Australian Chamber Orchestra Loaned “Ex-Dollfus” Strad


(Helena Rathbone with the “ex-Dollfus” Strad)

 

The Australian Chamber Orchestra (ACO) has acquired a 3rd Golden Age Stradivarius violin, within the type of the “ex-Dollfus” Strad of 1732. The instrument is on mortgage from an nameless benefactor, and will probably be performed by ACO Principal Violin Helena Rathbone.

Of the roughly 280 violins that Stradivarius crafted throughout his Golden Interval, three are presently being performed by members of the ACO. Rathbone’s new instrument joins the 1726 “Belgiorno” Strad (presently performed by ACO Principal Violin Satu Vänskä) and a 1728/29 instrument (presently performed by ACO violinist Mark Ingwersen).

ACO Inventive Director Richard Tognetti presently performs on the 1743 “Carrodus” Guarneri del Gesu, and the orchestra believes it’s possible that Tognetti’s instrument and the ex-Dollfus violin could have crossed over within the Nineteen Fifties. At the moment, each violins had been owned by college students of the Austrian pedagogue Theodore Pashkus, and they also could have been performed in the identical class in Vienna.

“It’s an unbelievably great privilege to be the custodian of such a high-quality instrument,” Rathbone stated. “I’m so wanting ahead to attending to know the ‘ex-Dollfus’ extra intimately as we play many concert events and inform many tales collectively via music.”

“This violin stands out as having an extremely even tone throughout all its registers as if there is no such thing as a weak spot,” she continued. “Its tone is remarkably robust, but fantastically candy and richly heat. It’s a dream come true and a journey that I massively recognize being given the chance to discover and expertise.”

“We’re completely delighted for the ACO to be the custodian of a 3rd valuable Stradivarius violin,” stated Richard Evans, the ACO’s Managing Director. “The ACO has one of many best instrument collections of any orchestra on this planet and the 1732 ‘ex-Dollfus’ Stradivarius, with its beautiful tonal qualities, will make a unprecedented contribution to the ACO’s distinctive sound.”

“We’re extraordinarily grateful to the proprietor of this magnificent instrument for making it accessible to the ACO, the place it is going to be heard by audiences in metropolitan and regional live performance venues throughout Australia, and internationally.”

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