The Mystery of Messiah

1 October 2014 – 8:32 pm Posted in Instrument & Playing, Western Classical Music

Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.

The Messiah-Salabue Stradivarius , was crafted in 1716 and is considered to be the only Stradivarius in existence in as new state [1].
The Messiah, sobriquet Le Messie, remained in the Stradivarius workshop until his death in 1737.Later in 1775 it was sold by his son, Paolo, to an Italian collector, Count Cozio di Salabue. and for a time, the violin bore the name Salabue. In 1827, it was purchased by a dealer, Luigi Tarsio.
Once when Tarisio was speaking about it to Vuillaume on the merits of this unknown and marvellous instrument, the violinist, Delphine Alard, said : “Your violin is like the Messiah: we wait for it constantly and it never appears!”. This is how Messiah was given the name by which it has been known ever since [2].
Upon Tarisio’s death, in 1854, Jean-Baptiste Vuillaume bought and restored it. He added the tunning pegs and the tailpiece(that shows the Nativity of Christ) [3] .
The instrument is in wonderful condition, otherwise. The top of the Messiah is made from the same tree as a P.G. Rogeri violin of 1710 [4].
In its long history ,Messiah, has been very rarely played . It has suffered none of the wear that is common to almost all old violins. That is why the varnish sustain its original orange-brown colour and peg-box and the black paint along the edge of the scroll has not worn away with handling.[3]
As many violinists really believe that the instrument sound better than newly made violins , researches have tried to figure out why.
Some pointed the finger to the dense wood which was harvested from Alpine spruces that grew during an Ice Age. Others suspected at the varnish , or even the chemicals that the master used to treat the wood [5].
It is known that the master made very precise calculations to work out the perfect shape for the instrument, the height of the bridge, the size of the sound holes and so on, each instrument uniquely sculpted by hand and ear [6].
The unusual narrowness of the rings in the spruce wood was noticed by US scientists who forward the idea the unique Stradivarius sound could be the result of these narrow rings. Certain violin-makers , however, were outraged by this hypothesis [6].
It is still a mystery why a Stradivari violin should sound so perfect, and why nobody has been able to reproduce it.

References:
The Nippon Music Foundation and the ‘Lady Blunt’.. Andrew Hill (tarisio.com). 16 June 2011.
The Hill Collection of Musical Instruments, David D. Boyden, Oxford University Press, London, 1969.
Ashmolean Object of the month Sep 2004
Messiah Dendrochronology , Arjan Versteeg, The Strad 03/2011
Violinists can’t tell the difference between Stradivarius and new ones By Ed Yong, 2012
Stradivarius instruments are rare, beautiful, and worth a fortune By Andy MsSmith , 2007

This entry was written by Reza Ziaei
Tagged: .

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

Latest posts

From Past Days…

Simorgh Criticised

Simorgh (Simorq) Orchestra was founded by the renowned Iranian composer, Hamid Motebassem, in 2011. Simorgh Orchestra is the largest orchestra featuring Iranian national instruments. Although the orchestra established by Master Hossein Dehlavi, the great Iranian composer, in 1993 was larger than Simorgh Orchestra, it only featured the Iranian plucked string instruments unlike the latter one. The first album which was recorded by the Orchestra, conducted under Motebassem’s baton, was his Simorq based on Zal story from Shahnameh by Ferdowsi, the great Iranian poet.

Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End

Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Iranian Fallacies – Composition and Arrangement

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

New Technique for Playing Classical Guitar (I)

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

Celebrating 20 Years of Harmony Talk’s Journey: Resilience, Evolution, Honoring the Legacy and Navigating Future Growth

In a momentous celebration of two decades, the “Arasbaran Cultural Center” was the stage for the 20th anniversary of “Harmony Talk”, an online journal that has become a cornerstone in the music community. Sadjad Pourghanad, the editor-in-chief, delivered a speech that resonated with gratitude and vision.

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.

Ruggero Chiesa’s Legacy

Written by Peyman Shirali Translated by Mahta Mottaghi Since many years ago, I had the intention of writing an article on the Italian maestro Ruggero Chiesa and his musical life; but his ingenuity and the immense legacy, which is impressive for not only me, but also almost everyone who knows him properly, made it hard for me…
Read More »

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

Interview with the Makers of the New Qeychak (I)

On occasion of the 8th anniversary of launching HarmonyTalk Online Journal on 6 April 2012, Reza Ziaei, master luthier and researcher on classical music instruments (violin family), announced that the first phase of the project to improve Qeychak has borne fruit. The new instrument would feature a bowl of ribs and the material used for the surface would be wooden. Carrying out the second phase of the project took more than 7 years engaging the new members of Reza Ziaei’s Workshop. In this phase, new researches were conducted from different aspects on the Qeychak and the modern versions of the instrument which were introduced previously by other instrument makers. The available versions of the instrument were studied in terms of their weak and strong technical features.