need adjustments with the changing time of year.

Open Seams:

• As humidity rises and falls, your instrument will swell and contract. Sometimes these stressors will lead to open seams. Gluing looks easier than it really is; take it to a professional if you have an open seam.

Links