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Letters, emails, online comments

The 12 Ensemble performed Caption a ‘late-night mixtape’ at the 2019 BBC Proms

ENSEMBLE PHOTO AMY HINDS. ‘CONTE DE FONTANA’ PHOTOS CARLSON & NEUMANN, COURTESY FONDAZIONE PRO CANALE, MILAN

LETTER of the MONTH

EXPRESS YOURSELF

I was inspired to contact The Strad after reading the article about the 12 Ensemble (‘In the driving seat’, June 2021). I have always been intrigued by the mixing of musical genres, with my favourite band being Apocalyptica. For me, classical music is dominated by a clear melody with enhancing percussive elements, whereas rock and metal have strong beats and prominent percussion. Despite their differences, I am always in awe of the emotion expressed. Both genres are written as reactions to real-life events: Henryk Górecki has written beautiful pieces, based on an 18-year-old’s writings in a Gestapo prison, that have moved me to tears.

Similar themes in rock music (drug use, liberation, anti-authoritarianism) are just as thought-provoking.

When I read David Garrett’s thoughts on arranging music by bands such as Metallica, Aerosmith and Iron Maiden (bit.ly/3ibKYqC), it made me realise that even though music has changed a lot throughout the last centuries, its background has not shifted much at all. The best music is the kind that is composed with thought and played with purpose. Technique is important but emotion more so. What I enjoy about bands like Apocalyptica is the extent to which they feel their music and dedicate themselves to their performance.

ERIN NORMAN Quinton, Birmingham, UK

LIGHT READING I recently read an article by Michael Molnar online (‘Reflected Glories’, August 2013) concerning how the colour of the 1702 ‘Conte de Fontana’ Stradivari violin can appear different depending on the placement of the light source (above), and how this can be explained by the materials used. I would like to point out that this is a ubiquitous physical effect in the natural world: the colours of many birds, beetles and butterflies are created in this way.

There are two ways to create colour: one is through chemical methods such as madder (see ‘Seeing red’, January 2020), and lake pigments discussed by Eero Haahti (Trade Secrets, May and November 2012). The other is using physical methods such as altering the wood cellulose structure, as Molnar mentions. As is well known to oil painters the former method is subject to ageing and fades, whereas the latter does not.

Furthermore, the colour created using chemical methods has no chatoyance – for that, we must resort to physical methods. Many spectroscopy studies indicate that mineral powders exist in classical instruments. Such mineral nanoparticles can not only act as catalyst agents for the varnish, but can also cause optical effects to create chatoyance.

JULIAN TING Taichung, Taiwan

THINK TWICE

My eight-year-old daughter recently started learning the violin, and I would like her to study the viola as well. I think that knowing both instruments will be invaluable further down the line, giving her more options and letting her decide at an early age which sound she prefers. It will also mean that she’ll be able to familiarise herself with the alto clef right from the start. But it is her teacher’s view that taking up both instruments could confuse her as she learns the violin. I’m not sure I follow her logic. It’s not very likely that she’ll get the instruments mixed up, or that she’d accidentally start playing viola repertoire on the violin and vice versa. I understand that there might be certain differences in technique, but at the most basic level they’re the same, and I don’t think those subtle changes should inhibit her from trying! She loves practising, thank goodness, and I think she wouldn’t mind putting in extra time for the viola if she takes to it. I wonder if any other parents or teachers have encountered this dilemma, and what they have done about it?

COLIN GREEN Machynlleth, UK

HALL AND NOTES

I am currently engaged in extensive research into the career of the outstanding British violinist Marie Hall (1884–1956, right). I have reason to believe there are members of her extended family who have taken a close interest in her life and work. Among these are, I understand, a Mr Stephen Catton and Ms Annette Hawkins. I would be most grateful for help in locating these individuals and any others who have Marie Hall in their family tree. I can be contacted via the email address gardengreen333@yahoo.co.uk

ANDREW GREEN Frieth, Bucks, UK

ONLINE COMMENT

The news of five-year-old violinist Travis Wong Kai Xuan achieving a distinction in an ABRSM Grade 8 exam produced shock, amazement, and broader questions about the classical music world bit.ly/3idW7rb OLWYN ATKINSON Absolutely brilliant! He must have been practising before he was born! I do hope, though, that he continues to enjoy music and have other goals.

AMANDA PARKER Amazing! PHILL CHALLINOR The violin world is more obsessed with child prodigies than pretty much any other discipline I know.

HELEN LOFTUS Discipline is a good thing for sure. It will stand them in good stead when they grow up.

ADDY SANCHEZ That’s it, I quit!

www.thestrad.com TOP 3 ONLINE POSTS

1 Violinist, 5, awarded distinction in Grade 8 exam (see bottom left) bit.ly/3idW7rb

2 Violin found in attic identified as Guarneri ‘filius Andreae’ (see page 13) bit.ly/3uGSFaO

3 Violist Laurent Verney (above) killed in Paris road accident bit.ly/3uE6c37

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