:: Historical Notes ::

I was just running some numbers to see what percentage of Select Violins were going outside of the United States. Below are my findings.

28% of all violins sold have been to other countries.
72% of sales stayed in the USA

Comparing individual states of the USA and other countries, in the order of most sales:

First Place: California USA

Second Place: Italy

Third Place: Canada

Tied for Fourth Place: Texas USA, North Carolina USA

Tied for Fifth Place: Japan, New York USA, Wisconsin USA

Tied for Sixth Place: Alaska USA, Washington USA, Ohio USA, Pennsylvania USA, Connecticut USA, Maryland USA, Louisiana USA, Utah USA.

Others: United Kingdom, Germany, Russia, South Korea, Taiwan, Missouri USA, South Carolina USA, Vermont USA, Oklahoma USA, Illinois USA, Virginia USA, Alabama USA, Montana USA, West Virginia USA, Mississippi USA, Hawaii USA, Oregon USA.

It is interesting that Italy and Canada are near the top of the list for having purchased the most instruments from Select Violins, when compared to our individual states in the USA. (Remember that our states are as large or larger, geographically, than many countries.)

It is also notable that 55% of foreign sales were to repeat customers. The world market is important to us, as you can see by the numbers above.

Here at Select Violins, we average less than 10% in returned sales. And most of those returns were from people that were trying out other violins at the same time.

We treat everyone with the same family-friendly service. Whether you live next door or on the other side of the world, you are like a neighbor to us. We strive to be good neighbors who will serve you in the best way we can!

Best Regards,

Dan Keller

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THE PROBLEM OF TECHNIC

Arthur Hartmann is distinctly and unmistakably a personality. He stands out even in that circle of distinguished contemporary violinists which is so largely made up of personalities. He is a composer—not only of violin pieces, but of symphonic and choral works, chamber music, songs and piano numbers. His critical analysis of Bach’s Chaconne, translated into well-nigh every tongue, is probably the most complete and exhaustive study of “that triumph of genius over matter” written. And besides being a master of his own instrument he plays the viola d’amore, that sweet-toned survival, with sympathetic strings, of the 17th century viol family, and the Hungarian czimbalom. Nor is his mastery of the last-named instrument “out of drawing,” for we must remember that Mr. Hartmann was born in Maté Szalka, in Southern Hungary. Then, too, Mr. Hartmann is a genial and original thinker, a littérateur of no mean ability, a bibliophile, the intimate of the late Claude Debussy, and of many of the great men of musical Europe. Yet from the reader’s standpoint the interest he inspires is, no doubt, mainly due to the fact that not only is he a great interpreting artist—but a great artist doubled by a great teacher, an unusual combination.

Characteristic of Mr. Hartmann’s hospitality (the writer had passed a pleasant hour with him some years before, but had not seen him since), was the fact that he insisted in brewing Turkish coffee, and making his caller feel quite at home before even allowing him to broach the subject of his visit. And when he learned that its purpose was to draw on his knowledge and experience for information which would be of value to the serious student and lover of his art, he did not refuse to respond.

Violin Mastery
Talks with Master Violinists and Teachers
by Frederick H. Martens
Published 1919

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