For the Record, Op. 169: Janine Jansen 12 Stradivari; Yo-Yo Ma; Nina Kotova

September 11, 2021 at 02:00 AM · Jansen noticed that the whole room seemed alive with sound. Yes -- that is what happens when you play a violin in a room where a dozen or more other violins are hanging. That's where the big shops like you to try their violins. When I practice my violin or viola the other instrument is hanging on a hook in my practice room and I can hear the resonance very clearly just from one instrument.

September 11, 2021 at 09:21 AM · JJ is a force of nature! but certainly true that that remark was naive. the whole project is a bit over the top I think. but JJ is great anyway.

September 11, 2021 at 06:30 PM · getting to know 12 Stradivari violins (notoriously finicky instruments) 

It would be interesting to know what that means, finicky? In what ways? The preview isn't showing much about what the focus of this documentary film is beside a "chance to experience the magic of these famous instruments and to explore the differences between them". Does it actually demonstrate what those differences are and how they compare to lets say a contemporary top instrument or simply documents the making of the CD?

September 12, 2021 at 04:18 PM · Lots of violins are finicky, and discovering each instrument’s individual qualities and immense capabilities can be a quite a challenge.

Funny thing:

Most players are much more willing to go through the rigors and difficult learning curve of learning to play a multi-million-dollar violin, than they are to get the best out of a cheap violin. If the cheap violin doesn't immediately do what they want, it will be set aside as being an inferior violin. If the expensive violin doesn't immediately do what they want, the conclusion may be that the violin needs more time to "train the player".

Weird stuff! Human behavioral psychology is fascinating!

September 12, 2021 at 05:18 PM · David, I don't think it's all about cheap vs. expensive. A high-quality old violin (like a 300 year-old Strad) has an established sound, and the player has to figure out how to get inside that - that takes some work and persistence. In the case of a high-quality new violin, the player helps shape its sound over time, and that also is a process that takes work and persistence. In either case, the player needs to discern some kind of quality in the instrument that inspires that kind passion to continue discovering the sound. A cheap violin that shows no promise - I mean, forget it! Same with an expensive violin that shows no promise! But with these famous old Strads, they've already been tried and tested, they have a reputation. Chances are that if Fritz Kreisler, Nathan Milstein, Ida Haendel, or Oscar Shumsky found something to love in the instrument, then there's something there to love.

September 12, 2021 at 05:53 PM · Laurie wrote:

"David, I don't think it's all about cheap vs. expensive. A high-quality old violin (like a 300 year-old Strad) has an established sound, and the player has to figure out how to get inside that - that takes some work and persistence. In the case of a high-quality new violin, the player helps shape its sound over time, and that also is a process that takes work and persistence."

_________________

I will disagree with both a 300-year-old violin having "an established sound", and the player shaping the sound of a newer violin.

My apologies once again for side-stepping your interview request at the Indianapolis Competition, and referring you to Sam Zygmuntowicz instead. I had just flown in from Moscow to New York, then to Detoit, and then driven from Detroit to Indianapolis. I was not in good shape, having not slept for something like 36 hours.