Joseph Curtin completed his first violin in 1978, and has worked as a maker in Toronto, Paris, and Cremona. In 1985 he and Gregg Alf established the firm of Curtin & Alf in Ann Arbor, Michigan. Curtin opened his own studios in 1997. Along with researcher Fan Tao, Curtin is founder and co-director of the VSA Oberlin Acoustics Workshop. He has lectured on violin making at universities and professional associations throughout America and Europe.
▪ bio current as of 2009
2009
AL#97 p.4 read this article
Joseph Curtin
▪ It turns out that virtually every aspect of the violin can be altered to make it more playable, more visually interesting, and perhaps better sounding. What a relief! There’s life in the old girl yet. Are players brave enough to get on board?
1999
AL#60 p.30 BRB5 p.412
Joseph Curtin
▪ Evia is Curtin’s shorthand for Experimental Viola, a design he has created in wood and which he hopes to transfer into graphite and foam. Perhaps the time for change is finally upon us. Many think they can see the end of first-quality tonewood, and if we’re going to alter a 500-year-old tradition by changing wood species, why not change all the way and leave wood behind? Curtin (a widely respected creator of bowed instruments) seems certain that synthetic instruments of tonal excellence are less than a decade away. With 19 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1998
AL#54 p.34 BRB5 p.194
Tim Olsen Joseph Curtin
▪ The personal history of violin people is often the most interesting because so many of them realize that a formal approach to learning their craft is often the fastest way of being recognized in the business, even though they may invest many years in the process. And they frequently find themselves in exotic places as they learn. It must work, too. How many of us need an assistant and a business manager to help hold down the fort, as Curtin does? With 6 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.