For Violin Talk, I hereby muse on one of the big “questions” of “old vs new” violins: I just saw Sean off after making sure the 1742 Guarneri model I made was tweaked to perfection. (I cannot imagine him playing an instrument that sounds any better.) For many years of my 40 some year career as a violin maker, I have battled myths, fantasies, and erroneous but firmly held beliefs surrounding “old vs new” violins. Old violins were said to undoubtedly be superior in one way or another. (Very large sums of money are at stake when the question is considered.) Let us suppose that all violins in the world cost exactly the same so that the financial considerations along with the “fluff” that accompanies these considerations are ruled out. Dealers would make the same amount of money selling an old or a new instrument. Now I ask, would the instrument be chosen on its own merit? The choices would be many and the selection of the best instrument for the player would take on a whole different dimension. Stradivari would have chosen a new violin as of course many of his contemporary musicians did. ( Of course Stradivari made new instruments!) Recently in 2012 a double blind study was set up to try to answer this question of old vs new: The Paris Experiment. The results of a long anticipated study published on April 7 seem to shatter long-held assumptions about the superiority of 300-year-old Stradivari and Guarneri violins to fine modern instruments. The study, led by French scientist Claudia Fritz with the help of American luthier Joseph Curtin, follows up on a controversial blind test conducted in an Indianapolis hotel room in 2010. Ten prominent violinists, including Ilya Kaler and Elmar Oliveira, were unable to distinguish old instruments from new in a blind test. In fact, modern instruments were slightly favored. This tantalizing documentary shows how the Paris Double-Blind Violin Experiment unfolded. Currently, many soloists own copies of their famous Strads and Guarneris and frequently perform on these well-crafted modern instruments in concerts. In the end, it’s the relationship between the instrument and the violinist which may be most important. Over time we learn how each violin wants to be played and we discover new colors and tonal possibilities. It’s a relationship of give and take. If we put the right energy into the violin, it rewards us. Nothing can diminish the technological and artistic achievements of the old Italian makers. But this study may be the first step in overcoming an irrational bias against fine modern instruments. Here is a link to a short video: https://youtube/watch?v=tDQw0m7BmPI I think the results show much. There are old violins by Stradivari that don’t sound all that well and a few that are wonderful. There are some formidable modern made instruments to be had as well. Next time I will try to “talk” about some of the more universal characteristics that make up a really great instrument be it old or new.
Posted on: Mon, 19 Jan 2015 20:00:46 +0000
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