There is no doubt about it, the Stradivarii are still a very hot topic. Have scientists finally discover the mysterious “secret” behing their exceptional qualities? Not really… Indeed, a recent study by French acoustician Claudia Fritz, from Université Paris-VI, hints that the instruments may not be as wonderful as everyone seems to think. During the 2010 edition of the Indianapolis International Violin Competition, she led a blind test with 21 very high level violinists: several competitors of course, as well as some experts and a couple of experienced instrumentalists. Throughout the process, participants wore welder’s glasses to mask any distinct caracteristics of the instrument and the room was filled with perfume so that the typical old wood scent wouldn’t be able to influence the violinists’ answers.

The study was two-folded. First, participants were invited to play, in a random order, on three modern violins made by famous luthiers, two Stradivarii and one Guarnerius del Gesu. Afterwards, they indicated which instrument they would  bring home with them. Secondly, two violins were shown and they simply had to find which one of the two was the 18th century one. Here, most failed miserably and, when came time to pick “their” instrument, only 8 out of the 21 picked one of the three “famous” ones. The instrument which appealed to most was a modern one and the one least chosen was… a Strad circa 1700.

When the study was published, early this month, many detractors stated that it was ridiculous to consider “taming” an instrument in a hotel room, in a few short minutes and that the qualities of an instrument would be revealed much later on. It so happens that I recently spoke with violist Antoine Tamestit who explained to me that the encounter he had with his Strad was far from love at first sight, that he considered on several occasions givin g it back to the Habisreutinger Foundation and that it took him more than a year before he developed a close connection with the instrument!

One thing is for certain: these mystical instruments have not revealed yet quite yet…

An article from The Star to read about this…

Richard Strauss’s influence on the Second Viennese School (Schoenberg, Berg and Webern) has been discussed on several occasions over the years, even more so in the last few. Alex Ross from the New Yorker states: “… I believe it’s still underrated, not least because the eternal politics of twentieth-century historiography — radical vs. conservative, etc. — keep getting in the way.”

In this interesting blog (with musical examples), he draws parallels between the universes of Strauss and Schoenberg, the latter having adulated the first in his youth, not so surprisingly.

You can read it here…

The trumpet has taken so many forms throughout musical history that it makes it more difficult to really understand how this instrument works. The latest issue of La Scena Musicale offers an article that attempts to demystify that instrument that led soldiers to war and accompagnied the entry of kings.

You may read it here, on page 48-49.

Nothing like hearing the instrument to better understand it. You can do so here, with Paul Merkelo (principal trumpet of the OSM) and Luc Beauséjour, performing a series of baroque transcriptions.

In the midst of all those anniversaries scheduled in 2011, this one will surely be forgotten. Indeed, it was 300 years ago that John Shore, a British trumpet player and instrument maker, is thought to have invented this tool.

A tuning fork is shaped as a two-pronged U fork. Usually made of steel, it resonates at a specific constant pitch (which depends on the lenghts of the two prongs used) when set vibrating by striking it against a surface, whether a table or an instrument.

Currently, the most common tuning fork is set to produce the note A and vibrates at 440 Hz. It is used as the tuning note by most orchestras. Baroque ensembles will generally used a different A to tune, between 392 and 415 Hz (the most popular frequency used) because it puts less strain on the older, more sensitive, instruments.

If playing music conjures up images of isolation, whether in the practice room or on stage, then the enjoyment of music evokes companionship. Thus, it is hardly surprising that many musicians and composers have developed close relationships. Some composers saw each other on a regular basis. For example, Joseph Haydn and Wolfgang Amadeus Mozart enjoyed a deep and lasting friendship despite their age difference. The flamboyant Franz Liszt and the more reserved Frédéric Chopin met on a number of occasions. Liszt was also a fervent admirer of Richard Wagner (and at some point became his father-in-law) and the two spent many hours together. Their graves even lie side by side.

Sometimes friendship leads to love and marriage, as in the case of Robert and Clara Schumann. Among the composers who moved in the Schumann’s circle were Felix Mendelssohn, godfather to one of Schumann’s children and Johannes Brahms. Brahms in turn helped Antonín Dvořák some years later and they remained loyal friends until Brahms died. Brahms edited the proofs of Dvořák’s New World Symphony when it was being published. (more…)