Parting With a Cherished Instrument

[Rick Albertson]

Interesting article about parting with a Stradivarius Cello after 54 years of guardianship.

http://www.nytimes.com/2012/01/15/ma...gewanted=1&hpw


“The violin is not only a friend,” said Aaron Rosand, 84, once a prominent soloist in the tradition of the great Romantics like Oistrakh, Milstein and Heifetz. “It’s something that you live with. Every day it becomes more dear to you. It’s almost like a living thing. You treat it carefully; you treat it gently. It talks to you,” he said. “You’re caressing your instrument all the time. Parting with an instrument that has become such a wonderful friend is just like losing a member of your family.”

[Mandobart]

Its like viewing life on another planet to me, to hear about those who own or can afford a multi-million dollar instrument built centuries ago. I wonder what can I and my plain American and German-built 19th and 20th century instruments possibly have in common?

One evening I had a chance to play a friend's violin, from 1740 (not a strad or other famous builder). It was hands-down the most beautiful sounding instrument I've ever played. Sadly, these fine instruments are now mostly out of reach for actual performers, and now go to the "oligarchs" who will keep them in climate controlled vaults, possibly never to be played again.

I say better (for me) to own a humble hand-built instrument that actually gets played and brings joy than a major investment too precious to bring out for a song.

[sunburst]

For a performer to play an instrument for 54 years, at the level of a soloist, says something about the quality of that instrument. I'm not a musician of that caliber, or even a particularly good musician, but I think I can imagine the bond that could form between performer and instrument, and I don't think the millions of dollars market value would be particularly relevant to that bond. In other words, a cherished instrument doesn't need to be expensive.

[allenhopkins]

Some of the these instruments are purchased by institutions or syndicates, then loaned or leased to performers for their use. I once shared the bill with a classical cellist who was playing an 18th century instrument which she valued at $750K (this was in 1991, so probably worth more now). She said it was owned by a group of music lovers in Philadelphia, who had allowed her the use of it for performances (don't know the financial arrangements).

Once instruments (or paintings, bottles of vintage wine, automobiles, whatever) become so valuable in the marketplace that they're seen as "investments," there's strong motivation to take them out of circulation and hoard them in secure storage. Understandable. One of the things I gleaned from the NYTimes article, is that the current owners of these instruments want to see them played by other musicians, after the owners no longer can keep or play them. But, as was said at the end, once the instruments are sold, the wishes and intentions of the former owners no longer govern what happens to them.

So: had I a Lloyd Loar Gibson, would I take it out and play it at a bar? Would I jam with it? Would I take it to a festival and leave it sitting with other musicians in its case, while I visited the bathroom? Would it stay in my car trunk when I went to a restaurant on the Thruway? Dunno; hasn't happened, won't happen. The instruments I own I consider tools, to be used for making music, and exposed to the risks associated with making music.

On the other hand, while I do like my instruments -- all of them -- I don't anthropromorph them. They aren't "living things," and while I can admire and respect their construction, musical potential, history and significance, I don't attach the same value to them I do to living things. So losing one of them, while unfortunate and regrettable, wouldn't be like losing a loved one. I've lost instruments, and I've lost loved ones, and to me there's a great difference.

[Ivan Kelsall]

I've always treated my instruments well & looked after them.I've always had the opinion that if they're to sound their best,then the only way to treat them is with care & respect, & tend to their every need & requirement. Over a period of years,they do seem to become more than 'just an instrument',they become like old &valued friends - & how do i treat my friends ?,with respect of course.
I've only ever parted with 2 instruments that i'd had for maybe 15 years or more,& it was like loosing a friend each time.I'd enjoyed them & they'd served me as well as i'd served them.
To part with an instrument that i'd had for say,50 years,well,for me,that would be a hard parting to be sure - much like sawing a leg off,
Ivan

[P.D. Kirby]

I wonder if any builder of fine musical instruments ever thought "I hope one day they take all of these wonderful creations of mine and lock them away in sturdy metal and cement boxes never to make music again". To me that is the worst fate one of these instruments could ever have happen to them and is nothing more than a death sentence. Put a few examples in the museums and play the life out of the rest.

[Mandobar]

I saw this and felt sad. I remember Bernie when he was still playing and teaching. When Issac Stern passed away he left his instruments to a foundation to be played by deserving musicians.

Several years ago a friend of mine bought a Strad. Yes, a real one. Authenticated and all. It is a sight to see and an event to listen to. It was supposed to be lent out to professional musicians but instead my friend has been playing it himself in public. He's quite good. It makes him happy. Last I heard he was buying an Amati.

[Jim]

I liked the comparison made between an instrument that has been a big part of your life to a house you've lived in. As Allen pointed out they are tools, not living things, but still very close to us. Much as with a house where you lived a long time , raised a family, personalized in any number of ways. You move, but it remains. You drive by when in the area it's nice to see a new family there and/or maybe a little disapointed if the place is not well cared for or has been bulldozed for a new minimart. The loss is not like that of a human being or even a pet but still a strong emotional bond. Nobody is going to offer a fortune for any of my instruments and if they were taken from me by fire,flood or othe unforseen circumstances I would get others and continue , but there are a couple I could never sell, I'll just have to die and let my children deal with the redistribution of instruments

[Nat]

Given that many of the instruments in the article have appreciated wildly in the decades they've been owned, I'd think that a theoretical owner's heirs would beg him or her not to sell, so they could get a step-up in basis at death.

[Geoff B]

I think instruments have a unique place among "possessions" because the player, in this case players, have used it to exercise their passion, to grow and develop as humans, to make a livelihood, and build prestige. I can't think of another single physical possession that would do the same for a person that isn't, to varying degrees, replaceable. Most other tools, while precious and wonderful, are not so poignantly unique and irreplaceable. I use some old planes while building, but I will never be known for using them, nor will they make me rich and/or famous, nor will it hurt if I ever have to replace them. Sure the musicians can continue playing other instruments, but it will never be the one they've attached to. I thought that article did a really good job of showing how much these instruments mean to people and the thought and care that goes into their futures. Certainly they are possessions and should not be on the same level as human relationships, but it points out that their real value lies in the relationship the player has built with it, which is stronger than, say, having $10,000,000 to do whatever you want with.

[Ivan Kelsall]

From P.D.Kirby - "To me that is the worst fate one of these instruments could ever have happen to them and is nothing more than a death sentence. Put a few examples in the museums and play the life out of the rest." .I only disagree with you on one point,i wouldn't put ANY instrument in a museum,not even Bill Monroe's Mandolin.
Most of the world's great Violins,Violas & Cellos were played by world renowned musicians & they're still out there being played to this day.OK,many of them are privately owned & are only on loan to the musicians playing them.That's fine,far better than jailing them,never to be played again. I understand the 'iconic' importance of Bill Monroe's Mandolin,but if it's still playable,then why not loan it out to one of the top Bluegrass players & keep it 'alive' ?.Despite it's pedigree,in monetary terms,it's only worth a part of what several of the most famous Violins are worth,& they are still being played to this day.
Just my personal feelings & i'm sure other folk think differently,
Ivan

[Psyberbilly]

I think instruments have a unique place among "possessions" because the player, in this case players, have used it to exercise their passion, to grow and develop as humans, to make a livelihood, and build prestige. I can't think of another single physical possession that would do the same for a person .

I agree ! That is the "mojo" we all look for in an instrument . Just as an individuals playing style leaves visible physical evidence on a mandolin , I can't help but believe that the sounds produced by an individual player have an effect on the instrument as well. I would find it hard to believe that if there was such a thing as a "mint condition" Loar ,or a Martin N-20, they would sound the same as 73728 or Trigger .

[Jim Garber]

It is funny... I am not sure that there is one single instrument that I am intensely attached to tho I definitely have a core group of ones I gravitate to. Actually, I have only one violin that had been the only only one I played for over 20 years. It is funny that for violins I am pretty monogamous but for other instruments not so much.

I would say the ultimate test would be if that instrument would cure the whatever acquisition syndrome or that one is the only one that you would feel truly comfortable playing. I imagine tho that a classical soloist would be even more prone to that then say a rock guitarist or folk musician. I think the latter would be more likely to be promiscuous. Then again I do think of the upper level mandolin players who generally are known to play one instrument: Bill Monroe, Sam Bush, Barry Mitterhoff, John Reischman, etc.

[Jared Heddinger]

...I only disagree with you on one point,i wouldn't put ANY instrument in a museum,not even Bill Monroe's Mandolin....

I don’t know if I agree. At this level of instruments, shouldn’t there be a least ONE preserved forever? As far as Stradivarius violins, I recall hearing that there’s one, The Messiah, that is effectively a brand new instrument. It hasn’t once been played. I think that its a wonderful tool that can be used to gain knowledge. If, as you say, it’s just a tool, then why can’t it be a tool to make more tools?

[Ivan Kelsall]

From Jhedd - "The Messiah, that is effectively a brand new instrument. It hasn’t once been played...".This is the one.In my opinion,it should be being played,if it's not,then it's totally wasted (IMHO). Yes,it is a 'tool',but it was meant to be making music,not as a pattern for other tools. It's not required as a 'tool',any more than Bill Monroe's Loar is required as a 'tool' . The dimensions of Loars & Strads have been well researched over the years,so why is this particular one in a glass case ???. Again IMHO,it's disgraceful that such a superb instrument isn't being used for the purpose it's maker designed & built it for,
Ivan

[Mandoviol]

I guess you could go the middle route and do what the Library of Congress has done with a few Strads and keep them on display but play them regularly. Then the world can see a Strad up close and hear it, too. But yes, by all means, play them! They go bad when left alone with little love.

[mrmando]

Then again I do think of the upper level mandolin players who generally are known to play one instrument: Bill Monroe, Sam Bush, Barry Mitterhoff, John Reischman, etc.

Well, reportedly Monroe's mandolin had gotten to the point where it wasn't really playable by anyone but Monroe ... and I understand Sammy has pretty much put Hoss out to pasture because it's "played out," and he's just as likely to be found playing a Gibson Bush model these days.

[Mike Thomas]

Reminiscent of Bilbo Baggins and his "Precious" in "Lord of the Rings".

[JEStanek]

I'm with Sunburst on this. Consider Paul Prepotino (multi instrumentalist of Peter Paul and Mary fame) and his Stradolin mandolin. I'm sure this is something we will all grapple with when our stewardship of a favorite instrument comes to an end. Sometimes, finances force us to part with an instrument we really like. It still is hard but doing the right thing makes it worthwhile.

Jamie

[sunburst]

[QUOTE=Ivan Kelsall;1010295The dimensions of Loars & Strads have been well researched over the years,so why is this particular one in a glass case ???.[/QUOTE]

Ivan, I'll send you the score for Beethoven's ninth symphony so you can enjoy it. The notes are all written down, so no need to hear it, right?
IMO, the Messiah is right where it belongs, in that glass case. I'd love to have the chance to examine an as-new Strad, and that one is about the only chance. The only chance I've had to examine Amati and Stradivari instruments was in the catacombs of a major museum, and the reason the instruments were not on display and available to examine was that they were being prepared to be used in a concert. Instruments in museums are not always locked away forever, most are played from time to time, but the Messiah is different.

[allenhopkins]

Haven't most or all the Stradivarii now being played, been reworked to lengthen their necks and fingerboards? This article states there's only one "original" Stradivarius instrument. So if in fact "The Messiah" is an un-reworked violin, keeping it "as is" for measurement and comparison might have a universal value to violinists and violin makers, beyond what playing it might contribute musically.

I think it's worth taking a few famous instruments out of circulation, to serve as icons and mementoes of great musicians or important musical milestones: Monroe's F-5 would be in that category, IMHO. Different from taking every Lloyd Loar F-5 -- or Stradivarius violin -- and sticking it in a vault as an "investment." Luckily we're not at that point yet.

And also luckily, very good contemporary instruments being produced, to be played (and cherished) but not stockpiled in collectors' showcases.

[Ivan Kelsall]

Hi John - I do take your point,but you're many years too late. Beethoven's 9th is second only (in my choice of his works) to his 3rd Symphony,the "Eroica".
A question - If i were lucky enough to have one of your mandolins,would you prefer it to be placed in a glass case never to be heard for the wonderful instrument i'm sure it would be,or out front, being played for everybody to hear & enjoy.That's the point that i was trying to make (maybe rather badly !).
If Allen Hopkins is correct,then if all the 'other' Strads have been 're-worked' ,then i have to assume that they required re-working to make them as good as they are at present. So,what would be the point of using an non re-worked instrument as a basis for measurements.Surely,that would only spawn instruments that would require re-working themselves ?.
Ivan

[Gary Bacchus]

One possible reason is for scholarly research. For instance, a researcher studying music history may be interested in how instrument design shaped the way music may have been written (or vice versa). Having an artifact from the time in pristine condition would be invaluable to such an endeavor.

[Jim Garber]

I think there may be only one Strad instrument that is untouched but there evidently are 6 with the original neck.

According to this page, The Messiah was modified as well.

Vuillaume opened the violin and changed the bass-bar and modernized the neck angle.

[OldSausage]

I look at my stradivarius not only as a friend, but also as a gigantic pile of cash that will keep my family in donuts for generations to come.