In Search of the Messiah

On the ribs of the oldest surviving Cello made around fifteen thirty eight its maker inscribed the words Justice and Piety, yet beneath its civilized surface the world of rare string instruments is a realm of undisclosed alliances, fierce rivalries and denigrating whispers; its history of fraud and fakery dates almost to the inception of the violin itself

The title of the documentary is inspired by the most perfectly preserved Stradivari violin in existence: The Messiah, which is displayed in a glass case at Oxfords Ashmolean Museum and was donated with the condition that it must never be played again.

This film explores a rare and exclusive world. Owning one of Stradivaris instruments now equates to great power and influence in the Music World. These instruments are so valuable that they are well beyond the capability of even the most famous musicians to own. Yet they have the unique capacity to produce sound so intensely beautiful and powerful that 350 years after their creation they remain one of the only objects in our cultural history to be unrivalled by anything modern technology and science can produce.

What right, if any, will musicians have to play these unique instruments in the future? The film follows the Brit award winning violinist Ruth Palmer as she circumnavigates the globe in search of an instrument to play, and we hear the magic of Stradivari in the hands of the worlds greatest musicians including: Joshua Bell, James Ehnes, Heinrich Schiff, Natalie Clein and Steven Isserlis.

Category:

Film & Animation

Tags:

• Tim Meara
• Ruth Palmer
• Fergus Meiklejohn
• Luisa Pretolani
• James Ehnes
• Heinrich Schiff
• Natalie Clein
• Steven Isserlis

[JohnAThornton]

That said: Jed Murphy, the expert who certified the 1741 Guarneri del Gesu, said Ruth Palmer made the violin scream like an eagle. If she had so much as even emailed a simple 'thank you' I would have given it to her. Go figure.....

[JohnAThornton]

Elderly Instruments, List #421 July 2006: Pg 17 GUARNERI LABEL G-VGC, very fine Guarneri copy, probably mid to late 19th century, may be English, two piece back of handsome medium curl, antiqued varnish, from amber to a darker red-brown over a golden ground, varnish has a fair bit of crackle, grafted scroll, ebony heel cap on back button, boxwood fitings except for ebony endpin, great full rich tone. 11OU-3497 $4200.00 Now Certified Authentic GDG, 1741. Ruth Palmer played this violin, in London.

[violonistchris]

where is the documentary online FREE ??

[Chad48309]

@dartherus Sent you a message containing some research material into violin acoustics and design that you might consider of interest. I also have a collection of book scans and comprehensive studies that I can host online for you, if you're interested. Most books concerning violin technology are extremely expensive and hard to find, so ... I've found it necessary to be "creative" in obtaining copies. Get back to me on that if you're interested.

[Chad48309]

@dartherus I'm not denying that orchestral strings are a difficult instrument to learn. There are thousands of nuances in bowing alone that could take several lifetimes to even attempt to master, let alone the theory lying behind thousands of fingering techniques. I was merely pointing out the inaccuracy in your statement on the piano.

I'm well aware of the science of both orchestral string acoustics and the different areas of the brain that become active through rigorous practice.

[dartherus]

@Chad48309 As I always say, google "why the violin is so hard to play" to find a more detailed ans scientific explanation.

Also in a piano forum google "Is the violin hard to learn" the url should be part of a site named pianoworld

[Chad48309]

@dartherus The piano is a much more tactile instrument than you think. Simply "pressing a key" will not yield a perfect note. A tone, yes, but not a perfect note. Your statement infers some magnificent luck on the part of professional pianists, who pull a wide range of rich tonal color from the instrument for a single, exhausting performance.

[Chad48309]

@JonathanDelacois You are sadly mistaken if you believe modern luthiers are turning out products that have immediate quality on par with that of the Golden Period, especially those which have been in regular use and kept well. Not to mention your statement is both insulting and ignorant to the intimate connection a professional musician has with their instrument. Who are you to dictate what instrument a professional should choose as their own?

[JonathanDelacois]

Dear Ruth, what's wrong with your statement:

Ruth Palmer: "I have to just try my best to get my hands on a good instrument and hope that it's a good instrument that I love."

How about this: you are equating "good instrument" with "expensive instrument" - as one realized when you say that you'll have to HOPE that it's one you'll love.

Do yourself a favour and visit some good German luthiers. Then you'll have an instrument of your own and can start debunking society's ugly MATERIALISTIC notions.

[JonathanDelacois]

Old violins have an interesting allure... But it is rather disappointing to see the opinions that top performers NEED Strads or Guarneris.

Instead of that ugly dealer world and ugly money influence, violinists should go and visit good luthiers.

If you want a good violin, I recommend visiting Germany. Best is to visit Vogtland (in particular Markneukirchen, Erlbach and surround. small towns) where there are NUMEROUS superb luthiers. Alternatively: Greiner, Schleske,Schade,Erben and many more