On Monday afternoon, musicians from the Boston chamber orchestra A Far Cry were picking out violins to borrow for the “Stradivari Serenade” that they’ll perform at New England Conservatory’s Jordan Hall in Boston on Friday, March 29, 2024.
They gathered inside a gray house on School Street in Brookline that is home to Reuning & Son Violins, “dealers of fine violins, violas, cellos and bows.”
Laid out on tables for the performers to try were rare violins, violins crafted by Antonio Stradivari, Giuseppe Guarneri and Carlo Bergonzi in Italy in the early 18th century, violins considered to be among the best ever made. Organizers said the instruments to be borrowed for the concert by the 18 members of the twice Grammy-nominated orchestra are “valued at over $100 million.”
“These instruments get to sort of come alive together, all these incredible instruments in Jordan Hall,” Grant Houston explained. “There will also be demonstrations of each instrument and kind of introductions by different Criers to give a little taste to the audience of what each instrument’s special personality is like. And hopefully can kind of communicate what [are] the differences as a listener hearing a truly incredible fine Italian instrument.”
“There’s something about the Bergonzis that they’re very juicy, rich,” said Megumi Stohs Lewis, who chose a violin created by Carlo Bergonzi in 1731 to play.
“I’m sure many shady characters have played this violin,” Stohs Lewis quipped.
Do you feel you’re a shady character? “No. I hope not,” Stohs Lewis said. “But it’s kind of fun to experiment. … You tend to go for an instrument that feels familiar and you kind of know how to get the sound. But this one feels mysterious. I feel like there’s a lot in there that could be teased out. Who knows what will come out with a few more days.”
“Oh, it just makes you want to be a better player,” said Houston of selecting a violin made by Antonio Stradivari in 1725 or 1729. “It seems to be right in the sweet spot where some of the best Strads were made.”
“They’re not easy to play,” Houston said. “They actually really don’t respond kindly to careless play. … It requires a sensitivity, but also a certainty.” Houston played for a moment to demonstrate. “Even there I was a little uncertain about the next note I’ld play and the sound just didn’t happen at all. And so it wants you to tell it what to do. … The way that it has this really strong core surrounded by this brilliant halo of high overtones is just everything you want in an instrument.”
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