September, 2006

Berg Bow awarded to Augustin Hadelich, winner of 2006 Indianapolis International Violin Competition

Mr. Duff was pleased to present a Gold Mounted Fleur-de-Lys Berg violin bow to Augustin Hadelich, this year's gold medal winner of the prestigious  Indianapolis International Violin Competition.  After hearing much of the competition himself, Mr. Duff says we was extremely impressed with  Hadelich's performances, and wishes him great success as he is launched into an exciting new stage of his career.  In addition to the the Berg Bow, Hadelich won $30,000 in cash, a 24-carat gold medal, a four-year loan of the 1683 "ex-Gingold" Stradivarius violin and Tourte bow, a Naxos label compact disc recording contract, and more than 40 concert engagements, including a domestic and international tour.  Besides the gold medal award, Hadelich also won a majority of the special awards.  Congratulations Mr. Hadelich!

click here to view this prize bow

click here to read a response from Hadelich on the Berg Bow

April, 2005

Berg Bows Celebrates 20th Anniversary

     2005 is a very significant year for Michael Duff and Berg Bows, as it represents the sum  of 20 years of innovation, experience, and fine bow making.  The following is a letter from Mr. Duff reflecting on some of the history as well as current issues involving the Berg Bow.

This year is the 20th. Anniversary of the forming of Berg Bows. Therefore it is appropriate and certainly interesting to reflect on those twenty years.  To see how the significantly new standard of bow making fared, measured against the established traditional crafting of performance quality bows from pernambuco wood. For the reader's information Berg Bows pioneered making high quality performance bows, originally violin and cello, followed by viola, employing composite materials and molding technology. I qualify this statement by stressing that Berg bows were from the first year favorably compared to the best bows of the famous French tradition. In the early years there was prejudice, mainly from dealers and traditional makers, but also some, though much less, from respected performers. It is likely that some of it resulted through a lack of understanding, specifically of the unique Berg process and perfectionist standards of craftsmanship. For every step in traditional bow making Berg executes an equivalent step. Nothing is mass produced at Berg Bows, and no technicians are employed. I, Michael Duff, the founder of Berg Bows, do all the molding and crafting. Prior to founding the company I studied with the Danish violin maker Ole Stefan Dahl, an excellent teacher I might add, who had apprenticed with the Hjorth family of violin makers of Denmark. Ole had a great love for and knowledge of pernambuco bows. During several years working beside him a great number of high quality bows passed through our hands, most owned by faculty and students at renowned Indiana University School of Music at Bloomington. Also I was assistant instructor to Mr. Dahl when we initiated a diploma course in stringed instrument technology within this music school. It was the dream of members of the string faculty who successfully wrote a grant applying for funding. These years of experience gave me a great foundation for the Berg bow making project.

My bow work was admired and praised by a respected dealer in Germany, namely Heinrich Dick of Gunther Dick Company. I well remember his comments about the von Bennigsen bow company who were the next to get on the band wagon, but ultimately failed. Heinrich simply said 'They don't know bows' By implication he was telling me that I did know bows. It is true. However I never stopped learning. Many famous performers that reviewed my early work shared their experience with Berg bows. For my part I listened intently. I have much to thank them for. What I did was combine what I was learning from them with my knowledge of the mathematics of bow stick design and the use of our proprietary combination of materials, which I refer to as composite materials.  To summarize, Berg Bows have a perfect stick design by virtue of computer and mathematical studies. This endowed the bows with exemplary steadiness and responsiveness. I addition I worked tirelessly to produce a bow which looked like pernambuco wood with its grain and varying colors. This has been the envy of several newer bow making companies employing carbon fiber. Their bows are gray or black and are very different from the tradition. The wood-like beauty of Berg bows are tremendously appreciated by my distinguished clients. Many of them own Tourte and Peccatte bows and expensive instruments like Stradivarius violins. They have said to me that they are proud to place their Berg bow in the case beside their valuable French bows. Beautiful looks are clearly important too.

As the years have passed several new companies have formed that make carbon fiber bows. They vary greatly in quality. Most are student quality and are relatively inexpensive. Because they are shock proof they fill a valuable niche in the market. My perception is that they also are appreciated by students because they generally perform the challenging off-string bowings well. This is a valuable quality for beginners struggling to master these strokes. Their shortcomings are that they are mass produced and to the trained eye they come up short on craftsmanship. They are made by technicians, not by master bow makers. The mission statement of these companies has to be 'Make large profits'. Also carbon fiber bows produce a sound which is not warm enough for the discriminating concert artist. The late Franco Gulli switching back and forth between several Berg bows and his Charles and Domenique Peccatte bows declared the Bergs to have a very 'healthy' and 'clean' sound matched with his Stradivarius violin. Overall it is pleasing to watch these other companies prosper. In the early years the wise pundits predicted failure for them - indeed for all of us. They were wrong!

People sometimes ask 'Why are Berg bows so expensive?' They are so because the craftsmanship is very high quality. Now it is the highest it has ever been, and the sound and performance quality are simply great. If they are 'neck and neck' in quality with famous French bows as so many artists claim, then relative to today's market Berg bows are a great bargain. In addition they are virtually indestructible and do not fatigue or warp with age. Furthermore, again contrary to the wise pundits' predictions Berg bows are also appreciating in value. Another question that I have been asked is 'What makes Berg bows the best - what evidence is there to prove it?' This is an easy question to answer. Study the recordings in the audio section of Berg Bows web site, all performed with Berg bows on very expensive instruments. This testimony stands as strong and unique evidence. New recordings with Berg bows are waiting to be downloaded to CD quality. If you are a Berg bow owner and have a recording that I am not aware of please notify me. It could be added to the list in the listening booth.

One of the problems challenging companies like Berg Bows is that of promoting and marketing. In the early years upwards of thirty thousand dollars was invested in advertising. Two leading journals got most of that. The reward is a great image, but sales were not commensurate with dollars spent. A lot of readers are not professional performers and don't buy bows. Some of that money could have been on a new mold or further research. Another problem with that type of promotion is that you must keep it ongoing. Advertising rates have become exorbitant. You frequently hear it said that word of mouth is the best advertising. I have proved this to be true, however, in the classical stringed instrument world many professionals are very reticent to share what instruments they own with students and colleagues. They appear to be more inclined to talk about their violin, viola or cello than their bows. This may be reflected in an article or noted in the notes accompanying a CD recording. Only once did a world famous soloist and concertmaster (London Symphony) discuss the whole picture and refer in the CD booklet notes to his using his Berg violin bow for his recordings of the complete solo violin sonatas and partitas of J. S. Bach. That artist is Gordan Nikolitch. Bravo Gordan and thank you! When you read this want you to know that your performances and interpretations are the ideal of your famous violist colleague Csaba Erdelyi. I sent him copies and he plays them to his students to inspire and teach them. It saddens me to say that another of my famous clients recently requested his Italian recording company to mention in the notes that he always performs with his Berg bows. They did not act on his request. It is truly time to begin telling the whole story, and believe me the readers of these stories love the details. They tell me so. There is a significant story in print, in Strings magazine I think, about famous bow maker William Salchow saying to a cellist after his concert when he mentioned what cello he performed on, that he ought to have also mentioned that he performed on a Salchow cello bow. Whereupon the cellist replied 'You are right'. This seems to say that the omission to include reference to bows is simply and oversight. It is time to change that. Strings magazine has certainly done admirably in having their featured artists include what bows they perform with. So let me make a further earnest appeal to all artist/teachers to make the change. Share with your students, colleagues and producers of your recordings. Insist, if possible, that they mention your bows in the notes.

Making Berg composite bows for twenty years has been a challenge that has been very gratifying. To make them to comparable quality and aesthetic beauty as top quality French bows is a great achievement. To be the pioneer at that high standard and still maintain first place in overall quality is a major success story. It Francois Tourte's bows represent a milestone in bow making because of their new shape, then Berg bows deserve similar status because of their new materials. My dear friend and colleague in France, Alain Herou, said to me during a shared International Workshop presentation in Biaritz, France, "Michael I see why you have been so successful. You have stayed so close to the tradition in both appearance and sound". In closing I wish to express my gratitude to all string players who have made it possible.

- Michael F. Duff (bow maker - founder, sole proprietor of Berg Bows)

Berg Bows, Inc. Exhibits at Starker Celebration

The 75th birthday celebration for world renowned cellist and pedagogue Janos Starker was more than an average party. Held in our hometown of Bloomington, Indiana at the Musical Arts Center of Indiana University, this event was a celebration of a man and his achievements. Not only the milestones Mr. Starker has reached in music, but also those he has obtained as a father, a nobleman and a professor.

The two day event included a hall of exhibition where Berg Bows, Inc. joined about a dozen other luthiers and dealers to demonstrate products. Several cellists had the opportunity to play Berg cello bows and see the craftsmanship they had only heard about. (see President's Notes above).

The Eva Janzer Cello Center hosted the celebration. The music of the evening was a moment in history, noting the first time that Janos Starker and Maestro Mstislav Rostropovich have shared the same stage. A mass cello ensemble consisting of Starker's former students, was the finale to a program that will not be matched again. The evening ended with a gala dinner, giving those close to him, personal time to reminisce and celebrate Professor Janos Starker's grand accomplishments. BRAVO!!

March, 2007

Customer Testimonial:

Michael,
               The gold mounted bow you made for me looks fantastic.  All of the praise from your distinguished list of clients is true, so it is hard to add to that!   

Its balance is amazing. The sound is big, clear, and I cam make many different colors and nuances with it. When I desire to produce special kinds of articulation  it responds immediately and easily. In fact it seems to be ahead of me, anticipating what I desire, so I am much more relaxed playing solos. Also, I found that playing chords, especially in fugues of J. S. Bach, it gives me a wonderful relaxed and secure feeling. I don't have to resort to extra pressure or attack on the chord to get a balanced sound in every voice. I have never had such a feeling with any other bow. This is the best bow I have ever played. Thank you Michael for your masterful work. My wife will order one too!

Adam Gruchot,
concertmaster,
the Kristiansand Symphony Orchestra of Norway

July, 2006

Customer Testimonial:

Dear Michael,

I had my recital on Saturday. I played the Allemande and Chaconne from the d minor Partita with the new bow. That was a bit of a risky thing to do since I'd had it only briefly and, naturally, wasn't altogether familiar with its behavior in certain critical situations.... But what I got in return was a wonderful immediacy, a warmth, an enveloping sound, a kind of direct connection with the audience that I'd never felt before. I finally dared to play as softly as I had always wanted to in certain spots, and every time I did that the audience was totally, totally quiet and at the edge of their seats (even the children that were there). Remarkable! The comments afterwards showed that people were truly moved.

There is so much to explore with the bow. So many new possibilities are open to me. I can't wait!

Many thanks to you. You've done a wonderful thing for me. Since I've gotten to know your bows, I've taken hurdles I never thought I would. I never imagined that kind of progress at my comparatively advanced age (44).

I can't wait for the day my daughter will be ready for her own Berg Bow (it'll be a few years - she's only six, but doing great on the violin).

With my very best wishes,
Uli Widmaier

click to see the above mentioned bow

September, 2005

Welcome, Finlay!

Berg Bows is pleased to announce the arrival of the latest member of the Duff family: Finlay!  Mr. Duff recently returned from New Zealand on a special trip to see his new grandson for the first time. 

July, 2005

Customer Testimonial:

"I'm writing this letter to say THANK YOU VERY MUCH for everything You have done for me! About an hour ago, DHL service brought me the bow and I'm so happy I can't describe how much. . . . I have already played the bow and I must say it's great!!! It has a beautiful, clear, responding sound that makes my violin sound incomparable better quality to one before. Also I know I will find it even greater when I get more used to it and investigate all it's possibilities! So, now is all up to me... That'll be all for now, once again thank you for everything,"

Ivan _____, Croatia

June, 2005

Endorsement:

"My Michael Duff (deluxe Berg) viola bow is beautifully crafted to the finest tolerances in every way. The head and the frog are elegant in design, and the frog feels great under the hand. None of this would have much significance, though, were it not for the fact that the bow is so well balanced and responsive in use. It draws a strong focused sound throughout its length, and works effortlessly with every stroke, articulation and
nuance."

William Martin,
Section violist,
Saint Louis Symphony Orchestra

May, 2005

Customer Testimonial:

"It's just wonderful, I used it to create some different sounds and took it quite far during the recording. while I have played in chamber groups and orchestras' in my time at the moment I'm playing with world music groups, jazz, rock bands, dj's, urban beats, just about everything except "classical" stuff . . . Thank you once again for the great service and brilliant bow."

Pascal

Client Profile:

Stefan Milenkovich

One of the most promising young artists Berg Bows is proud to have as a client is Stefan Milenkovich. Stefan became acquainted with Michael Duff and Berg bows during his participation in the 1994 International Violin Competition, Indianapolis . "It was love at first site, and I decided to play on one of his bows right away, one day before the finals. The satisfaction was enormous, so I have been using the (Berg) bows ever since." Stefan used that Berg bow to play his final performance during the competition and won the Silver medal.

Born in Yugoslavia, Stefan started playing violin at the age of 3. His first appearance as a soloist was at the age of 5. Stefan played for, then United States President, Ronald Reagan at the age of 10 and also played for Mikhail Gorbachev a year later. A concert for Pope John Paul II was given at the Vatican when Stefan was just 16. Stefan had given over 100 performances by the age of 16 and has been extremely successful in his young adult career. He has become a prize winner in several competitions, such as Queen Elisabeth, Rodolfo Lipizer, Premio Paganini, Ludwig Spohr, Joseph Joachim, Tibor Varga and Yehudi Menuhin. His tours have taken him all over the world (a few times, at least) and he has appeared as a soloist with many orchestras and symphonies too numerous to mention. Stefan began recording at an early age and has several CD's, videos and books illustrating his beautiful work as an artist and a performer.

Stefan currently has three Berg bows which he plays with his 1738 Camillo Camilli violin. He considers his owning these three bows a "marriage" and finds it difficult to choose which bow to play "because they are all so wonderful". He says that his Berg bows have never let him down and that people always come to him after a concert, complementing him on his sound and inquiring about what bow he is using. Stefan is proud to say that he is a Berg bow owner and hopes to grow old with them.

"It (the Berg bow) has great sound quality from the frog to the tip, it does every kind of bouncing stroke that you can possibly imagine, it has great bite and produces a big sound. It is capable to go from the biggest Fortissimo to the softest Pianissimo, in other words, it has all the qualities that a great bow should have."

-Stefan Milenkovich, soloist

Customer Testimonial

Dear Michael,

I write to thank you for the "Snakewood" bow which I received 6 days ago. The bow is excellent and such a beautiful looking thing - especially the frog.

I had a chance to try out the bow in a performance of "The Messiah" playing the continuo part. One of the male singers (a top musician in Australia) complemented me after the performance and I think this was largely due to the bow.

The weight and balance is very nice for me and it gives such an even tone which is also extremely focused. I'm sure you know all this anyway.

Thanks once again,

Sarah Yates - Lecturer in Cello, Northern Territory University Principal Cellist, Darwin Symphony Orchestra Orion Piano Trio, Darwin, Australia

Bow Care Tips

Questions about how to care for your bow? Call us any time. We will give the best advise we can without seeing the bow. Some situations do require shipping the bow to us to properly diagnose the problem.

1. Care of the Shaft: Rosin is abrasive and may cut through the antiquing over a long period of time. Therefore, with a soft clean cloth, lightly dust off the rosin at the end of a day's playing. A Berg bow is French polished. Any major cleaning of the stick should be done only by a qualified craftsperson.

2. Leather Grip: Some players wear out the leather grip rather quickly. Don't let too much silver wire become exposed or you may cut through it. Remember that fine silver is not a hard metal. Replace the leather grip as often as required. For longer life grips, experiment with exotic hides which are tougher.

More tips to come!