It is essentially a solo instrument par excellence and a lot of musical literature has been dedicated to it, both as a protagonist and towards a complex dialectical relationship between the other instruments ...
«The violin, this magical“ box ”, as I often define it when looking at it. An object made up of four wooden boards glued together that has established itself in history inspiring composers of every era and as you say in symbiosis with the player it almost blends with the body and soul of the performer. Each violinist through the same medium expresses his personality, his art and his emotional state in a totally unique way. You can recognize a great soloist from another only by listening to his sound even if he plays the same violin. The elegance of the shapes and the decisive character of the violin fascinate me every time my eye sweeps over every detail. Violin literature is vast, from solo concerts to chamber music. It seems incredible to see this small instrument dominate alone over an orchestra in the most beautiful violin concertos. We find him then in chamber literature where, even here, he plays the part of the prima donna most of the time, dialoguing with the other instruments. I have often played as a soloist with different orchestras but above all I prefer chamber music. I am the first violin of a string quartet that was born right here in Lugano (Quartetto Energie Nove) and the chamber repertoire dedicated to the quartet is in fact one of the most interesting and fascinating ».
What moment of well-being is comparable to the performance of the second movement (larghetto) of the Concerto Op.61 in D major by Ludwig Van Beethoven, or in letting oneself be carried away by the Canto dell'Inverno (largo) from Vivaldi's Four Seasons, or by the Aria of the Bach Suite for Orchestra No. 3?
«Yes, they are some of the most beautiful and famous compositions written for the violin, pieces that you never get tired of listening to. You mention the Larghetto from Beethoven's violin concerto, in the form of a romance, where the violin like a painter's brush creates the purest colors as a decoration on a simple but extremely poetic theme. Being able to play this music is a gift that elevates you and brings you closer to something non-earthly. Ours is then the task of transmitting the inner message of the great composers ».
The first violins are the result of experiments by the master luthiers of the Bolognese School, from Antonio Brensio (1485 - 1561) to today's times. Which structural and sound difference passes, for example between a Guarneri del Gesù or a Stradivari, is a violin of modern classical construction.
“We are fortunate to still be able to play instruments that are now more than 300 years old. We are faced with works of art that, if we talk about the great names of 700th century violin making, are now objects of investment as well as famous works such as paintings or sculptures. I have always had the opportunity to play important instruments kindly made available by collectors and private foundations. Currently I play a splendid 1700 Goffredo Cappa violin that the Orchestra of Italian Switzerland allows me to play thanks to a private foundation that has decided to invest in high-level instruments to be made available to the first parts of the orchestra and giving the possibility to themselves to choose a tool that suits their needs. An important gesture by this foundation that has understood the importance for us musicians of being able to play instruments of the highest level that we can hardly afford to buy. I am also lucky enough to play a magnificent Stradivarius who is now considered the greatest luthier of all time. It is no coincidence that almost all the greatest soloists play one. Playing instruments of this level allows me to express what I really have inside, that voice that the violin gives you, which I am always looking for, which allows me to "talk" intimately with those who listen to me. All this preamble to say that we can perceive notable differences between the great names of ancient lutherie and the violins of contemporary luthiers. Time, seasoning and the type of wood used undoubtedly contribute to giving the sound of an antique violin a different charm ».
The complete version of this article can be found in the Ticino Welcome paper edition or on Issu on page 64
