John Schelleng of Bell Labs, Dr. Carleen Hutchins, and their colleagues in the Catgut Acoustical Society, scaled the instruments of the new family into their optimum ranges based on the acoustic signature of a conventional violin. It was a good violin, too. Dr. Frederick Saunders, who was a friend of Jascha Heifetz,' used Heifetz' Guarneri violin as the reference model for the new violin family. Unfortunately, the other seven instruments of the family overpowered even fine Cremonese violins, so the decision was made to alter the violin as well. After several false starts, a body length of 15 inches (about 380 mm) was deemed to be an optimum size. The mezzo violin is the third instrument in the violin octet. The soprano violin is the next higher violin, and the alto violin is the next lower.

The mezzo is currently available in both the original Hutchins model and the slightly smaller model of mine (372 mm), which is scaled up from the Stradivari Forma G violin without compromises and gives a very Cremonese appearance to the outline. The acoustic fundamentals and tuning of the free plates of these models follows the techniques developed by Hutchins.

Musicians who have played both have said that each model seems to fit a specific need. The Hutchins mezzo is quite powerful but very bright, making it well-suited for solo use against large ensembles. Acoustic fiddlers and string band players like it because it integrates easily into acoustic ensembles, and because it also takes amplification well. The Hutchins mezzo has a quality in its upper register that is often described as "brilliant" or "silvery."

Some musicians refer to the Spear second-generation model as the "orchestra model." By careful placement of the fundamental air resonances, the Spear implementation has a distinct mezzo-like quality that blends in exceptionally well with classical string chamber ensembles or orchestral violin sections. It does not lack in power, and the quality in the upper register is often described as "rich" or "golden."

Among the advantages of either model are their ability to produce unusually clear responses in the upper positions on any string, and the ease with which clear, ringing harmonics are brought forth. Pizzicato passages are also fuller than they are on most conventional violins. And lastly, as one violinist was overheard to say, "nothing can beat these instruments on the G and D strings."

Bows, chinrests, and strings from many manufacturers are commonly available for the mezzo violin. The instrument fits nicely in a case for a small viola.

Last updated August 25, 2008