Italy’s violin-making schools are represented at the 13th International Music Festival of Cartagena. Daniele Carlo Pitturelli discusses with young Colombian musicians about Cremona’s reputation for coveted stringed instruments, with lectures by Gualtiero Nicolini, Andrea Marziani, and Elisa Srollavezza. The event includes an exhibition sponsored by the Italian Government and a workshop on how violins are assembled by Cremonese luthiers, and notes that Latin America is underrepresented in the Scuola Internazionale di Luteria Cremona.
Keqiao Cheng reports that the Wanling Violin Museum in Wanling Ancient Town, Rongchang District, Chongqing opened to the public on January 13 with an investment of RMB 590 million and houses over 500 violins and parts. Notable exhibits include instruments from Antonio Stradivari, Amati, Andrea Guarneri, and Jacob Steiner, with the museum claiming the largest exhibition area in the world and a live show.
The piece discusses the project Banca del Suono by Audiozone studios in Piacenza, involving Stradivari, Amati and Guarneri violins from the Cremona Museo del Violino. The project, highlighted by the New York Times, records each instrument note by note with extensive microphone setup and collaboration with academic partners.
This article from Spettacolo Periodico Daily describes a project in Cremona called the “Banca del suono” that aims to archive and reproduce the sounds of four historic instruments from the Museo del Violino, created by Stradivari, Amati, and Guarneri. From January 7 to February 9, four renowned interpreters will record the viola, cello, and two violins in the Giovanni Arvedi auditorium, using over 30 microphones; the recordings will be processed in Germany and stored for future access by luthiers, musicians, and researchers.
The article reports that the Violin of Mstislav Rostropovich, made by Giovanni Guadagnini in Turin in 1783, was sold at Sotheby’s for 2.5 million dollars and later acquired by Swedish Torelief Tedeeen (Tedeen). It notes Rostropovich bought the instrument in 2000, and mentions Stravinsky’s birth details in a related aside.
Bobby Owsinski reports on the creation of the Stradivarius Sound Bank in Cremona, Italy, describing efforts to record the instruments housed at the Museo del Violino and the city’s quieting measures. The project involves four musicians over January recording two violins, a viola, and a cello with a 32-mic array and an extensive eight-hours-a-day, six-days-a-week schedule.
The Australian Chamber Orchestra adds a 1590 Brothers Amati violin to its Golden Age collection, to be played by violinist Ike See. The Instrument Fund received a $1 million injection from Media Super, supporting this fourth Golden Age instrument.