RIN:062 GÜNTHER REUTER: A Portrait

	RIN:062	GÜNTHER REUTER: A Portrait By Fritz Reuter, Jr.

Günther Reuter-The Art of Günther Reuter-A recent Violin-New Instrument Pricing

Established in 1922 at The Hague, Fritz Reuter and Sons has flourished for more than 75 years. As master violin makers and dealers, we strive to embody and continually revitalize an ancient art -- an art whose achievements and demanding standards reach back at least as far as the medieval guilds. Moreover, for over halt of the firm's history, Günther Reuter -- youngest son of the founder, B. Fritz Reuter -- has played a prominent role in Fritz Reuter and Sons' record of distinction. Today, Günther Reuter is unquestionably the most prolific Master Violin Maker in the United States.

2. For all the beauty and tonal power of Günther Reuter's creations, his career as a maker is of almost equal interest. Together, we began the formal study of our craft at the world-famous school of violin making or Geigenbauschule in Mittenwald, Germany. (For instrument making, this institution's importance is like that of the Bauhaus for architecture.) It was 1948. Then, and in the years leading to our graduation in 1951, Günther Reuter pursued his apprenticeship under the learned Masters of the craft: Andreas Fürst, Mathias Klotz, Johann Karner and Leo Aschauer. Upon completion of the seven semester course of study, Günther Reuter had earned the equivalent of a bachelor's degree. Put more precisely, he was a Geselle or Journeyman Maker.

3. As one would expect, his aspirations did not stop here. He strove, laboriously but successfully, to establish himself independently in Mittenwald. Simultaneously, he opened his developing art to the guidance of other local Masters: Anton Dietl, Rudolf Lang, and Ottomar Hausmann. Knowing that the road to excellence is demanding, he sought to learn from all who could teach him. In time, the Violin Makers' Guild conferred his master's degree -- and conferred it with honors. The year was 1958. A decade had passed since starting his career. But Günther Reuter had gone beyond the journeyman stage and become a Master Maker, a true Meister. Now -- in accordance with a Guild rule which recalls the medieval lineage of his art -- he carried the dual authority to teach and, also, to supervise the work of others.

4. Within a short time (1961) he was invited to work for William Lewis & Son of Chicago. This, of course, meant a major relocation. Yet another decisive change came even more swiftly. In 1963, he began making violins, violas, and celli for Fritz Reuter and Sons, Inc., exclusively. And, for a full decade, new Reuter instruments were not available from any other source. Wider access to Günther Reuter's creations had to wait. During 1973, however, William Moennig and Son of Philadelphia, Pennsylvania, persuaded Günther to share his art with patrons of their firm. Quite delighted by their success, Moennig and Son used their newsletter to announce it to the musical world. Good News for the Player, an illustrated feature article, was warmly forthright. "Günther's instruments are noted not only for their beauty and superb workmanship," they wrote, "but for their rich tone and carrying power as well." Indeed, they reminded their readers, "a list of proud owners of Reuter violins, violas, and cellos would read like a 'Who's Who' of distinguished professionals and amateurs alike."

5. The year of Fritz Reuter and Sons' sixtieth anniversary became the occasion of added rejoicing. Under the auspices of the Violin Society of America, a world-wide competition of stringed instrument and bow makers convened at Salt Lake City, Utah, in November of 1982. This convention drew visitors and participants from many nations, and all judging was conducted by an international panel which included and heard noted artists (such as the Fine Arts Quartet of the University of Wisconsin) demonstrate the tonal qualities of every submitted instrument. This was the largest competition of its kind on record.

6. On November 10, in this very setting -- a gathering which featured instruments crafted by the world's foremost masters -- Günther Reuter was honored with four Certificates of Workmanship, and the award of two Gold Medals for TONE. The first Gold Medal extolled a Günther Reuter quartet -- violin, Opus 312; violin, Opus 313; viola, Opus 314; and cello, Opus 315.

7. The second Gold Medal singled out the quartet's cello, the Opus 315, for further recognition as Solo Instrument. Truly, the recognition of superlative ensemble and solo quality -- both in a single instrument -- is so remarkable in itself that it seemed very much like a third Gold Medal! The cello, like the other three instruments in the quartet, had been completed but a few days in advance -- especially for the international competition. And, although the distinguished panel awarded both Gold Medals on the basis of tone, the instruments are also a delight to the eye. While words can not paint an adequate picture, one may at least suggest their beauty by mentioning that all four are made from perfectly matched wood.

8. Today, in 1986, Günther Reuter continues to practice his craft with ever-increasing skill and mastery. The productivity evidenced in the nearly two decades extending from his association with Fritz Reuter and Sons to his triumph at Salt Lake City (the years 1963-1982) is undiminished. Indeed, from 1963 through 1985, Günther Reuter created no less than 235 violins, violas, and celli bearing his signature and registration. This is a distinguished artistic record which, deservedly, brings great credit to Günther Reuter, to the firm of Fritz Reuter and Sons, Inc., and to all associated with them. But, perhaps most importantly, it is a record of artistic dedication -- a special dedication without which the art of the performer would fall silent.