Francisco Rico stated that the most ‘in’ thing in Madrid’s cultural life is a chamber concert in the Hall of Columns of the Royal Palace, the old stones worn out by the Cremonian ‘lutheria’ of the ‘golden period’ shaking. A privilege for those who love sound solitude. Five ‘stradivarius’ enrich the collection of the Royal Palace: an exceptional viola, the only ornamented one of the thirteen remaining in the world, «Antonius Stradivarius Cremonensis Faciebat anno 1696»; two cellos from 1696 and 1700 and two violins, both from 1696. This exceptional and unique string ensemble is a source of pride for Spain. Some other ‘stradivarius’ violins are preserved in our nation, such as that of the Superior Conservatory of Music, from later years (1713) and, according to some experts, without the excellence of the palatine ones. The sound quality of the ‘stradivarius’ has not been never equaled, due to the secret formula of the varnish used by the craftsman; perhaps because of the drying time of the precious maple and spruce woods. Current research leans, after several endoscopic analyses, toward the treatment of wood with metallic salts, which was the best kept secret of Antonio Stradivari’s craftsmanship. In any case, three hundred years later, a ‘stradivarius’ is the Sistine Chapel of the violin and if one were to go on sale it would perhaps exceed a million and a half euros. Some more ‘stradivarius’ are preserved in our nation, such as the one at the Conservatory Superior of Music Fifty years ago I was lucky enough to meet Yehudi Menuhin in London. I asked him for an article for the newspaper. He wrote it and I felt proud that that universal Jew was incorporated into the pages of my publication. Years later I was happy that Paloma O’Shea, who is the wisdom in music, incorporated Menuhin into the Reina Sofía School, Albéniz Foundation, to whose board I had the honor of belonging. “A stradivarius,” said Menuhin, “is not a violin, it is a miracle.” Beethoven’s reaction is well known when the violinist Ignaz Schuppanzigh complained about the difficulties in performing the Fugue from Quartet 3, opus 59. “Do you think that I “Have I thought of its miserable strings when the spirit spoke to me?” , the musician snapped at the performer. Beethoven was irritated because critics had called his quartets the “sloppy music of a madman.” They are the sarcasms of art. Lope de Vega wrote: “No writer is as bad as Cervantes nor so foolish as to praise Don Quixote.” Ah, it would be unfair not to refer to the person who protects the ‘stradivarius’ concerts at the Royal Palace and who is one of the women who most You know, who understands most about music in Spain. He has used his experience and international contacts to turn the chamber of the Royal Palace into the core center of cultural manifestations in Spain. I am referring to the Queen Mother Doña Sofía, of course.
#violin #miracle
