Learn about Carrie Krause's |
 Photo Credit: Heather McIntosh, Lighted Path Photography | Carrie Krause, Concertmaster of the Bozeman Symphony Orchestra, brings tremendous talent and leadership to the ensemble alongside Maestro Matthew Savery. In addition to her role with the orchestra, Carrie has performed as soloist from the Leipzig Bach Festival to the Boston Early Music Festival, and as a member of Apollo's Fire at the BBC Proms (all while maintaining a large violin studio here in Bozeman). As Artistic Director, Carrie, with Baroque Music Montana and the Bozeman Symphony, present the Period Performance Workshop, August 24th-26th, in Bozeman. We are pleased to announce the workshop is now in its third year. Past participants have included violins, violas, cello, bass, harpsichord, guitar, lute, flute, and recorder, ranging from high school students to amateur adults to professional players from across Montana. Carrie truly brings a superior level of artistry and history to Montana with her inspiring performances and was fortunate to purchase a 17th century violin in 2016. When asked about her playing and instrument, "I am a player of old music, in love with the influence and inspiration found in historical resources, and finding this violin was the fruit of a three year search for a historical instrument. I've been hoping to find an instrument that had a story to tell, whom I could feel lucky to be a steward, supporter, and protector for whatever short span of its long musical life our paths intersected. |
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photo credit: Tarisio
The violin, from approximately 1720, was built by Mathias Klotz (1653-1743), the first in a large family of instrument makers in Mittenwald, Germany. Mathias is thought to have studied instrument making with both Jacob Stainer (known as one of the most famous luthiers of his time in Europe before Stradivari) and with master Giovanni Railich, in Padua, Italy. Mathias benefited geographically from the excellent tone woods of the Karwendel mountains situated along an excellent trade route, spawning a large family legacy of violin makers and workshops.
Carrie shares with us her finding of the instrument, and the steps taken before their performance debut:
"While back in New York for a Bach B minor Mass, I found this instrument at the Tarisio auction house just off Times Square. While I was away at the Red Lodge Music Festival, the violin arrived in a box, without a case and wrapped in bubble wrap, the sound post and bridge taken down for shipping safety.
Unable to play it or hear it sing, imagine my longing impatience only able to admire its beautiful, interesting old wood, long scroll, and arched top. On my way to the Oregon Bach Festival, I took it to David Kerr's shop in Portland to be set up and fitted with a historical bridge and tailpiece. The instrument was rather cranky for about a week--as like athlete's that love to run, instruments begin to sing when they are played--and this instrument hadn't run in its original historical set up in who knows how long! Since then, we've enjoyed some lovely mornings out on our deck exploring seventeenth century preludes, Bach and Pisendel sonatas, and hours of resonant double stops. At Quinn's Hot Springs, the instrument made its concert debut at the Montana Baroque Festival!
"I'm so looking forward to having this colorful, sensitive, swarthy instrument as my closest companion through this next winter season."
Carrie shares with us her finding of the instrument, and the steps taken before their performance debut:
"While back in New York for a Bach B minor Mass, I found this instrument at the Tarisio auction house just off Times Square. While I was away at the Red Lodge Music Festival, the violin arrived in a box, without a case and wrapped in bubble wrap, the sound post and bridge taken down for shipping safety.
Unable to play it or hear it sing, imagine my longing impatience only able to admire its beautiful, interesting old wood, long scroll, and arched top. On my way to the Oregon Bach Festival, I took it to David Kerr's shop in Portland to be set up and fitted with a historical bridge and tailpiece. The instrument was rather cranky for about a week--as like athlete's that love to run, instruments begin to sing when they are played--and this instrument hadn't run in its original historical set up in who knows how long! Since then, we've enjoyed some lovely mornings out on our deck exploring seventeenth century preludes, Bach and Pisendel sonatas, and hours of resonant double stops. At Quinn's Hot Springs, the instrument made its concert debut at the Montana Baroque Festival!
"I'm so looking forward to having this colorful, sensitive, swarthy instrument as my closest companion through this next winter season."
For players interested in period performance, register for the 2018 Period Performance Workshop! Full details available online here.
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