Janine Jansen - Falling for Stradivari (documentary)

[Music] thank you [Music] thank you [Music] the baby on my back this is my my baby the Chomsky threat from 1715. this is the instrument I travel with everywhere it's always close to me it's my way of expressing it's my voice it's so important to have an instrument that has a enormous variety of colors and and and finding those colors and knowing how to bring them out [Music] [Applause] [Music] thank you foreign has such life in it I find and the sounds and the colors that you try to find are also something very sparkly in life and it has energy of course one needs an instrument that has this shine and and a core in the sound that will always kind of uh sing through and of course I think this instrument very much has it foreign [Applause] [Music] different instruments maybe highlight different aspects something invites to find a different color or to linger a little bit longer on certain notes and whether that is the soul of the instrument the possibilities in in in Coloring sometimes it's also even maybe the soul of the old players that were playing it I mean I feel you know if I'm thinking of course this instrument had great players like oscar schumski but also Road an hour and if I think about shroomsky for instance I mean you know if you're thinking about his wonderful glizan the important I kind of get inspired sometimes by that you know just I I I feel or hear that that sound so when yeah one gets definitely it also with influenced in that sense [Music] foreign this project and during the recording I mean to spend time with all these different instruments will be I mean I think this is inspiration I cannot even begin to to imagine because I mean they are so different on the instruments and to find uh each and every quality and and the pieces that work best with that and just to I mean I will take that in my life you know I will take that when I'm I love this instrument and you know being with this for all the upcoming concerts after that I will I will take something very special from that thank you foreign [Music] ERS around the world put them together with one of the greatest artists and record them so that we could actually hear the wonderful differences between the sound of one violin and another I tried to choose a combination of islands so we do have some which are an extraordinary condition others which may not be in quite such pristine condition still very fine but they have those wonderful histories with the players and we know those players chose them for the sound this is either handles violin 1699 Stradivarius either handle passed away very recently darling was with Eda in her house for some years without really being played and touched and it had somehow come apart at the seams when it came in that the top was off the ribs separated the neck was apart so we put it all back together and and made a restoration on the violin and it sounded beautiful again and try this this is uh 16.99 it is uh well it was either handled I met her once years ago and she was such an amazing violinist I played Tchaikovsky in Fort Lauderdale and in Florida and she was at concert suddenly afterwards she came up to me and she was Tiny on the high heels but she was I mean she was so sweet and I was just so extremely in shock that she had come to listen and um it's very actually it's very special to you know I mean there's so much history in these instruments even just the feeling of holding and playing an instrument that somebody that you you admire so much it's very meaningful [Music] it's very piercing [Music] it's very brilliant right [Music] Peter handle is a complete legend that everybody loved and admired and I felt emotionally also to play the instrument it's kind of you feel close to her [Music] thank you [Applause] [Music] [Applause] [Music] I think any important thing is actually that on each instrument you need to play differently in a way of course you have your way of playing but you need to mold differently I'm not moving at all almost but it's still yeah yeah you don't have to make it vibrate it will vibrate even with the difference in [Music] foreign [Music] because it invites I feel a lot like to do this kind of thing but you also need to find in some places and yeah [Music] oh nice [Music] beautiful [Music] yeah I want this I think with these great violins it often you just have to not get in the way of it and just let it do its thing especially this one you just we just needed to get out of the way and let it flying away thank you thank you do you know it's um it's just fantastic that you were able to make that trip all the way to Tokyo especially at this time I'm happy to be here to have this video yeah let's go on up some of these instruments are in the hands of players and they had to be free from their concerts and then you've got the logistics of sorting out the technical side with the insurance and keeping lawyers happy and keeping the foundations happy it will not be something that can be repeated easily oh it's like uh it's like seeing an old friend again a long time and you of course yeah I'm so excited to uh to see this button I haven't seen it for quite a few years now amazing what an extraordinary violin well you know the history but it's it's just a great grand patent you know it's built on the on the bigger very important it's just a great concert instrument should connect people like this and especially at this circumstances it's so important and and Jenny Johnson she's one of the one of the popular musicians in the world even me in Japan I know I know her very well and I it would be proud that the San Lorenzo could be one of one of 12. when I first met this fighting on 2016. uh immediately I thought that this is this was the one I was looking for a long long time sounding great yeah and it's so powerful yeah yeah yeah so I was very impressed and I gotta say it's in the best hands now because yeah the foundation lends it to yeah to to the to the musician yeah she's great yeah you know it's important to to pick the light musician and write violink all together so that's my uh important job yeah yeah so yeah yeah yeah so yeah exactly the same things yeah yeah that's why we do it together I've seen 70 80s forever in my life and compared to that the San Lorenzo is a top top instruments because because of this it's a golden period and golden peel 17 18. and it's a grand patan which means it's Grande it's big and and it's it's so unique isn't it I mean with with the inscription actually on both sides of the violin it's less visible on this side but we know that the Latin word basically mean Glory wealth and Justice we believe it was bought as a wedding present from stradivari and given to a violence of the day called Moro delay he worked in the court of the queen of Spain and for King Philip V and I think this violin is is really amongst the top 20 Greatest violence in in the world because so many have been obviously worn and used more than ideal because they're such great playing everybody loves the golden Puritans of course there were some magnificent ones from the late period and early period too Antonio stradivari as a young man would have been possibly a wood carver or involved in some form not necessarily violence and he probably was wandering through cremona at some point wandered into a violin shop and was fascinated and decided that that's something he really wanted to follow looking at his very early instruments and it's very fascinating that we can do that in detail now because we were writing a huge work on stradivari six volume book and I've been studying the early stradivares very much so and trying to work out at what point and whether he did actually study with Nicola Marty but there are a few early ones that you suddenly think wow that does look like an amarty pattern but having embarked upon a career violin making he progresses you know through the 60s which are very rare and a few of them through the 70s and when you get to the 80s he's clearly branched out on his own away from any other influence and he's making his own designs and he's changing the format she's changing the perf thing he's changing the outlines the shape he's experimenting with wood and I think the great thing about stralivar is that he was very dexterous very skilled as a Craftsman but also that he was constantly experimenting trying to create the perfect sound and get the perfect shape and then you go towards the 1700s where he starts to make what we deem as the perfect form through the golden period really I mean this ball I I loved always playing sibelius on it but I don't know how does it does it kill the overtones it's just that I don't know it's very warm but it doesn't crack and it still makes the sound very warm around foreign [Music] [Music] [Applause] I didn't know what to expect before I tried it because I thought it hasn't been played a lot maybe it's not so easy to respond and I didn't feel that at all one can dig in but one can also let it you know loose and it has a beautiful Dolce character then as well I mean it really it's it's a great instrument [Music] John we're lucky enough to have the Tyrell from 1717 here in our hands um I mean would you say this is one of the top handful of best preserved strads that you've ever yes yes and it's a beautiful thing there's so much varnish left on there which is all too rare these days the Terrell is I think is an extraordinary instrument that of special interest even when within the golden periods um strands most productive and most refined period of work um partly because it is so well preserved that you can see in it what he was trying to do what his goals were it's not been over polished or um spoiled threw over restoration all right that's the natural light Sheen that it should have and the amount of wear on this fiddle looks like 20 or 30 years and then beyond that it it was probably happened almost at the beginning of its life and it's remained in that state since you've also got this perfection in the concept of it and this slightly unusual model compared to some of the other instruments of the time and yet absolute Symmetry and Perfection of execution and this distinctive stripe down with the difference this is I think the difference between the the sapwood under the bark and the harp would in the center of the tree and it leaves this differentiated stripe it doesn't hurt that you see really quite frequently on on this instrument there's all these legends that to make us a great instrument you had to use really aged wooden that's the secret of the tone and you don't stand a chance making a good instrument unless your wood is 100 years old but he was using wood that had just a year or so ago been growing in the Alpine forests and it's remarkable that uh Stradivarius today so perfectly suited for Big Concert holes and big public performance um a situation didn't actually exist then so you know you get all these mystical people saying oh it is great profit and a great you know inspired somehow to do this um but it was simply a development that he made he saw and he could do and he he carried it out and um you know we're all sort of wallowing in the Wake since then on the front We've Got This Magnificent front of me on this phone um again you were talking earlier about the um yeah in the early early years yeah play with a chin on this side which gives you that mirror effect doesn't it of the wear pattern there through his life he never gave up searching for Perfection so if he'd live for another hundred years he wouldn't have been making his golden period Strat he wouldn't be making his late straps he would have developed and experimented with other things because he was always searching out for whatever he could find I mean this is the wonderful thing doing this this research and you see the development year by year by year and he never stopped he was always thinking about it and what he could do to improve I I think that's that is a really striking thing he was an artist in those terms he wasn't just churning them out at any point he was refreshing his ideas from year to year to year this one is from his late period and it's big you know it's muscular and strong it's absolutely incredible to understand that this this was made by an 80 year old honestly I don't really know what uh to expect and maybe I don't know what I got myself into but I like a challenge and I mean it's it's an amazing opportunity to to be able to play to get to know these instruments even in limited time but it's a challenge to in in this limited time to find the voice and to so it's not going to be oh I pick up this instrument and now it's going to I need to really dive into it and that I have to do in you know a few hours or not even that it's like Yeah from one instrument to the other so that's a challenge definitely but I'm up for it oh my goodness oh nice to see you are we oh my goodness this is so good to see you how are you good I'm excited I cannot believe I cannot believe you made it the pardons made it I mean it's just wonderful didn't I have to start with one violin which for me is possibly the most beautiful and and extraordinary violent pets in the whole world if I had to choose one violin and could have it and to own this would probably be the one and it begins with a it's the uh [Music] yes it is it's just incredible because if you look at it it looks like a brand new violin and it's absolutely quite remarkable and the history is is beautiful because it belonged to jean-peptice Beyond yeah he was one of the most prolific makers and dealers in France in fact you could almost say in the 19th century he defined the violin business in Europe like stradivari did in the late 17th centuries so but this violin was was brought over by a gentleman called Luigi terizio who was a dealer he used to come over from Italy to France regularly bringing them great violence and this one was amongst them and VM bought it and and gifted it to his son-in-law which was uh Jean Delphine Ella okay and that's where it takes its name from yeah and I think the reason it's so incredibly pristine is because it's always been in the hands of collectors so it's not played at the moment or is I don't think it's been even touched for 10 years hasn't been played for 10 years I would think in the last 40 50 years only for private chamber music I I don't think it's been played professionally as far as I'm aware yeah for a long long long time so the Allah thank you this I have never held in my hands I play I I mean I don't want to stretch it any longer because I've been waiting such a long time not really foreign [Music] but we can try maybe different to think what to play on this one [Music] it's amazing power [Music] looking at this when you're playing it it is like you're playing a modern ninja and it's ridiculous it's incredible yeah I mean yeah at the back look at the back that is really sick [Music] it feels like the whole room is like buzzing yeah it's amazing the Allard 1715 I mean this is an extraordinary instrument and I was really looking forward to meet this instrument it's great from the start but you also feel like every note you play you start feeling the potential and it's not an instrument that I immediately felt like maybe I felt with my own the the shumsky where it just you know everything works it melts it it just Blends it kind of anything you do it so it reacts um so that's very interesting but it is one of the talk [Music] foreign [Music] [Applause] [Music] [Music] this is easier to play more straightforward but that one feels like it has like this under a Powerhouse yeah but I mean that's how it sounds to my ear here I don't know how it is in a hole but it feels like that has something yeah yeah underbelly another instrument that played very easily was the vioton um and then you know comparing again it's I mean it's it's so it's it's really uh it's fascinating one builds up to this moment of having 12 of the most exceptional instruments in one room and getting to know them and try them all and then suddenly it starts happening and I have to get my head around to it and remember all the amazing instruments that's that pass through my hands this is a really fabulous example of one from 1680 to 83 period and it's uh what's amazing about this it's is it's so robust I mean because it's it's really a full pattern strand that made much much earlier I mean the wood is plain but it's very beautiful and his work is absolutely spectacularly refined already but it has a different sound quality I would say to the others but still very beautiful but perhaps not as much sort of richness and depth but still really great and I think it belonged to Sergeant in the rifle Brigade in 1902. [Music] foreign [Music] from 1680 it's a very early Strat and somehow one always gets a little bit like it's an early Strat it it could never compete to you know the golden period it's it's a little bit talked about like this even though we're talking about Stradivarius but okay but of course it looks you can see it's very different the the the the quality wood is also different I mean but it's a great sounding instrument so it's very nice to have this in the mix as well [Music] and very smooth to Blade [Music] so the captain Samuel is an instrument from 1680. I've had a close relationship with this instrument over the past few years and had the opportunity to explore some of the voices that would have had historically by changing the setup on it setting it up with gut strings making a different tail piece and Bridge for it and I felt it was an instrument that suited itself very well to that kind of exploration because it was one of his earlier works and I mean from a maker's perspective what's really thrilling is the very unique choice of materials it's not some of the more you know dramatic highly flamed wood but acoustically very exciting you know perhaps more flexible and perhaps with a certain level of resistance and spring in it is what I would imagine by looking at it and then you look at the ribs and it's a place where he thought okay let's actually make this a Little More Alive and a little more exciting and the ribs have this incredible dramatic figure which in some way contrasts and enhances some of the Simplicity elements in the back itself this is a young stradivari you imagine him emerging from the shadow of his teacher sort of setting out and defining himself in many ways but the wood he chose is very simple and my question is was that of necessity at the time was that what he had available was it also an acoustic exploration I personally imagine it's a combination of all of those things so the top is also very exciting for me because it's a one-piece top and you see this incredibly wide grain on the base side which you imagine to be more flexible and a much tighter Grain on the treble side and which would imagine to be a little more stiffer potentially a little more brighter so there's a lot of variation in the flexibility of the top just because of the material purely from the point of view of workmanship I find it um a great moment in his career you know and it's an element where you do have this subtlety and refinement that lends itself to a kind of acoustic refinement that we got to hear when Janine was playing the instrument and was particularly drawn to it foreign for me it relates to this question of what is the secret of strawberry I would ask what was the secret of Vermeer what was the secret of Beethoven the secret of Beethoven was beta you know the secret of Vermeer was Vermeer and um I think there's something very similar in stradivari that the secret is actually the artist himself what does he bring that's ineffable that's inimitable That's Unique not only to him but to the culture in which he was creating in it was a culture of Genius there's no question about it having access to something in a great state of preservation you get a lot closer to the original sense of the instrument seeing the alert for the first time I when it was handed over to me uh I you know nearly passed out from excitement it was so thrilling and the energy within the instrument that I felt because of the crispness because of the the incredible state of preservation and there are very subtle elements that you see on the instrument that that are traces of the process that are left behind artifacts of of stradivari's gestures you know the way that you see the beading around the f-holes which is worn on many instruments you know in over many years of playing has become softened there's a kind of crispness and kind of an electricity in the particularly well-preserved instruments that's totally thrilling what's exciting with Allard is it also corresponds to a sound that is like no other I mean it's like nothing I've ever heard or experienced phenomenal [Music] go build up or is it too much you think [Music] foreign [Music] I've now spent a little bit more time with alert I mean the first few notes that I played on it uh when Stephen showed the instrument of course it's like oh my God what Beauty I mean this is just crazy and then one place and it's like yeah it's great but I don't really know how to find um I touch the string and it kind of just pops out because it's such a strong strong instrument and then you know being with it and also I mean the instrument is not played much so it just needs a bit of time to start feeling you know it's it's there it needs to and then that that happened I feel and it's coming you know it's coming the more I play it [Music] my question with the instrument is either brands or the Schumann fantasy sticker so we could well let's try the the Schumann now or you want to try the brands on the other instrument and you tell me what is oh maybe just I mean yes congratulations what Janine needs to do to make this project work is find the right instrument for a given piece so we try she has an idea and then we try and and of course I have an opinion and she'll look at me and I am if I know immediately I'll say that's it the onus is on Janine to be like a chameleon with all these instruments she has to be [Music] such a wider sound has a wider soundness yeah [Music] [Applause] I think Brands will be okay that's all right yeah of course there's a very good argument for certain instruments to be kept in their pristine conditions so future Generations get to see them and know what they look like in the day narrated the day they were made but it's also important that from time to time they're played and I think that's what's happening with the LR and um I'm not sure that there's any public recording of it at all in all senses it's one of the greatest violins on Earth [Applause] [Music] thank you [Music] okay I'll try to put hairspray in my hair so I couldn't actually [Music] this instrument is this is a monster and it's very unusual for me to hear Janine play like this with that instrument because I know her to be a different player but what a fantastic experience for her to be able to be out of her comfort zone sometimes and to reinvent herself what if we don't actually keep going [Music] foreign [Music] it's heroic okay I have to be fully concentrated to take into account her musicality her sense of flexibility and color but also prompting her to help her you know say no be proud of this instrument or stay with it you know this is you know sometimes the instrument just needs to rain if you like [Music] hey I all the time keep going the wrong way okay [Music] thank you obviously milstein being such a phenomenal talent and he had this extraordinary way I mean I know that before he went on stage he would be trying different fingerings and different bowings and and the violin is very fluid and it takes that very easily he could make changes literally within seconds and put them on stage foreign [Music] you could sell on a phone call when somebody does obtain it they're searching for that quality and that sound and they're trying to be milstein and with some individuality because they need to have their own individuality but it's a hugely important part of the whole picture I would say okay move it the other way do it the way the normal way well that's the normal way well without going changing the string just just do it once [Music] can I do it [Music] [Applause] [Music] [Applause] [Music] I prefer because you're the protagonist you go into it here [Music] that instrument it's beautiful it's so flexible and it is so luscious in sound but it also it carries the sound it's a it's perfect I think for the rahmaninoff the slow movement from the from the cello set which I mean I'm so happy to do that because I love that piece [Music] um [Music] [Applause] [Music] there's no question that there are ghosts in the room with us Janine was playing on Natan milstein's violin and the warmth of tone and the depth of tone but these guys are in the room I I felt it especially when Janine was playing Libra slide when I heard that that Chrysler violin [Music] strange this is and maybe because the light had gone down outside another mood and the room changed anyway but I believe in those kind of ghosts [Music] oh um it's actually it's intimidating to play [Music] the 1733 for liebus light that was clear from the first moment I touched that instrument it's just one cannot imagine any other sound it's just yeah that's it it touches the soul um and then I mean somehow I had this in my head that you know maybe all the small Chrysler pieces should be on this instrument it's just so so great and fun to play it and then we started the fire on that [Music] oh [Music] [Applause] sorry I didn't hear anything you know what would be interesting actually just before we also to have the other Chrysler maybe here so I can swap I love it but I wonder if we're Maybe [Music] foreign so we get an insight into how that came about with Chrysler they found the 1733 for him in around 1917. he obviously loved it and it's a great sounding stradivari and he kept it until 1936 but interestingly cries about another one just one year later if anything it has it even darker more sonorous blooming depth and a sound that is very much Chrysler [Music] [Applause] [Music] he went to the Spanish dance of defian in a Chrysler arrangement and the other Chrysler had a bite and a and a sort of um you know uh how do you say uh Devil May care sound about it you know which is just right [Music] thank you [Music] it's a little bit of I don't know yeah I cannot say it better than attitude and maybe a little bit of edge to it and I think that's probably the right way to go foreign [Music] it's a learning curve to hear so many different fiddles but I'm very happy to say that I can hear the difference and that's the point I think no this is for this yeah [Music] no it's it's it's it's it's fun it's challenging it's a lot of focus and I feel completely Fitness [Music] [Applause] thank you it's been a little bit crazy time here being out of the whole project for the weeks of quarantine but I have wonderful people around me that bring soups and teas and take care and the other very important thing which is also a dangerous thing is that when one plays music One forgets in a way and then when one stops playing then one feels like okay I'm a bit tired but that's just music makes one forget [Applause] [Music] [Applause] there were doubts that we were going to actually make this recording but you got stronger and I happen to be free as everybody else is free in the business at the moment and we just kept postponing and postponing and and we're here we're doing it and we're going to do it the way we need to do it but not to force it [Music] am I pushing this but is it nice or actually is it nicer yeah but I'm making a crescendo into it and I'm wondering if I should well you've got to lean into it a little bit but what if I don't when a crescendo comes from before look foreign [Music] feels like a very warm and very uh almost a bit dark quality also and I've ins intuitly intuitively kind of feel like it fits well to the to the Clara Schumann romance wow it's a love story it's a romance that's what it is and that's I guess that's a very very good description of what love is you know the light and the dark and the turbulence and the serenity foreign [Music] what an opportunity it is to make a recording with such an extraordinary range of instruments every instrument is telling us something completely different and so we are therefore recording it in a different sort of way we see things come into focus and out of focus depending on the instrument itself the attraction is to understand For the First Time what string players tell us all the time is that every instrument has its own story every instrument has got his own life and they make you play music in a different way I'm not sure if the change is necessary it needs to yeah yeah it needs to have because what happens is one sounds a little bit Forsaken and then you get to the real one I understand that to me sounds I agree okay we have to do the whole thing again you do it every time well no but at the beginning but I agree I like it let's do one more time foreign [Music] [Applause] we all know Chrysler's music it's been played by every violinist and it's beautiful music it's played for encores and so on to actually hear it on their violin a witch Chrysler had under his chin at the time you start to understand why he wrote what he did [Music] foreign [Music] thank you I will call you for all my fingerings now there it is it's a phenomenologically unique experience for a musician to play something that they know Chrysler recorded on that Chrysler walked out on stage in Carnegie Hall with so it's obvious to me that there's something imbued in the instrument by the person who played it before and when that person is someone that again for me is a truly Noble soul and has given their life to expressing music and interpreting composers and shared that with us I can't help but think that there's some of that in the object itself [Music] I believe that these old instruments are imbued with the character and the sound of previous players I choose to believe it possibly not the case but the fact is in the minds of the players it's it's a psychological effect and it's so it's a real effect and anyone a modern player addressing that instrument and they have in mind its history it's going to come out in their playing it's going to affect how they play it and what they derive from it um which is all good whether it's scientifically provable or anything I'm not that interested there's a romance to it [Applause] [Music] [Applause] foreign when you start playing it takes time to find the sound to find the character of the instruments and it's so fun to actually find that and to the first time you listen back you think I kill the instrument or it's not really resonating properly and then while you go on suddenly it's there you start finding it so it's really exciting and then there's of course some instruments like the alar and the tarot which don't get played a lot and then it's not only a matter of me finding the instrument but it's also the instrument coming alive yeah foreign I'm so sorry to stop I'm so unhappy with what I do why if I make the opposite of what it actually says [Music] I make a different window [Music] yeah I should make a question though right well I I said the time before you know just if you're gonna do an echo then do it a little bit but not to put the last one that you did was fantastic okay okay okay [Music] really [Music] what we're finding is the music itself is developing as Janine gets used to the instrument we hear the instrument sometimes open up the best example is the Allah and when it began we thought well this is the famous violin it's a little dumb at the moment and as we did another take and another take and played more and more music this instrument started telling Janine how to play she'd started telling it how to play and from our point of view the sound opened out and in a way that nobody would be moving microphones or changing settings to get different sounds like this it was the instrument that was changing [Music] yeah here I think we should here we should go and what if we do the opposite [Music] see this should be held that should be held I bet I feel the opposition I know you can come back quite a long way dynamically there yes Janine and I'm I'm I know why because what what's coming up I just want to not all the time I understand actually [Music] what if we a little bit also their give in dynamic so we have space to kind of go to this I just feel like I'm on the top of my okay [Music] thank you [Music] foreign [Music] [Applause] [Music] [Applause] foreign [Applause] [Music] I am feeling not great if I can be honest I think it's time to say we've done a fantastic work on this with any other pieces so thank you very much great thank you thank you yeah this was good yeah everyone I mean this is a beauty thank you Tony for us is that the violin changes we will do this again tomorrow the whole day and Brahms let's do Brands here now I'll kill you I'll make it my my mission to kill you the alar is just like I mean it's it has it has of course extreme power but it has amazing support whenever you touch the string it's just you feel this I don't know this body underneath and not in a kind of um you know um concrete way but like in in any way it's just it flies this house and it's brilliant not only on the E string but like on overall it's just a it's amazing and now it's here and it's being played for the first time in a concert hall the first time in a in a recording and I'm super lucky and grateful to be able to to do that to experience this time together with Allah [Laughter] there's a saying from his time as Richard stradivari in Corona he had effectively established a brand a name for himself and a sense of Excellence during his lifetime many of the instruments that he made actually went directly into private collections the church being the most notable so you have at the very outset a sense of value and Prestige associated with the object that's very significant well I often think violence there sort of like um they're like little rubber ducks floating on the streams of History you know their economic and Colonial Imperial industrial history these little violins sort of bobbing Along on this stream going from this little town in Northern Italy cremona and they go to Spain first because cremona was a possession of Spain at that period and then when Spain goes into Decline and they start moving into France and and then in England is the great dominant power and it's wherever the money resides wherever there's a class of people originally they would have been just the aristocrats but in the 19th century these become businessmen and industrialists foreign [Music] thank you [Music] had these instruments available in your country house so you'd hire a musician who might have an inferior instrument but say ah no now you're in my home you play my stradivari and it impresses your guests and um but basically you have them hanging in wardrobes around your country estate [Music] [Applause] thank you [Music] [Applause] I think using instruments as a study in geopolitical and economic power is completely fascinating I mean where were a lot of great sort of areas going in the 80s and the 90s many of them went to Japan you know there's a moment where many of these instruments are appearing in private collections in Korea you know the landscape right now in Asia with the profound artistic excellence and economic power being developed in China I think there's a possibility for custodianship in that part of the world that's very unique very uh loose I think with the with the vibrato for it to go like this let's try a little bit and listen okay guys yeah we're all ready this is [Music] [Applause] [Music] please there are some instruments of course that's couples so extremely well and have to be Viator with this wonderful this is by futon himself desperation I mean this violin is special because it's really great to play it because it kind of feels like this Ferrari that kind of always gives a little bit more there's one extra gear and kind of flies and and this piece I mean I cannot imagine another instrument that would fit better sorry sorry sorry oh any faster than I can no let's play it one time through we listen if we are yeah okay [Music] [Applause] thank you [Music] [Applause] foreign [Music] it sometimes thought that violence should be played all the time there are a few exceptional examples that would benefit future Generations by being preserved um which doesn't mean they would never be played but it does mean that that they would be arrested for for a while and the instruments like the Terrell that we can see now in such extraordinary conditions are only like that because they've been shut away for maybe 200 years foreign [Music] thank you [Music] I think the Elgar with statero was beautiful it's such a pure sounding instrument and so extremely human in its voice I I find I mean I get this and then this so spirit I mean it's this this extremely countable uh like really a huge almost like a human voice that fitted so beautifully [Music] oh [Music] [Music] there are people on instruments and you never see them again I don't know how many episodes you've hit 10 to 11 or 12 but some of the greatest instruments they can still be played and played hard and played well and played you know in Big Concert halls and sounds spectacular so for me you know I look at it and think where I've got something that can be played and can be lent to a top performer or somebody who's got real talent then let's make it happen thank you [Music] patronage has always been a part because stradivari in his day was already charging a lot of money for his violins and certainly that tradition of great patrons is so important because they've always been expensive and they've become even more expensive anything for 5 to 25 or more million dollars which is extraordinary but players rely on patronage in terms of investment you know instruments have made 300 years ago they're making no more of these so there's a finite Supply there are some spectacular modern instruments but my personal view is that they can project well but they don't have the color and the Nuance but some of these really tremendously great instruments dating back to 300 years have and so you know for me to be part of that and to hear these instruments I don't want to sound too cliche but we're kind of Keepers for the Next Generation [Music] much warmth so [Music] you're going to want to re-record everything I'm going to kill you I'm going to kill yourself this violin is very easy speaking Yeah Yeah Yeah Yeah Yeah Yeah Yeah Yeah Yeah Yeah Yeah Yeah Yeah yeah but it is it reacts to kind of delicate touch [Music] but now it will be under liquid [Music] [Applause] [Music] thank you [Music] [Applause] foreign I think that the future is related to the past where there will be more of these instruments put into private collections in a way that's problematic because they become silenced in that process is there a way to do that where the instruments become available to be heard and um is there a combination between conservation and performance practice where both of those things can be honored I would like to see the future described by those things foreign [Music] foreign [Music] it's special and that E string it kind of it it really it also I mean it goes straight to the straight to the heart and of course knowing that this was her instrument it makes it even more I mean emotional and yeah very beautiful [Music] [Music] [Music] thank you foreign [Music] [Applause] [Music] the history of violin playing has been in this room for four days and it carries on through Janine and she's demonstrated her prowess and her curiosity and soul and perseverance and courage to take these violins in your hand because I can imagine you know I mean just the idea is daunting I mean it's a great opportunity yes but it's it's frightening you know but she just maybe in a way during the recording I tried not to realize all the time like which amazing musicians have played these instruments because it is of course you know that is quite I mean impressive and that can be intimidating as well but I let the instruments inspire me which violin is this [Music] foreign [Music] [Applause] [Music] that project of course it is once in a lifetime I wasn't at all points completely sure about making it to the end but actually there comes again this thing about music inspiration music itself the instruments a wonderful partner on stage and we're here [Music] foreign [Music] [Music] just leave it please trust me just leave it one more no guys fantastic playing it's been a real pleasure thank you thank you so much thank you can we Tony Tony do you have any any energy to play Just incubation one time through to see how it sounds on this that's it just for fun the uncle oh you have it uh coming back completely in the end of the recording we did the syncopation we had done it on the 33 so then we tried it on the 34 and it felt great [Music] [Applause] [Music] thank you [Music] [Applause] [Music]

Channel: Viogabi Classics

Views: 65,473

Keywords: janine jansen, virtuoso, stradivari, violin, violin makers, pappano, famous violinist, document, documentarin, hegedűművésznő

Id: w_llzncFcm4

Length: 80min 48sec (4848 seconds)

Published: Wed Mar 15 2023