ERIC GRATZ, SALES ASSOCIATE
Internationally celebrated violinist Eric Gratz combines a robust performing and teaching career with a passion for fine instruments and bows. He has appeared as soloist and concertmaster with over two dozen orchestras, including those of Cleveland, Louisiana, Phoenix, San Antonio, Tucson, Santa Fe Opera, and the Indianapolis Chamber Orchestra.
​Gratz performs recitals and chamber music on major stages around the world, is a Billboard-charting recording artist, and serves as Director of the American Chamber Music Society in Chicago. He previously served for nine seasons as concertmaster of the San Antonio Symphony, where he took part in numerous world premieres, regularly play-conducted the orchestra, and frequently appeared as soloist in concerto repertoire ranging from Bach to Bartok. Deeply committed to education, he has recorded several hours of video courses for Tonebase Violin, is on faculty at Music Institute of Chicago and North Central College, and serves on the summer faculty at Interlochen as a Valade Concertmaster.
Gratz’s lifelong fascination with fine instruments has been bolstered by his rich performance history on violins by Stradivari, Guadagnini, Amati, Balestrieri, Serafin, Vuillaume, and many others. He is deeply curious about the tonal and historical qualities that define exceptional stringed instruments and bows, offering a concert violinist’s perspective that appeals to both performers and collectors.
Q and A time with Eric!
What advantages do clients gain by working with someone who performs and teaches at a high level?
I've been afforded the unique opportunity to play and hear a wide range of exceptional violins and bows as a soloist, chamber musician, and concertmaster. That familiarity creates a deep understanding of the distinct personalities of different makers and how those qualities translate in performance. I've also taught students of all levels, from complete beginners to young professionals on the international competition or orchestral audition circuit. This enables me to identify where someone is in their stage of development and what tools would be most appropriate at this particular point in time.
When someone is faced with dozens of options within a single price range, the differences can quickly become difficult to discern. By listening carefully to a musician and understanding their artistic goals, I can help narrow the field to a small number of truly compelling choices. This focused approach not only reduces overwhelm, but allows the player to make a confident, informed decision.
Has your idea of the ‘ideal sound’ changed over time? How does that influence how you guide
others?
Certain types of tonal palettes are appropriate in specific settings. For example, I wouldn’t take the same approach to my sound when I’m performing Tchaikovsky Concerto as I would sitting concertmaster or playing in a string quartet. It’s important to understand this and prioritize certain sound and playability characteristics over others. These days I’m playing a great amount of chamber music, so a sound world that’s malleable, colorful, and nuanced is of greater priority to me than, say, putting out a tremendous amount of volume.
No bow or instrument can be all things at once; it simply does not exist. For me to know this and understand what set of priorities someone has—especially since I’ve sat on so many audition panels and competition juries—is extremely useful.