Problem
3: the temptations of
compromise
The demands on
musicians to have appropriate instruments for a wide range or
repertoire, given
the cost of stringed instruments, have led to an understandable degree
of
compromise. Instruments were (and still are) often commissioned and set
up to
“work” for a wide range of repertoires – unfortunately one could argue
that
they then truly work for none! The extension of the period instrument
movement
into the late 18th and 19th centuries has also
tempted
many modern players to become involved: this has brought about another
kind of
compromise, in which instruments have been set up to be easier for
modern
players to pick up and learn quickly. There now exist, therefore, a
large
number of “baroque” instruments which incorporate many features of
classical
and modern violins.
While this has
made it easier for large numbers of musicians to acquire the facility
to take
part in historical performances and recordings, there have been
inevitable
losses. The clear delineation of different national and period styles
has
become blurred, and the essential process of learning from the precise
qualities of an instrument belonging to a particular time and place has
been
diluted. It was mentioned above that it is easier to play Monteverdi
with a
“Mozart” violin, but what do we miss when we do this? The rich, nutty,
complex
sound of very thick gut strings; the consort blend within the violin
family;
the wide range of articulation [4],
and countless unnamable subtleties of expression peculiar to the
Venetian 17th century sound-world. These all depend on – or at least
are facilitated
by –
having the right instrument for the period in all its details.
The
“Monteverdi violins”: one small
step towards a solution
This excess of
compromise, understandable though it may be, seems in conflict with the
true
spirit of period performance. This spirit has at its core the principle
that we
can learn most about the sound-world of a particular era by using and
trusting
the information from that era; this can apply to just about everything,
from
instrument design to philosophy of performance. It seems particularly
pertinent
to violin making, where a great deal of information is available about
historical practices, and we must surely believe that great makers such
as the
Amatis, Guarneris and Stradivaris made instruments which were best
suited for
playing the music then current. In our own experience, following this
path has
always given more rewarding musical results, and this should be the
ultimate
test.
We
believe that one plausible approach is to attempt to recreate
instruments from
a very
specific time and place. In our case we were fortunate to have a
precise brief:
violins such as would have been used by Monteverdi in Mantua or Venice
around 1610. Similar projects are limited only by the imagination: for
Purcell, London in 1680, for Corelli, Rome in 1690, for Couperin, Paris
in 1710. In this way we can avoid trying
to promise too much - we would
not be
aiming to create an instrument that could be used for everything a
player might
be asked to do! - and in doing so
achieve the best possible results within the remit. No Jack of all
trades,
then, but a true Master of one.
click on image
The Monteverdi violins
Photo: James Gilham
This is of
course an “ideal world” philosophy. As we are all painfully aware,
musicians,
even at the highest level, rarely have the spare cash to commission
several
instruments. However, the Gabrieli Consort and Players have always been
enthusiastic about this approach, and we were delighted that the
Gabrieli Trust
was able to support us in this latest venture: it has truly been a
luxury to
have the opportunity to make these violins. We hope that they might
become the
seed of a new movement, and that as more “dedicated” instruments are in
the
public eye (and ear) we can develop a greater and more refined
understanding of
the sounds great composers of the past had in their minds.
We hope to
find more opportunities of this type, to develop, refine and learn from
the
work we have done. If you have found this intriguing, share our
philosophy, and
feel you may be in a position to support future projects [5],
we would of course be delighted to hear from you.
[4]
The
range of
articulation is especially interesting, because it allows the player
more
closely to imitate the pronunciation of text, with different types of
consonant
beginning each syllable (or bow stroke). The imitation of the voice has
always
been one of the most important goals for instrumentalists, and it is
therefore
very interesting to think about how singing styles have changed through
history.
[5]
Oliver Webber’s ensemble, The Monteverdi String Band, is currently
planning to commission
a full violin band from George Stoppani, building on the research done
for the Monteverdi
violins. This is a major project which will require a great deal of
research;
we plan to publish the findings in the Galpin
Society Journal
in due
course.
|