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Viola
Alternate name:Ergonomic viola
Maker: David Lloyd Rivinus
Date: 2005
Place Made:Parrett Mountain, Oregon, United States, North America
Model: Pellegrina (ergonomic)
Serial No: none
SignedPrinted on paper label, the day and year written in black ink: David Lloyd Rivinus / Parrett Mountain, OR May 5, 2005
Branded on bridge toward fingerboard: DAVID RIVINUS
Branded on bridge toward fingerboard: DAVID RIVINUS
Markingsnone
DescriptionThe nickname of this exact viola is "Pascal"
The novel design of the Pellegrina model incorporates changes to the traditional viola that allow the instrument to have a large sound chamber while encouraging a playing position that is less likely to injure the musician. In addition to the more obvious changes in the shape of the viola body, the instrument also has a canted fingerboard and tapered sides that minimize strain on the joints, tendons, and ligaments. In order to reduce the weight of the instrument, Rivinus has substituted carbon fiber for the traditional ebony of the fingerboard, and balsa, an exceptionally light and strong wood, for the internal construction. While the creation of the Pellegrina model stemmed from the practical needs of injured professional musicians, Rivinus’ love of Surrealist art, especially the work of Salvador Dalí, has inspired the overall stylistic conception of the instrument. The scroll is an abstraction of a coiled belt, while the inlay of the back, which is different on each Pellegrina, here represents a flowerpot. Rivinus made the viola exhibited here, named Pascal, especially for the National Music Museum. In honor of its new home, the decoration of the instrument features the South Dakota state flower, the Pasque, painted on the top and back in violin varnish and mineral pigments by the maker himself.
David Rivinus retired from violin making in 2018.
Top: two-piece, quarter-cut spruce: fine grain broadening toward the flanks; maple reinforcements with chamfered corners at bridge feet position, under varnish
Back: two-piece, quarter-cut maple: medium curl descending slightly from center joint; maple pin through back into top block on treble side of center joint, partially under purfling; maple pin through back into bottom block on bass side of center joint, partially under purfling
Ribs: quarter-cut maple: narrow curl angled to right on bass side, angled to left on treble side; tapered, the tallest part on the upper bass bout, the shortest on the lower treble bout; rib corners chamfered
Head and neck: maple: broad curl; open-carved scroll, the upper end angled to treble side
Decoration: abstract inlaid purfling decoration on lower treble bout of top; natural wood-colored pasque flowers and green stems varnished on upper bass bout of top; pufling extends into back to form abstract flower pot, from which natural wood-colored pasque flowers and green stems emerge
Varnish: medium orange
Fingerboard: carbon fiber; longer under A- and D-strings, shortest under C-string
Nut: white Corian
Tailpiece: pernambuco; shortest at A-string, longest at C-string; custom made by Eric Meyer
Tailgut: black cord
Pegs: pernambuco; custom made by Eric Meyer; customized by David Rivinus with two rounded cutouts on each head
Saddle: white Corian
Endpin: pernambuco; three incises grooves on head, one deeper groove at center
F-holes: C-shaped on treble side; F-shaped and larger on bass side; abstract geometric soundholes on lobes of lower treble and upper bass bouts
Linings: spruce
Corner blocks: balsa
Top block: balsa
Bottom block: balsa
Bassbar: spruce
Other: two narrow maple reinforcements at chinrest position
The novel design of the Pellegrina model incorporates changes to the traditional viola that allow the instrument to have a large sound chamber while encouraging a playing position that is less likely to injure the musician. In addition to the more obvious changes in the shape of the viola body, the instrument also has a canted fingerboard and tapered sides that minimize strain on the joints, tendons, and ligaments. In order to reduce the weight of the instrument, Rivinus has substituted carbon fiber for the traditional ebony of the fingerboard, and balsa, an exceptionally light and strong wood, for the internal construction. While the creation of the Pellegrina model stemmed from the practical needs of injured professional musicians, Rivinus’ love of Surrealist art, especially the work of Salvador Dalí, has inspired the overall stylistic conception of the instrument. The scroll is an abstraction of a coiled belt, while the inlay of the back, which is different on each Pellegrina, here represents a flowerpot. Rivinus made the viola exhibited here, named Pascal, especially for the National Music Museum. In honor of its new home, the decoration of the instrument features the South Dakota state flower, the Pasque, painted on the top and back in violin varnish and mineral pigments by the maker himself.
David Rivinus retired from violin making in 2018.
Top: two-piece, quarter-cut spruce: fine grain broadening toward the flanks; maple reinforcements with chamfered corners at bridge feet position, under varnish
Back: two-piece, quarter-cut maple: medium curl descending slightly from center joint; maple pin through back into top block on treble side of center joint, partially under purfling; maple pin through back into bottom block on bass side of center joint, partially under purfling
Ribs: quarter-cut maple: narrow curl angled to right on bass side, angled to left on treble side; tapered, the tallest part on the upper bass bout, the shortest on the lower treble bout; rib corners chamfered
Head and neck: maple: broad curl; open-carved scroll, the upper end angled to treble side
Decoration: abstract inlaid purfling decoration on lower treble bout of top; natural wood-colored pasque flowers and green stems varnished on upper bass bout of top; pufling extends into back to form abstract flower pot, from which natural wood-colored pasque flowers and green stems emerge
Varnish: medium orange
Fingerboard: carbon fiber; longer under A- and D-strings, shortest under C-string
Nut: white Corian
Tailpiece: pernambuco; shortest at A-string, longest at C-string; custom made by Eric Meyer
Tailgut: black cord
Pegs: pernambuco; custom made by Eric Meyer; customized by David Rivinus with two rounded cutouts on each head
Saddle: white Corian
Endpin: pernambuco; three incises grooves on head, one deeper groove at center
F-holes: C-shaped on treble side; F-shaped and larger on bass side; abstract geometric soundholes on lobes of lower treble and upper bass bouts
Linings: spruce
Corner blocks: balsa
Top block: balsa
Bottom block: balsa
Bassbar: spruce
Other: two narrow maple reinforcements at chinrest position
DimensionsTotal viola length: 704 mm
Back length, top edge to bottom block: 415mm
Back length, upper bass lobe to lower treble lobe: 510 mm
Upper bout width: 260 mmStop length: 215 mm
Center bout width: 140 mmVibrating string length: 365 mm
Lower bout width: 308 mmNeck length (bottom of nut to ribs): 145 mm
Upper rib height: 38-51 mm
Center rib height: 34-51 mm
Lower rib height: 28-46 mm
Back length, top edge to bottom block: 415mm
Back length, upper bass lobe to lower treble lobe: 510 mm
Upper bout width: 260 mmStop length: 215 mm
Center bout width: 140 mmVibrating string length: 365 mm
Lower bout width: 308 mmNeck length (bottom of nut to ribs): 145 mm
Upper rib height: 38-51 mm
Center rib height: 34-51 mm
Lower rib height: 28-46 mm
Terms
Credit Line: Gift of Esther H. and Edward R. Rivinus, 2005
Not on view
Published ReferencesLarson, André P., "Calendar of Events," National Music Museum Newsletter 32, No. 2 (May 2005), p. 8.
Arian Sheets, "If Salvador Dali Played the Viola . . Art Meets Ergonomics in a Distinctive New Instrument," National Music Museum Newsletter 32, No. 4 (November 2005), pp. 4-5.
Arian Sheets, "If Salvador Dali Played the Viola . . Art Meets Ergonomics in a Distinctive New Instrument," National Music Museum Newsletter 32, No. 4 (November 2005), pp. 4-5.
Object number: 10830