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: .

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.

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.

Latest posts

From Past Days…

Behzad Abdi’s opera Rumi was physically released by Naxos

Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.

Parviz Meshkatian’s Heart Beat for People (I)

Amidst the popularity of traditionalism in the Iranian music, Parviz Meshkatian (1955- 2009) moved from Neyshabur to Tehran. He learnt to play Santour and became educated in the Radif of Iranian music at the Centre for Preservation and Promotion of Music which was at the forefront of promoting the return to musical traditions. Despite his studies at a centre which promoted the use of the phrase “traditional music” in Iran, Parviz Meshkatian emerged as a creative artist whose innovative and unique ideas attracted the admiration of Iranian artists and people from different walks of life. This article studies the reason behind Meshkatian’s deviation from the wrong approach of traditionalism strongly promoted by the Centre and argues that apart from the issue of theory of Iranian music, he can be considered as Ali Naqi Vaziri’s successor.

Developments in Iranian Music Since Qajar Era (II)

Santour:
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.

Inefficiency of some chords and harmonization systems in Iranian music

Discussions and research have been conducted on the harmonization of “dastgah” and melodies in Iranian music, and several books have been published on this topic, including “Armenian Music of Iran” by Ali Naghi Vaziri, “Harmony of Iranian Music” by Farhad Fakhreddini, and “Harmony of Iranian Music” by Ali Ghamssari. A master’s thesis titled “Presenting a Solution for Harmonizing Based on the Structure of Tritone Intervals” was written by Atefeh EinAli in 2014. Additionally, the invention and use of “Even Harmony” by Morteza Hannaneh should be mentioned.

Mohammad Esmaili passes away

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

Harmony in the Iranian Music (I)

Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…
Read More »

Hossein Aslani passed away!

Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website:

Polyphony in Iranian Music (III)

In heterophonic variant, two performers perform a single melody simultaneously and change it. Performing and changing a single melody simultaneously by two performers leads to the coincidence of different voices.

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

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.