Stradivarius

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Antonio Stradivari, by Edgar Bundy, 1893: a romanticized image of a craftsman-hero Stradshp.jpg
Antonio Stradivari, by Edgar Bundy, 1893: a romanticized image of a craftsman-hero

A Stradivarius is one of the string instruments, such as violins, violas, cellos, and guitars, crafted by members of the Stradivari family, particularly Antonio Stradivari (Latin: Antonius Stradivarius), in Cremona, Italy, during the late 17th and early 18th centuries. These instruments are known for their craftsmanship, tonal quality, and lasting legacy, and are considered some of the finest ever made. Stradivari's violins, in particular, are coveted by musicians and collectors, with many selling for millions of dollars. [1]

Contents

Antonio Stradivari made over 1,100 instruments, with approximately 650 surviving today. The exact methods Stradivari used to produce the instruments' famed sound remain unknown, with theories ranging from the unique quality of the wood used during the Little Ice Age to the varnishes and chemical treatments applied. Despite extensive scientific research, including modern acoustic analysis and CT scans, no one has been able to conclusively replicate or fully explain the tonal qualities of Stradivarius instruments. [2] [3]

The reputation of Stradivarius instruments for having unmatched sound quality has been debated. Blind experiments conducted from the 19th century to the present have often found no significant difference between Stradivari violins and high-quality modern violins. These findings have led some to question the objectivity of the instruments' legendary status. [4]

Stradivarius instruments are still played by leading musicians and housed in museums worldwide, such as the Museo del Violino in Cremona, which preserves several Stradivarius instruments. Initiatives like the Stradivarius Sound Bank have aimed to digitally capture and preserve the sounds of these instruments for future generations. [5] Stradivarius instruments have become known in popular culture, appearing in fiction and representing elite musical artistry.

Construction

Maker's label from Stradivari Geigenzettel.png
Maker's label from Stradivari

Stradivari made his instruments using an inner form, unlike the French copyists, such as Vuillaume, who employed an outer form. It is clear from the number of forms throughout his career that he experimented with some of the dimensions of his instruments. [6] The woods used included spruce for the top, willow for the internal blocks and linings, and maple for the back, ribs, and neck. [7] Stradivari and Giuseppe Guarneri's violins differ in their tonal quality, comparable to the difference between red and white wine.[ citation needed ] The Stradivari's sound is described as more "direct and precise", responding to the slightest touch with refined direction and elegance. [8]

There has been conjecture that the wood used may have been treated with several types of minerals, both before and after construction of a violin. Scientists at National Taiwan University have detected trace amounts of aluminum, copper, and calcium in wood from Stradivari violins. [9] [10] The traces may have come from chemical preservatives applied by loggers to the wood they sold. [11] As well, the violin makers applied varnishes to their instruments. Potassium borate (borax) may have been used to protect against woodworm. [12] Sodium and potassium silicate may have been used to prevent mildew, rotting and insect damage. [13] Simone Fernando Sacconi suggested that Vernice bianca, an egg tempera varnish composed of gum arabic, honey, and egg white, may have been used. [14]

French chemist Jean-Philippe Echard and his co-workers have studied varnishes on Stradivarius violins. He reported in 2010 that even when varnish is no longer visible to the human eye on the surface of older violins, it can be detected within the top layers of cells. A lower layer of varnish is found within the topmost wood cells while an upper rests upon the wood. Echard's findings suggest that Stradivari used a mixture of common Cremonese resin, oil, and pigment as a varnish, rather than making his own. Echard did not find traces of specialized ingredients such as protein materials, gums, or fossil amber. [11] [15]

A comparative study published in PLOS One in 2008 [16] found no significant differences in median densities between modern and classical violins, or between classical violins from different origins; instead the survey of several modern and classical examples of violins highlighted a notable distinction when comparing density differentials. These results suggest that differences in density differentials in the material may have played a significant role in the sound production of classical violins. A later survey, focused on comparing median densities in both classical and modern violin examples, questioned the role available materials may have played in sound production differences, though it made no comment on variations in density differentials. [17] The content of copper and aluminium is higher than current instruments. [9] [10]

Market value

In 1924, Toscha Seidel bought the Da Vinci Stradivarius violin for $25,000 from a private dealer from Berlin. 19240427 Toscha Seidel buys Da Vinci Stradivarius violin - $25,000 - New York Times.jpg
In 1924, Toscha Seidel bought the Da Vinci Stradivarius violin for $25,000 from a private dealer from Berlin.
Antonio Stradivari violin of 1703 on exhibit, behind glass, at the Musikinstrumentenmuseum (Berlin Musical Instrument Museum), 2006 Stradivarius violin front.jpg
Antonio Stradivari violin of 1703 on exhibit, behind glass, at the Musikinstrumentenmuseum (Berlin Musical Instrument Museum), 2006

A Stradivarius made in the 1680s, or during Stradivari's "Long Pattern" period from 1690 to 1700, could be worth hundreds of thousands to several million U.S. dollars at today's prices. [19] [ unreliable source? ] The 1697 "Molitor" [20] Stradivarius, once rumored to have belonged to Napoleon (it actually belonged to a general in his army, Marshal Gabriel Jean Joseph Molitor, 1er Comte Molitor), sold in 2010 at Tarisio Auctions to violinist Anne Akiko Meyers for $3,600,000, at the time a world record. [21] [22]

Depending on condition, instruments made during Stradivari's "golden period" from 1700 to about 1725 [23] can be worth millions of dollars. In 2011, his "Lady Blunt" violin from 1721, which is in pristine condition, was sold in London for $15.9 million (it is named after Lord Byron's granddaughter Lady Anne Blunt, who owned it for 30 years). It was sold by the Nippon Music Foundation in aid of the Japanese earthquake and tsunami appeal. [24] In Spring 2014 the "Macdonald" viola was put up for auction through the musical instrument auction house Ingles & Hayday in conjunction with Sotheby's via silent auction with a minimum bid of $45 million. [25] The auction failed to reach its minimum bid by 25 June 2014, [26] and the viola was not sold.

Vice magazine reported in May 2013 that "in recent years, Stradivarius investment funds have started to appear, pushing already astronomical prices even higher". [27]

Stradivarius instruments are at risk of theft. Stolen instruments are often recovered, even after being missing for many years. They are difficult to sell illicitly, as dealers will typically call the police if approached by a seller with a Stradivarius known to have been stolen. [28] The General Kyd Stradivarius was stolen in 2004. It was returned three weeks later by a woman who found it and handed it over to the police. [29] [30] [31] The Sinsheimer/Iselin was stolen in Hanover, Germany in 2008 and recovered in 2009. [32] The Lipinski Stradivarius was stolen in an armed robbery on 27 January 2014 [33] and subsequently recovered. [34] The Ames Stradivarius was stolen in 1981 and recovered in 2015. [28]

A number of stolen instruments remain missing, such as the Karpilowsky, stolen in 1953. [35] the Davidoff-Morini, stolen in 1995, [36] and the Le Maurien, stolen in 2002. [37]

Comparisons in sound quality

The Stradivarius instruments are famous for the quality of sound they produce. However, the many blind experiments from 1817 [38] [39] to as recent as 2014 [40] [41] [11] have never found any difference in sound between Stradivari's violins and high-quality violins in comparable style of other makers and periods, nor has acoustic analysis. [42] [43] In a particularly famous test on a BBC Radio 3 programme in 1977, the violinists Isaac Stern and Pinchas Zukerman and the violin expert and dealer Charles Beare tried to distinguish between the "Chaconne" Stradivarius, a 1739 Guarneri del Gesú, an 1846 Vuillaume, and a 1976 British violin played behind a screen by a professional soloist. The two violinists were allowed to play all the instruments first. None of the listeners identified more than two of the four instruments. Two of the listeners identified the 20th-century violin as the Stradivarius. [44] Violinists and others have criticized these tests on various grounds such as that they are not double-blind (in most cases), the judges are often not experts, and the sounds of violins are hard to evaluate objectively and reproducibly. [43] [45]

In a test in 2009, the British violinist Matthew Trusler played his 1711 Stradivarius, said to be worth two million U.S. dollars, and four modern violins made by the Swiss violin-maker Michael Rhonheimer  [ de ]. One of Rhonheimer's violins, made with wood that the Swiss Federal Laboratories for Materials Science and Technology researcher Francis Schwarze had treated with fungi, received 90 of the 180 votes for the best tone, while the Stradivarius came second with 39 votes. The majority (113) of the listeners misidentified the winning violin as the Stradivarius. [46] Analysis of the treated wood revealed a reduction in density, accompanied by relatively little change in the speed of sound. According to this analysis, treatment improves the sound radiation ratio to the level of cold-climate wood considered to have superior resonance. [47]

In a double-blind test in 2012 [48] [49] published in the study "Player preferences among new and old violins", [41] expert players could not distinguish old from new instruments by playing them for a short time in a small room. [50] In an additional test, performed in a concert hall, one of the Stradivarius violins placed first, but one of the participants stated that "the audience in the concert hall were essentially equivocal on which instruments were better in each of the pair-wise instrument comparisons" and "I could tell slight differences in the instruments... but overall they were all great. None of them sounded substantially weaker than the others." [48] Modern violins were rated as having better sound-carrying qualities and were preferred again in a study in 2017. [51] [11]

While many world-class soloists play violins by Antonio Stradivari, there are notable exceptions. For example, Christian Tetzlaff formerly played "a quite famous Strad", but switched to a violin made in 2002 by Stefan-Peter Greiner. He states that the listener cannot tell that his instrument is modern, and he regards it as excellent for Bach and better than a Stradivarius for "the big Romantic and 20th-century concertos." [52]

Theories and reproduction attempts

Some maintain that the very best Stradivari have unique superiorities. [53] Various attempts at explaining these supposed qualities have been undertaken, most results being unsuccessful or inconclusive. Over the centuries, numerous theories have been presented – and debunked [11] – including an assertion that the wood was salvaged from old cathedrals. [54]

A more modern theory attributes tree growth during a time of global low temperatures during the Little Ice Age associated with unusually low solar activity of the Maunder Minimum, circa 1645 to 1750, during which cooler temperatures throughout Europe are believed to have caused stunted and slowed tree growth, resulting in unusually dense wood. [55] [11] Further evidence for this "Little Ice Age theory" comes from a simple examination of the dense growth rings in the wood used in Stradivari's instruments. [56] Two researchers – University of Tennessee tree-ring scientist Henri Grissino-Mayer and Lloyd Burckle, a Columbia University climatologist – published their conclusions supporting the theory on increased wood density in the journal Dendrochronologia . [57]

In 2008, researchers from the Leiden University Medical Center in the Netherlands, announced further evidence that wood density caused the claimed high quality of these instruments. After examining the violins with X-rays, the researchers found that these violins all have extremely consistent density, with relatively low variation in the apparent growth patterns of the trees that produced this wood. [16]

Yet another possible explanation is that the maple wood used was sourced from the forests of northern Croatia. [58] This wood is known for its extreme density resulting from the slow growth caused by harsh Croatian winters. Croatian wood was traded by Venetian merchants of the era, and is still used today by local luthiers and craftsfolk for musical instruments.[ citation needed ]

Some research points to wood preservatives used in that day as contributing to the resonant qualities. Joseph Nagyvary [59] [60] reveals that he has always held the belief that there are a wide range of chemicals that will improve the violin's sound. In a 2009 study co-authored with Renald Guillemette and Clifford Spiegelman, Nagyvary obtained shavings from a Stradivarius violin and examined them, and analysis indicated they contained "borax, fluorides, chromium and iron salts." [61] He also found that the wood had decayed a little, to the extent that the filter plates in the pores between the wood's component tracheids had rotted away, perhaps while the wood was stored in or under water in the Venice lagoon before Stradivarius used it.

Steven Sirr, a radiologist, worked with researchers to perform a CT scan of a Stradivari known as the "Betts". Data regarding the differing densities of woods used were then used to create a reproduction instrument. [62] [ clarification needed ]

Instruments

Stradivari made mainly violins but also violas, cellos and some plucked string instruments (five guitars, two mandolins and one harp are known). About 650 original Stradivarius instruments have survived. Thousands of violins have been made in tribute to Stradivari, copying his model and bearing labels that read "Stradivarius". The presence of a Stradivarius label does not confirm that the instrument is a genuine work of Stradivari. [63]

Recordings made with original Stradivarius string instruments

Recordings made with replicas of Stradivarius string instruments

Sound preservation

The Museo del Violino in Cremona, Italy embarked on a project to preserve the sound of Stradivarius instruments. In January 2019, four musicians recorded scales and arpeggios using two violins, a viola, and a cello, including a famous 1727 violin named "Vesuvio." These recordings, known as the "Stradivarius Sound Bank," preserve the sounds. The project involved closing off streets and minimizing noise to ensure a quiet environment during the recordings. [64] The musicians recorded over one million sound files across different techniques to capture the instruments' tonal characteristics. These recordings are stored as part of a permanent collection at the Museo del Violino. [65] [66] Fausto Cacciatori, curator of the museum, emphasized that while the sounds of these instruments change over time due to natural aging, the project will allow future generations to experience the original sound of these Stradivarius instruments. [67]

See also

Related Research Articles

<span class="mw-page-title-main">Antonio Stradivari</span> Italian luthier (1644–1737)

Antonio Stradivari was an Italian luthier and a craftsman of string instruments such as violins, cellos, guitars, violas and harps. The Latinized form of his surname, Stradivarius, as well as the colloquial Strad are terms often used to refer to his instruments. It is estimated that Stradivari produced 1,116 instruments, of which 960 were violins. Around 650 instruments survive, including 450 to 512 violins. His instruments are considered some of the finest ever made, and are extremely valuable collector's items.

<span class="mw-page-title-main">Giovanni Battista Guadagnini</span> Italian luthier

Giovanni Battista Guadagnini was an Italian luthier, regarded as one of the finest craftsmen of string instruments in history. He is widely considered the third greatest maker after Antonio Stradivari and Giuseppe Guarneri "del Gesù". The Guadagnini family was known for their violins, guitars and mandolins.

<span class="mw-page-title-main">Jean-Baptiste Vuillaume</span> French luthier and inventor (1798–1875)

Jean-Baptiste Vuillaume was a French luthier, businessman, inventor and winner of many awards. His workshop made over 3,000 instruments.

The Soil Stradivarius of 1714 is an antique violin made by Italian luthier Antonio Stradivari of Cremona (1644–1737). It is one of 700 known extant Stradivari instruments. The instrument was made during Stradivari's "golden period" and is named after the Belgian industrialist Amédée Soil. The current owner of the violin is violinist Itzhak Perlman.

<span class="mw-page-title-main">Lipinski Stradivarius</span>

The Lipinski Stradivarius is an antique violin constructed in 1715 by the Italian luthier Antonio Stradivari of Cremona, during Stradivari's "golden period" between 1700 and 1725. There are fewer than 650 extant Stradivarius violins in the world today, and the Lipinski is considered to be a particularly fine example. In 2012, it was appraised at US$5 million.

<span class="mw-page-title-main">Messiah Stradivarius</span> 1716 violin by Stradivari

The Messiah - Salabue Stradivarius of 1716 is a violin made by the Italian luthier Antonio Stradivari of Cremona. It is considered to be the only Stradivarius in existence in as "new" state. The neck has been lengthened and at minimum the bass bar, bridge, tailpiece, and pegs have been replaced. It is in the collection of the Ashmolean Museum in Oxford, England.

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<span class="mw-page-title-main">Ames Stradivarius</span> Violin by Stradivari (1734)

The Ames Stradivarius of 1734 is an antique violin, made by the Italian luthier Antonio Stradivari of Cremona. It is one of only 450–700 known extant Stradivarius instruments in the world. The Ames is named for violinist George Ames who owned it and performed with it in the late nineteenth century.

The Muntz Stradivarius is an antique violin crafted by Antonio Stradivari of Cremona (1644–1737) in 1736. The label affixed to this instrument bears the inscription, “d'anni 92”, possibly handwritten by Stradivari himself. It has also been suggested that Count Cozio di Salabue, a subsequent owner, made this inscription. The Muntz which has a solid reputation for its excellent condition and tonal quality, takes its name from a man who owned it in the late 19th century, H. M. Muntz. He was a collector and amateur violinist who lived in Birmingham, England. The Muntz, among the last of the instruments made by Stradivari, is currently owned by the Nippon Music Foundation.

<span class="mw-page-title-main">Giuseppe Guarneri</span> Italian luthier

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<span class="mw-page-title-main">Lord Dunn–Raven Stradivarius</span> Violin by Antonio Stradivari

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The "General Kyd" is a nickname applied to several Stradivarius instruments crafted by Italian luthier Antonio Stradivari of Cremona and owned for a time by British General Alexander Kyd. They include a violin made in 1714, a violin made in 1720, and the General Kyd; ex-Stern Stradivarius cello made in 1684. These instruments have been owned and played by some of the world's leading musicians. The 1714 violin was owned from about 1980 to 1990 by Itzhak Perlman, who made most of his early recordings using this instrument. The 1720 violin's owners included composer Rebecca Clarke.

<span class="mw-page-title-main">Lauterbach Stradivarius</span>

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The Kiesewetter Stradivarius of circa 1723 is an antique violin fabricated by Italian luthier Antonio Stradivari of Cremona (1644–1737). The instrument derives its name from its previous owner, German composer and violinist Christophe Gottfried Kiesewetter (1777–1827).

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<span class="mw-page-title-main">Tarisio Auctions</span> Online auction house

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<span class="mw-page-title-main">Nicola Amati</span> Italian master luthier (1596–1684)

Nicola Amati, Nicolò Amati or Nicolao Amati was an Italian master luthier from Cremona, Italy. Amati is one of the most well-known luthiers from the Casa Amati. He was the teacher of illustrious Cremonese School luthiers such as Andrea Guarneri and Giovanni Battista Rogeri. While no clear documentation exists for their being apprentices in his shop, Amati may also have apprenticed Antonio Stradivari, Francesco Rugeri, and Jacob Stainer, as their work is heavily influenced by Amati.

<span class="mw-page-title-main">Duke of Alcantara Stradivarius</span> Violin made by Antonio Stradivari in 1732

The Duke of Alcantara Stradivarius is a violin made by Antonio Stradivari of Cremona, Italy in 1732. In 1929 it was purchased by a collector in the United States and later donated to the University of California, Los Angeles. A student at the university misplaced the violin in 1967 and the instrument went missing for 27 years. It reappeared when it was taken in for repairs and in 1995 UCLA successfully sued for ownership. The instrument was valued at around US$2,000,000 in 2014.

References

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  38. ↑ A guitar-like violin made by the naval engineer François Chanot, a member of a family of luthiers. A committee of scientists and musicians, listening to the violins played in an adjacent room, judged Chanot's violin to be at least as good as the Stradivarius, but apparently Chanot's instruments quickly lost their good qualities. Fétis, François-Joseph (1868). Biographie Universelle des Musiciens et Bibliographie Générale de la Musique, Tome 1 (Second ed.). Paris: Firmin Didot Frères, Fils, et Cie. p. 249. Retrieved 21 July 2011.
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  42. ↑ Beamen, John (2000). The Violin Explained: Components, Mechanism, and Sound. Oxford University Press. pp. 89–90. ISBN   978-0-19-816739-6 . Retrieved 23 January 2009.
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  44. ↑ Marchese, John (2008). The Violin Maker: A Search for the Secrets of Craftsmanship, Sound, and Stradivari. Harper Perennial. pp. 133–134. ISBN   978-0-06-001268-7.
  45. ↑ Fritz, Claudia; Curtin, Joseph; Poitevineau, Jacques; Borsarello, Hugues; Wollman, Indiana; Tao, Fan-Chia; Ghasarossian, Thierry (20 May 2014). "Soloist evaluations of six Old Italian and six new violins". Proceedings of the National Academy of Sciences of the United States of America. 111 (20): 7224–7229. Bibcode:2014PNAS..111.7224F. doi: 10.1073/pnas.1323367111 . PMC   4034184 . PMID   24711376.
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  47. ↑ Schwarze, Francis W. M. R.; Spycher, Melanie; Fink, Siegfried (September 2008). "Superior wood for violins – wood decay fungi as a substitute for cold climate". New Phytologist. 179 (4): 1095–1104. doi: 10.1111/j.1469-8137.2008.02524.x . PMID   18554266.
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  56. ↑ John Pickrell (7 January 2004). "Did "Little Ice Age" Create Stradivarius Violins' Famous Tone?". National Geographic News. Archived from the original on 2 July 2007. Retrieved 24 June 2007.
  57. ↑ Rachelle Oblack (10 March 2008). "10 Non-Military Historical Events Drastically Changed by the Weather". About.com. Archived from the original on 21 June 2008. Retrieved 11 June 2008.
  58. ↑ Hill, W.H.; Hill, A.F.; Hill, A.E. (1963). Antonio Stradivari: His Life and Work . New York: Dover Publications. p.  162. ISBN   978-0-486-20425-3 . Retrieved 3 July 2008.
  59. ↑ Marks, Paul (29 November 2006). "Why do Stradivari's violins sound sublime?". New Scientist.
  60. ↑ Choi, Charles (10 June 2002). "Secrets of the Stradivarius: An Interview with Joseph Nagyvary". Scientific American.
  61. ↑ Texas A&M University. "Secrets Of Stradivarius' Unique Violin Sound Revealed, Professor Says" Archived 2016-10-02 at the Wayback Machine , Science Daily 25 January 2009.
  62. ↑ RSNA (28 November 2011). "Researchers Use CT to Recreate Stradivarius Violin". Archived from the original on 30 November 2011. Retrieved 28 November 2011.
  63. ↑ Stradivarius Violins Smithsonian Institution, 2006.
  64. ↑ Paradiso, Max (17 January 2019). "To Save the Sound of a Stradivarius, a Whole City Must Keep Quiet". The New York Times.
  65. ↑ "Inside the extraordinary experiment to save the Stradivarius sound". Popular Science. April 2022. Retrieved 9 September 2024.
  66. ↑ "To save the true sound of a Stradivarius, an entire Italian city is keeping quiet". Classic FM. April 2022. Retrieved 9 September 2024.
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