Throughout the development and creation of the Glissotar, we’ve achieved numerous milestones and, of course, encountered many dead ends. Many prototypes were born, from which ultimately nothing emerged or only certain parts were utilized. However, these experiences were necessary to hold the present-day Glissotar in our hands. We wrote more about this in the previous part of our blog series.
Following the design and construction of the instrument, we conducted numerous tests and experiments to refine the sound and playing experience. Throughout the creation and testing of prototypes, we continuously improved and developed until we achieved the desired results.
We are grateful to continuously receive positive feedback since then, indicating that what we have created is appreciated by the audience and loved by musicians.
A significant milestone in the Glissotar’s history was the project titled “The Past and Future of the Tárogató” in collaboration with the Sonus Foundation in 2021. (The project was realized with the support of the Hungarikum Committee and the Hungarian Ministry of Agriculture.) As part of the project, we issued a call for composers to write short pieces for the Glissotar. We received 75 pieces from 63 composers from 26 countries. A selection was made from these submissions, and 8 pieces—among collective improvisations accompanied by other instruments—were performed in May 2021 at the Reformed Church on Hold Street in Budapest.
This was a milestone in the instrument’s life because it demonstrated that the Glissotar has a place in contemporary music, and exciting results can be achieved when it is played alongside traditional instruments. Since then, an album titled “Glissotar” featuring the performed pieces has been released. It is available for purchase in physical form and on major music platforms. The album can be found here.
As part of the Sonus Foundation project, a short film titled “The Third Life of the Tárogató” was also released, along with instrument demonstration workshops for children titled “Sound Slide.”
The feedback we got during the project was significant for us because the large number of submissions we received indicated that contemporary composers are inspired by the emergence of this new instrument. It is allowing them to explore musical ideas that were not possible or approached differently with traditional instruments. Since then, more and more pieces are being created with orchestral accompaniment. For example, in the fall of 2023, Daniel performed with the Budapest Strings at the Óbuda Community Center.
Besides that, one of the tremendous acknowledgments was winning the Guthman Musical Instrument Competition in 2022, an international competition for instrument makers, where the Glissotar not only emerged as the overall winner but also received the People’s Choice Award.
Out of approximately 50 applicants, 10 made it to the Atlanta finals, where the instruments were evaluated by a panel of experts: Gerhard Behles, the CEO of one of the largest music software companies, Ableton; Paola Antonelli, the head curator of architecture and design at the Museum of Modern Art in New York; and Rick Beato, a music expert and YouTube personality.
We consider this award a significant recognition for several reasons. Most participating instruments featured some electronic or digital, software-based innovation, while the Glissotar stood out. Nowadays, it’s much more common to create something new in the electronic realm than to innovate within the field of traditional, acoustic instruments.
Moreover, this recognition signifies that musicians and audiences alike appreciate the Glissotar, indicating its place in music and prompting serious consideration for manufacturing and market presence.
To ensure that the “Glissotar experience” is accessible to as many people as possible, we continuously strive to bring the instrument to various locations, such as music festivals and instrument fairs. These events provide excellent opportunities for participants to not only hear the instrument live but also to hold it in their hands. The first such occasion was at Cremona Musica in Italy, and since then, we have continuously increased the number of exhibitions.