“Daniel Váczi’s invention, innovation is the kind of thing for me as well, which immediately brings out such childlike excitement […] I can immediately think in terms of music with it.” – Mihály Borbély, musician (Kossuth and Liszt Award laureate).
It’s a joy, a source of pride, and immensely motivating to read feedback about the Glissotar. Reading these responses makes us feel like we have created an instrument that has a place in music, even across various styles.
(If you happened to miss the previous parts of our blog series, you can click here to find them. From these, you’ll learn about the birth of the Glissonic idea, what has happened with the instrument in recent years, and even take part in a journey spanning centuries!)
In today’s world, where it often feels like we’ve seen everything and encountered everything, it’s challenging to create something new—not just in music but in any area of life.
Daniel Váczi spoke about this: “It’s a great feeling to see someone try the instrument for the first time. For example, when a saxophonist plays it for the first time, and I see the amazement on their face. When they realize all the possibilities it offers if they truly learn to play it. At the Cremona musical instrument fair when I played the Glissotar at our stand people came and went, initially just glancing and moving on. However, after a few steps, they stopped, looked back to make sure they were seeing what they thought they were, and often came back to us.”
Future Plans for the Glissotar
We are continuously refining the Glissotar and are filled with ideas and plans. In the future, we aim to further develop it and bring it to as many people as possible. Our goal is for this new and exciting instrument to find its place in the music world and contribute to ever more diverse and creative musical expressions—whether experimental or electronic music, jazz, classical, or contemporary.
As for where exactly it will find its place in music, it’s hard to say right now. This will turn out as more and more people playing it.
“I think it will likely be more popular in improvised music than among traditional classical musicians because they typically perform on instruments specifically designed for their genre. But I think it could be interesting to make classical transcriptions for Glissotar too.” said Daniel Váczi when asked about where he sees the Glissotar’s place.
Currently we aim to expand the instrument family further, with the next addition likely being the recorder. But based on the principles of the Glissotar, many other instruments can be made, such as the flute, clarinet, saxophone, oboe, bassoon, kaval, shakuhachi or cornetto, so there are plenty of plans and tasks ahead.
