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Russell Stowe, who runs his own violin company, listened
for 12 years to players’ complaints about the shortcomings
of their shoulder rests, and concluded that none of the
existing designs were satisfactory. All caused a variety
of problems, but the most serious was the deadening effect
they had on the sound of the instrument. In 2001, he decided
to do something about it, and set up a company with his
close friend, new product development specialist John
Masters, to take an entirely fresh look at the problem.
Historically, violinists used a variety of methods to
raise the violin above the shoulder. Some used folded
pieces of cloth, others, pads or cushions of various kinds,
but as long ago as 1921 the celebrated virtuoso and teacher,
Leopold Auer wrote “Those violinists, who rest the
instrument against the shoulder, and place a cushion at
its back – both of which act as mutes – evidently
have no notion of the disastrous effect this arrangement
has on their tones”.
The devices that superceded the cushioning arrangements
over the past 80 years have not been much better. They
might have less material in contact with the violin, but
all depend on some sort of clamping device, many with
sound absorbing rubber or foam interfaces. The effect
was such that Yehudi Menuhin was impelled to make the
point: “It must always be remembered that this living
entity which is the violin, when being played, must nowhere
be squeezed or pressed upon, but left free to vibrate….Just
as a vibrating bell or glass can be silenced by clamping
down on it, so is violin playing entirely dependant on
the absence of any impediment to the free vibrating motion
of instrument and player”.
The Stowe and Masters team saw that there was a need for
a completely different kind of shoulder rest. They recognized
that its most important characteristic should be that
it would not dampen the violins sound. However, extensive
consultation with leading London Orchestra players highlighted
other drawbacks of existing devices that it would be desirable
to overcome. Eventually it was concluded that the ideal
shoulder rest should: |
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Have the minimum area of contact with the instrument |
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Not apply pressures to it |
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Be capable of being fitted and unfitted very quickly
and simply, and without either disturbing adjustment
or causing wear on the varnish |
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Provide custom fit options including more height
above the shoulder than existing designs if required |
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Be hard wearing and lightweight |
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Be secure, removing the risk of falling off during
performance |
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Have an elegance in keeping with the pedigree
of a good violin |
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From this detailed specification, the Stowe & Masters
team of specialist designers developed a succession
of prototypes for testing by a specifically recruited
group of leading players. At each stage, manufacturers
were brought in to assess the feasibility of making
the various components of the evolving design. Only
when this process had been completed were Stowe &
Masters and their team satisfied that the rest met all
the criteria they had set themselves.
The result is the revolutionary StoweMaster, which
is probably one of the most significant developments
in recent times in the long evolution of shoulder rests.
Above all else, it allows the instrument to vibrate
more freely than anything else that has gone before.
Finally, it satisfies a very personal wish of Stowe
& Masters; it is wholly manufactured in the UK.
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