by Vince “Vincenzo” Patterson
Although I’ve been a musician all my life, how could I know this career path was really a crescendo – until those mystical, magical, momentous five minutes SEEING and HEARING the world’s oldest great violin: Andrea Amati’s famed 1566 Carl IX of France. Constructed in Amati’s rustic Cremona shop, nearly 500 years ago, I realized one simply must revel in this violin’s sound to fully comprehend the innate divinity of music.
Back in January, I had an opportunity to visit Italy with the MCI team. Our bus from Florence took us far out into the countryside, to a little old town in the agri-center of northeastern Italy, Monteverdi’s birthplace, CREMONA. Because the trees were so splendid in this area, lutiers’ fondness for Cremona timber became well known in the renaissance world; top string makers were attracted to this charming village and those lutiers thrived.
Our tour was privileged to visit Cremona’s famed Museo Stradivariano, opened to the public in Dec., 2001. There are two sections: the Didactic Room – here you can see the violin-making molds, tools and “blueprints” designed and used by Andrea and Nicole Amati, teachers to Antonio Stradivari and Giuseppe Guarneri, among others – truly an awesome collection. I pondered, “how could such magnificent-sounding instruments come from such rudimentary-looking tools and molds?”
The next section made me a believer in the divinely-inspired gift received by those lutiers: you can see on display eleven instruments, nine violins, one viola and one cello. Each is housed, eye level, in its own lucite case; violins and viola are suspended by clear filament under the scroll, stretching from case side to side. Violins and viola appear to float, as if on a magic carpet. The cello stood vertically on its peg. Walk around lighting is excellent and each instrument is identified by name: here you can reverence and tremble before the 1615 “Stauffer,” the 1669 “Crisbee” and the 1724 “Vesuvius,” et al.
As a former violist, I was thinking “this is as good as it gets” when we were moved to an adjacent, large meeting room. Asked to have a seat, our Italian tour guide, Simona, said, “please be patient, we have a special treat for you.” Several of us looked around, wondering; a few minutes passed by.
Then, from the far end of the room, a distinguished-looking 72-year-old Italian gentleman walked towards us; it was the curator, Mr. Andrea Mosconi. In Italian, he spoke about the museum’s history, since 1893, how the instruments came to be housed there and the sacrifices of so many to make all this possible. He thanked us for coming, excused himself and walked out.
When someone said, “well, that’s it,” that door again opened and Mr. Mosconi re-entered, now holding a violin and bow. This wasn’t just ANY violin, this was “the oldest Cremona-made violin still in playing condition in the world: Andrea Amati’s 1566 “Carl IX of France,” commissioned by the French king. The curator took out a hanky, gently placed it over the chin rest and eased the Amati into playing position. Tilting his head, he then smiled – a beatific smile I’ll always remember – and began to play Bach.
What followed can only be described as “the living voice of heaven” – truly the most satisfyingly beautiful musical sound I have ever heard. Carl IX’s TONE – there is a vocal element to it – comes like a calming voice of grace into my heart and every fiber of my being. Nerve cells tingle, waves of emotions roll over me. Suddenly, in this moment of ecstasy, I realize the room is quiet; no talking, rustling, or movement - even breathing abates as the Amati’s sound sweeps us into a tiny group of humble human beings. We witness the burning bush of instrument makers, THE GREATEST the world has ever known.
Then, all too soon, the curator’s playing ended. Lovingly, still smiling, he brought the chaconne to it closing cadence. Nothing was heard until he lowered the Amati, opened his gleaming eyes, smiled at us (signaling his return to earth) and spoke, “ladies and gentlemen, I have the best job in the world – every day, for five or six minutes I must play each of the collection instruments TO KEEP THE LIVING VOICE IN THEM.”
Amazingly he added, “string players – teachers, performers – are permitted to play these instruments. Please tell your colleagues and when you are again in Cremona, bring your bow, or (snickering) you may use one of ours.” Hearing this news, I began developing a plan to make this experience possible for other string players, their teachers and music lovers. You, too, can enjoy this Italy tour, play concerts in Rome, Florence, perhaps Venice, and then Crescendo to Cremona for the Big Event of Your Lifetime!!
Vince Patterson, DMA, is a professional musician performing and teaching in the Washington, DC area. Since joining the Marine Band in 1974, he has played, sung and conducted in, the Library of Congress’ Coolidge Auditorium, The Kennedy Center, Washington National Cathedral and many other concert sites on the east coast. Vince heads up the Music Celebrations Washington, D.C. Office.
