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Posts Tagged ‘violin’

Vieuxtemps Guarneri del Gesu
The Vieuxtemps Guarneri del Gesu

It’s all over the news: In a recent study, Claudia Fritz of the Institut Jean le Rond d’Alembert in Paris asked 10 well known violinists to play six old Italian violins – five Stradivari and a Guarneri del Gesù – and six new violins.

Salon says the study "showed a general preference for new violins and that players were unable to reliably distinguish new violins from old."

"Violinists can’t tell new violins from old," USA Today trumpets.

The normally sober CBC posits that "new research suggests that Stradivarius violins may not deserve their legendary reputation."

Even the National Geographic gets breathless over this one, headlining their story "Stradivarius violins aren’t better than new ones."

What’s really going on here?

First of all, the study found that given a limited time with old and new violins – and not having been told which was which – a specific group of violinists showed some significant preference for two modern violins, and clearly disliked one historical Stradivarius violin. It also found that after playing an instrument for 30 seconds, musicians were able to identify it correctly as "old" or "new" only about half the time.

Note carefully how that statement compares with the headlines above.

Secondly, this study follows an earlier one which was widely criticized for its small sample size and its location – violinists were asked to play the instruments in a hotel room, not a concert hall. The study published yesterday (7 April) doubled the number of violins and gave the musicians a chance to play in a practice room and on a concert stage.

This study, unlike the previous one, identified the participants. This time the violinists evaluating the instruments were Olivier Charlier, Pierre Fouchenneret, Yi-Jia Susanne Hou, Ilya Kaler, Elmar Oliveira, Tatsuki Narita, Solenne Païdassi, Annick Roussin, Giora Schmidt, and Stéphane Tran Ngoc.

So far, so good. However, one thing doesn’t seem to have changed. Like the earlier study, this one tapped collectors for the loan of their valuable historical instruments.

This is a problem. Most collectors these days are investors, not musicians. They don’t play their violins, certainly not the way a working musician would. An instrument that isn’t played regularly will never be in top shape.

Furthermore, the researchers weren’t allowed to make any adjustments to the historical instruments. They couldn’t even change the strings. What professional musician would accept that restriction for the violin he or she plays daily?

As Steven Isserlis pointed out in discussing the earlier study in The Guardian‘s music blog, "A tiny movement of the sound-post – the little stick inside a string instrument that lies close to the bridge – can alter the tone completely. In Italian, this sound-post is called the ‘anima’ – the soul … players travel across continents to have their sound-posts moved a fraction of an inch.

"The shape, thickness and height of the bridge have to be right, too, in order for the instrument to vibrate freely. The strings have to be top quality. And then there’s the bow, which is almost as important as the instrument. Presumably the same bow was used for every violin in this test; but different bows react differently to the same instrument. It is the correct combination that matters most."

The Strads and Guarneri del Gesù in this study were effectively hobbled.

I’m going to stick my neck out and say that I suspect a classic case of confirmation bias in this study.

I can’t help thinking of something that audiophiles argue about endlessly. Thirty years on, they’re still debating the sonic differences between LPs and CDs.

They can bicker all they want. My ears tell me that the very best LPs played with the very best equipment beat out the best CDs.

Now, there’s a problem with this. I would put the number of truly sonically superlative LP titles in – perhaps – the hundreds. What’s more, the equipment you need to really hear them at their best can be absurdly expensive and frustratingly finickly. If the stylus is a bit dirty or worn, or the tonearm is slightly out of adjustment – forget it. (Sound familiar? Read Steven Isserlis’s comments above about the violin’s sound-post.)

I treasure the few acoustically stunning LPs I own. But the truth is that the music I genuinely love mostly isn’t on those LPs. It’s on CDs, and the average CD on my record shelf is head and shoulders above the average LP.

My guess – and mark well, I am not a violinist – is that something akin to this is at work in the violin world. The very best historical instruments, carefully maintained and well played, are probably close to unbeatable. But in the real world of harried touring, maybe – just maybe – a well made and finely configured modern instrument can hold its own.

If that be true, let’s celebrate! That’s really good news for many thousands of musicians – the ones who will never be able to spend a 7 or 8 figure sum for the tools of their trade.

Lipinski Strad
The Lipinski Strad (Michael Darnton)

Police in Milwaukee today (Thursday 6 February) confirmed that a violin recovered from the attic of a house in Milwaukee’s Bay View neighborhood is the rare Lipinski Stradivarius stolen from the Milwaukee Symphony’s concertmaster last Monday (27 January).

Three people were arrested Wednesday, apparently in connection with the theft. One was later released. As of Thursday, no charges had been filed, but that’s expected on Friday.

Concertmaster Frank Almond had been shot with a stun gun. Police say that information from Taser International led them to a Milwaukee resident. On a tip, they also detained a man previously convicted of a 1995 theft from a Milwaukee art gallery.

One of the suspects led police to an acquaintance’s home. There, armed with a search warrant, they found the violin in a suitcase, apparently undamaged. The special custom-made violin case that Almond had used to protect the instrument had earlier been found empty near the scene of his attack.

Almond has scars on his wrist and chest from the stun gun used to assault him, but he’s otherwise physically unharmed.

The recovered Lipinski Strad is back with its anonymous owners. Prior to 2008, when they allowed Almond to use the instrument, they’d kept it in a bank vault. Almond expects to be reunited with the violin this weekend.

In recent years, more rare instruments have become investments for wealthy collectors. This trend is pricing fine historical instruments beyond the means of many working musicians.

However, when collectors lend those instruments to musicians, the instruments grow in reputation and value. Regular use and maintenance also keeps them in better shape than if they were stored away.

Some concern remains that this theft might prompt some collectors to think twice before lending their instruments. Musicians and orchestras also worry about its effect on already-high instrument insurance premiums.

On the other hand, indications are that this was strictly a local job, not a major international heist. That and the speedy recovery are good news for musicians and music lovers.


Further Information:

Milwaukee Police Confirm Recovery at The Guardian

Art Thief Among Suspects at the Milwaukee Star-Tribune

Lipinski Stradivarius
The Lipinski Strad (Frank Almond)

Recently, the Minnesota Orchestra’s musicians and management resolved a long standing dispute partly fueled by the board’s insistence on cutting the players’ salaries. The board was pushing for a 35% giveback. The final agreement reduces the average musician’s salary from $135,000 to $118,000.

Let’s put that pay scale in perspective. The basic tool of an orchestra musician’s trade is his or her instrument. Today, the cost of fine string instruments can easily run into six to seven figures.

A few years back, WKSU arts reporter Vivian Goodman and I wrote about this problem in Instrument Unaffordable.

Part of the reason for the astronomical price tags: collectors. In recent decades, instruments have joined fine art as investment vehicles for the wealthy, driving the price of historical string instruments to record levels. The one bright spot has been the generosity of some museums and music-loving collectors in allowing noted artists – and, sometimes, promising students – to use instruments from their collections.

At 10:20pm last Monday evening (27 January), Milwaukee Symphony Orchestra concertmaster Frank Almond left the auditorium at Wisconsin Lutheran College. He’d just finished playing Olivier Messiaen’s powerful Quartet for the End of Time, and had carefully wrapped the violin to protect it from Milwaukee’s subzero cold.

As he walked to his car, someone approached him. An instant later, Almond was on the ground, shot with a stun gun. His assailant snatched the rare 1715 Stradivarius Almond had been playing minutes before, then jumped into a waiting dark-red minivan and sped away.

Violins made by Antonio Stradivari (1644-1737) – "Strads" – are prized for their distinctive tone quality.

The Lipinski Strad, formerly owned by 19th century virtuoso Karol Lipinski, and earlier by 18th century violinist and composer Giuseppe Tartini, was on long term loan to Almond. Its current owners remain anonymous, but are described as having "strong ties to Milwaukee." Almond had had use of the instrument since 2008. At that time its value was estimated at around $3.5 million. Today it’s valued at around $6 million.

This is hardly the first time that a Strad has been stolen. In fact, of the 540 known to have survived, at least 19 are currently missing.

Some historians have speculated that the "Red Mendelssohn," the inspiration for the 1998 cinematic tale The Red Violin, was stolen shortly after its creation in 1720. It didn’t resurface until one of composer Felix Mendelssohn’s heirs purchased it in Berlin in the 1930s. Elizabeth Pitcairn now plays that violin.

The famed Joshua Bell also uses an instrument that once was "hot." It vanished from Bronislaw Huberman’s Carnegie Hall dressing room in 1936. Huberman never got it back.

Finally, on his deathbed, a minor New York session musician confessed to the theft. For nearly five decades, Julian Altman had been playing Huberman’s Gibson Strad in pickup gigs. He’d smeared it with black shoe polish to disguise it.

Altman had known better than to try to "fence" such a high-profile instrument. The crook who stole Min-Jin Kym’s Strad in a London train station in 2010 wasn’t as canny. Last year (2013), he tried to peddle it for £100. He was promptly arrested.

The Milwaukee theft is particularly unsettling because of the nature of the crime. The violence of the attack – Almond was left lying in the parking lot – has many in the music world rattled.

Furthermore, because it’s effectively impossible to sell such an instrument on the black market, some are wondering whether – as with Huberman’s violin in 1936 – an unscrupulous musician might be behind the theft.

Although the Lipinski Strad was insured, there’s also concern over what effect this loss may have on other collectors’ willingness to lend their instruments to working musicians.

On Friday, an unknown benefactor posted a $100,000 reward for information leading to the return of the instrument. The FBI and Interpol are both on the case, but if you have any knowledge of the attack, or can help identify the escape vehicle, you can call the Milwaukee Police at 414 935-7360. You can also contact the Milwaukee Symphony anonymously at 414 226-7838.


Further Information:

Stradivarius Stolen at The Guardian

Reward Announced at Milwaukee Journal-Sentinel

Frank Almond on the Lipinski Strad at All Things Strings

Stradivarius Violins from The Violin Site

A Violin’s Life: Music for the ‘Lipinski’ Stradivari, CD by Frank Almond at Arkivmusic

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Philippe Quint
Philippe Quint
(Arts Management Group)

During the 2005-2006 season, the Akron Symphony was led by candidates for their music director gig. These auditions were all musically satisfying. You’d expect that, since any finalist in such a selection process is going to have pretty good chops.

The October 2005 concert was given a further boost by the presence of a rising young violin soloist. He played Mozart’s Turkish concerto (#5) with a heady level of musicianship and precision.

This impressive fiddler was Philippe Quint. Since then his career has continued to blossom. In 2009, he recorded the Korngold concerto; the CD hit the Billboard classical top 20 in its first week on the market. He’s been nominated for 4 Grammy awards. This month (March 2012) he’ll release a recording of the Mendelssohn and Bruch concertos, and Beethoven’s Romances.

It’s also taken an intriguing new trajectory. Quint has become an actor – at least for one film. He’ll reach the big screen in New York next month (April 2012).

Downtown Express turns on the tension between the tux-and-tails world of the concert hall and the blue jeans attitude of popular music. Philippe Quint plays Sasha, a Russian violinist on scholarship to Julliard. From the time Sasha was a child, his traditional cellist father has been grooming him for a career on the concert stage.

But Sasha finds himself drawn to the gritty, raucous attitudes and rhythms of New York’s downtown music scene. Then he meets Ramona, a bohemian singer-songwriter. Soon he is a part of her band – and her life.

Afraid of his father’s censure, for a time Sasha tries to live both lives, careening between concert violinist and pop fiddler. A crucial recital looms. Which path will he choose?

“I was instantly swept away by this story because it mirrored my life,” says Quint. He was born in Russia and defected to the US as a teenager, to avoid army service in Russia and to study with Juilliard’s Dorothy DeLay.

Many musicians have appeared in films as themselves or as famous virtuosi of the past. However, it’s not at all common for a classical musician to play a fictional character. To prepare for his role, Quint studied with producer and acting coach Sondra Lee.

Downtown Express is based on a true story. It was filmed on location in New York in the summer of 2010. Singer-songwriter Nellie McKay plays Ramona, the street musician. The director is David Grubin and the producer is Michael Hausman (Brokeback Mountain, Gangs of New York, Amadeus).

Does this mean an end to Quint’s concert hall careeer? Not likely, given the success that’s been bringing him. In addition to his CD release, just this year (2012) he’s played concerts in Bochum, Germany; Mons, Belgium; Sofia, Bulgaria; Mexico City; and in Santa Monica, El Paso, Brevard, and Harrisburg. Later this month (March 2012) he’ll head for Costa Rica and the Dominican Republic.

Downtown Express opens on 20 April at the QUAD Cinema, 34 West 13th Street, New York.

Further reading:

Downtown Express (official public website)

Downtown Express at the Internet Movie Database (IMDB)

Downtown Express trailer

Philippe Quint at Arts Management Group

This is an update of an article first published in WKSU Classical on 2 February 2011.

Vieuxtemps Guarneri del Gesu
The Vieuxtemps Guarneri del Gesu

What would you do if the tools you use to do your job cost you a half-million dollars?

This is the quandry that working musicians face. Responsive, sweet-toned instruments have never been cheap. Even 20 or 30 years ago, a good midrange historical violin would easily have cost an orchestra player a year or two’s worth of salary.

Since then, prices have soared. In 2006, a Stradivarius violin sold at auction for over US$3.5 million. This year (2010) a Chicago dealer is offering a Guarneri del Gesu once owned by composer Henri Vieuxtemps. The asking price: an eye-popping US$18 million.

Even for soloists of international stature, these instruments are simply out of reach.

The problem is that fine musical instruments are increasingly seen not as vehicles for musical expression, but as investments. They are slipping away from musicians and falling into private investors’ collections.

Thoughtful musicians treasure the living art from history’s great instrument workshops. They play them daily. They become one with these instruments. They share their art with us.

But increasingly, these artists are shut out. Many of those who didn’t or couldn’t buy – maybe I should say "invest" – in the 1980s or before may now never own an historical instrument.

What to do? For many, a modern instrument is the only answer. Fortunately, outstanding instruments are made in 21st century workshops all over the world, including right here in the US. And increasingly, students and those just beginning a career are turning to the world’s low-cost manufacturing center for help. Look inside the instrument, and the words “made in China” are on the label.

WKSU’s arts reporter Vivian Goodman recently spoke with musicians and instrument makers about the situation. Here’s her take on the story.

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Further reading:

The Mona Lisa of Violins in The Guardian

A Modern Strad in WKSU Classical

A Nation of Pianos and Pianists in WKSU Classical

 

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