What goes into $18 million fiddle? Good wood, for one
Old violin reveals secrets to modern makers.
March 22, 2010 - Chicago TribuneTrying to find out what gave the world's greatest violin its unique voice, two modern violin-makers took the instrument to Northwestern Memorial Hospital this week for a thorough examination under a CT scanner.
The violin is the "Vieuxtemps" Guarneri del Gesu, built in 1741 in Cremona, Italy, by Gieuseppe Guarneri. Its Austrian owner last year asked Geoffrey Fushi of Bein & Fushi Rare Violins, 410 S. Michigan Ave., to find a "another loving owner" for it.
Fushi loaned the Vieuxtemps to the two modern makers who hoped to learn secrets that could help them build better violins. They don't expect to make $18 million clones, but the two-hour scan gave them precise measurements of every curve and arch in the design and of every variation of thickness and density of each piece of wood Guarneri used.
Last year, violin-maker Joseph Curtin of Ann Arbor, Mich., came to Chicago to measure its acoustical qualities.
"Geoff let me play it a little. It is the best violin I have ever had under my chin," said Curtin, agreeing with Yehudi Menuhin and other great violinists who have picked it up.
He called in another violin-maker — Terry Borman of Fayetteville, Ark., — who has experience in using CT scans of instruments. Northwestern agreed to provide a machine and Fushi agreed to allow scans on the Vieuxtemps and three other violins at his shop — a 1742 Guarneri valued at $6 million; an $8 million 1707 Stradivarius; and one made in 1752 by a lesser maker, J.B. Guadagnini, valued at $1.25 million.
It will take weeks or months to analyze the test data, but Curtin said the scan already confirms that the great 18th century violins were made of woods slightly less dense and lighter than found in most other violins.
A violin is a beautiful romantic instrument. I have read about the early violin makers & the process of making a violin. Barb Wilsom wrote a good piece on the violin, you can find it under the JSO page in the main web site page. I know the wood is very important but so is the varnish. It's a very interesting process in the making of a violin.The early master craftsmen were genius. No wonder the extravagant price. But no matter the violin, without the touch of the master's hands, it is useless. If I were to touch one it would become a screeching noise.
Shirley, if you have the interest and determination plus some talent for the violin that screeching noise will turn into a song. I am living proof of that. I am so determined to play the best I can for my age and dexterity. I never miss a day of practice - even took the violin to Florida. I will never, ever be a Master - that takes a lifetime. I don't even expect that but just to hear songs coming from what I am doing is a thrill that you cannot imagine. You must love the music of course but determination is so much a part of playing. No matter how frustrated I get (and it is very difficult for an older person) I just continue every day. I took lessons for a year but then it got too expensive for me so now I just get sheet music and read how to play it. I try to keep with pieces I am familiar with (some books come with CD's and that helps) for now. Others I will learn with the passing days. As a child when you have the agility and the length of life to play you tend to dread lessons. As an adult when you have the appreciation and love the music you have lost the dexterity and the years to practice. It is only the determined child (like Andre was) who will make it. It is a very difficult instrument to play.
Jeanine Ann, believe me, I do admire your tenacity in learning to play the violin! I'm sure it helps you to appreciate the instrument even more. I would never make it! I just admire the beauty of the instrument itself. I realize that not everyone can be a Paganini, but to be able to play, just for your own enjoyment, that is quite an accomplishment.
It never hurts to be the best you can be, at anything.
I read also about those "old master violins" Nicolo Amati taught Stradivarius and Guarnieri, Strauß played an Amati, but there are also good violin makers in Bavaria and Austria since over 2OO years and in Canada has one found out to copy every sound of the old masters, André has violins from him. But I still think that the fact that those violins are antics and over 3OO years old, that makes them special and in the end I must agree to Yitzak Pearlman that the artist plays the music, not the violin and , you can have the best and most expensive violin, you still have to know how to play it and get that special sound out of it, just a beginner is a nerve wrecking torturer, haaaaaaaa!