Stradivari Trust 25 Years of Instrument Trusts
Total Page：16
File Type：pdf, Size：1020Kb
Stradivari Trust 25 YEARS OF INSTRUMENT TRUSTS 2 0 1 0 ~ 1 ~ PREFACE Since 1985, nigel brown has Integral to the smooth running of the Instrument Trusts helped provide instruments to are the violin dealers: we are grateful to Charles Beare and Aboutmore than 30this artists, including Florianguide Leonhard both for supporting this publication the likes of Nigel Kennedy, Steven and for their written contributions. From Leonhard (on Isserlis, Natalie Clein and Jennifer page 5) we learn about Stradivari’s golden period and Pike. But this publication, which the tantalising possibility that we are living through a celebrates 25 years of Instrument golden age of restoration. Beare (on page 4) directs our Trusts, is not supposed to be view to the expanding string market in the Far East and a retrospective. It is something discusses what makes the sound of a violin so beautiful. much more alive: a current snap- Nigel Brown himself offers an explanation of the shot of every artist who has ben- mechanics of the Instrument Trusts as well as exploring efited from one of these schemes.. his own motivation for establishing them. The history In 2004, Brown set up the of the Instrument Schemes and of the Stradivari Trust Stradivari Trust to create an all- is laid out in the feature on page 6, which also examines encompassing aegis for his musi- the other plates that the Trust is currently spinning. cal projects and to act as a channel The body of this publication, though, is taken up – as for charitable donations to the it should be – by the musicians and their instruments, the Syndicated Instrument Trusts. Our oldest of which is a violin from 1570. It is extraordinary aim, in compiling this publication, to think that when this instrument was being crafted, has been to offer a panoramic Elizabeth I was on the throne in Britain, the Medicis view of the Stradivari Trust and, held Florence in the palm of their hands, and the very in particular, of the Instrument concept of the violin as we know it was just being born. Trusts: from the first ben- eficiary (Nigel Kennedy) to the newest recruit (Helen Kruger) The work of the Trust has been life-changing and beyond, to some who hope for each musician interviewed in the following to join the ranks shortly (Atrium Quartet). Every artist who has pages and will remain vital in the future ever been helped by a syndicate scheme is included in the fol- lowing pages, as well as some who have received help of a different kind directly One cannot, however, dwell on the past for long, from the Stradivari Trust. The result is a diverse before turning to the future. For some of the musi- record of a group of highly individual musicians. cians interviewed, the awareness that their instru- In talking to the musicians featured here, we have ment would long outlive them weighed heavily on encountered soloists and orchestral players, teachers their hearts; for others, it was thrilling. This publica- and pupils, Baroque specialists and jazz virtuosos, three tion is essentially a look to the future: the future of BBC Young Musician of the Year winners and too string playing, the future of these particular beautiful many Beethoven devotees to count. It has been a fasci- instruments and the future of the nating, comic and often humbling experience. Yet this Stradivari Trust and its Instrument disparate group has one thing in common: a complete Schemes. These schemes have been and extraordinary devotion to their instruments. Each life-changing for each musician artist spoke of their violin, viola, cello or bass as an interviewed in the following pages extension of themselves, often drawing parallels with and will remain vital in the future.. love and marriage to convey their strength of feeling. Mark Austin and Lizzie Davis ~ 1 ~ INTRODUCTION c.1650–84 Nicolò Amati violin 1610 Antonio Brenzi viola The relationship names, invariably Italian and mostly from the 17th will get 10,000 shares, and so on. The that string players have and 18th centuries. The demand for old instruments price starts at £1 per share and moves Nigelwith their instruments clearly farBrown exceeds the supply because there must only as and when there is a revaluation, is complex. Apart from now be very few undiscovered masterpieces and which takes place on the anniversary the intricacies of set-up the makers themselves are, of course, long gone. of the date the Trust was set up. Trusts there are also those of Despite the efforts of what some would regard typically have a life of between ten and twenty condition, especially as iconoclasts and cynics, there is no indication that years, depending on the age of the musician. where old instruments things are about to change and if musicians, especially At each anniversary the musician is offered the a re c o n c e r n e d – young ones, are going to be able to gain access to the opportunity to buy shares at the new price. and the majority of main market some financial help has to be found, There is no rent, since a meaningful players are persuaded preferably of a sympathetic kind. By this I mean that one would be prohibitive, so members of that something old, the people with the money need to be prepared to the ownership syndicate make financial not to say antique, is put the interests of the musician above the financial gains only by virtue of any appreciation most likely to give them the means of expression reward they will expect to receive by investing in the value of the instrument. The they desire. Playing an old instrument with a in a long-term, apparently well-supported musician covers all maintenance pedigree and a history may also help with the amour world market. Fortunately over the last 25 and insurance costs, the latter being propre. Few musicians are prepared to chance their arm years or so I have found many people willing surprisingly reasonably priced because with a new instrument if they have the opportunity to invest in this altruistic way. I have also insurers have observed that, on the whole, to play on something old and distinguished. benefited from much helpful advice in refining musicians guard their instruments with their lives! This preference has led to a two-tier my simple idea, which starts off with a syndicate The process described above has worked well. instrument market. New instruments, even purchasing an instrument chosen by the musician. More than 30 of the UK’s top string players – when made by the acknowledged top There are no tax breaks available for the violinists, violists, cellists and a double bass player – have contemporary makers, do not command purchase of musical instruments other than for benefited. The timescale of the trusts has meant that, prices much above the £20,000 mark, working musicians. Instrument ownership is to date, approximately half have been able to buy their which is unfortunately a fraction of expressed via a Bare Trust: rather than using contributors out so that they now own the instrument what old ones sell for and is not even proportional percentages to express of their choice. This appears to support my long-held enough to secure a good 19th-century French how much each contributor owns – belief that being able to use a good enough instrument bow. Furthermore, there is no indication including if possible the musician on a secure long-term basis contributes materially to as to how long it will take for modern themselves – notional shares are the making of a successful career. The investors have instruments to take their place in even the created. A £500,000 instrument received a very reasonable and non-volatile return lower echelons of the main instrument will have 500,000 shares worth £1 on their money while enjoying the considerable market, which is dominated by the great each. If you put up £10,000, you satisfaction of seeing just how much help they have given to really talented players in a very competitive profession. The total value of instruments currently held through the schemes is approximately £4m. 1784 Gagliano violin Nigel Brown OBE 1777 ‘Simpson’ Guadagnini cello 1682 Grancino violin ~ 2 ~ ~ 3 ~ INTRODUCTION The violin is cab driver, and a fine Strad (as they are familiarly I am often asked, ‘What While his contemporaries were generally content considered by many to be the known) is the centrepiece of any important collection. is the secret of Antonio to continue making the same type of instrument Charlesmost perfect of allBeare Western It is difficult to explain precisely how important FlorianStradivari?’ Leonhard I answer that he that Cremona was famous for, Stradivari continually musical instruments. Not only it is for a soloist to have a really fine instrument to succeeded in his craft in more reflected on what he did and sought to improve upon is its design visually graceful, play. Of course a top musician will perform well areas than anybody else ever it. I take the same view with restoration and making but its tonal qualities also on a fairly ordinary instrument but a great Italian has. The instruments of his in my workshop, encouraging subtle ingenuity encompass every emotion from instrument gives the soloist a far greater palette to golden period unite all his with one eye firmly on the past. Even when an drama and brilliance to the most work with, as well as a depth of sound and powers of top achievements: designing instrument is damaged almost beyond recognition I soulful beauty.