Italian violin "Mystery" says

Over past hundred years in country and abroad, there has been a widespread opinion about violin, that is, after secret of making a violin by Italian masters was lost 300 years ago, it is still difficult to make a good violin comparable to one that was at that time Mystery was gone forever. In world of music, whether from point of view of musical art or physical science, although violin is not made under direction of technical science, but with its uncomplicated and somewhat peculiar structure, it can produce such a wonderful sound. It also makes sense from a physical point of view. But unraveling "mystery" is not easy even for today's flourishing science.

The study of music and musical instruments dates back to ancient civilizations such as Ancient China and Ancient Greece. Limited by level of science and technology, progress of research in this area has been slow for a long time. The violin was developed in Italy in late 16th century. Immediately after that, a batch of exceptionally perfect violins was made in his hometown by hands of masters from several workshops. Until now, it is believed that in next 300 years it will not be possible to surpass these beautiful Italian pianos. While these craftsmen made these violins based on experience, because there are no scientific records and conclusions left, "secret" of this has since been lost.

Therefore, a lot of interesting and mysterious things happened around Italian Guqin. For example, price difference for violins is so large that it is rarely seen on other products. The same violin, made from several pieces of wood, costs only one hundred and ten yuan a piece, while Italian guqing is often worth millions of dollars, and some countries even consider it a national treasure to collect.

Therefore, there are a large number of eagle products around world, and fakes have been updated in various ways to look like Guqin, who has survived hundreds of years of vicissitudes. Some such "masterpieces" are indeed difficult to distinguish between truth and falsehood, not only often misleading performers, but often making it difficult for violin "archaeologists" to distinguish between truth and falsity. In musical activity, violin also has a special charm. Holding a solo concert, if it is announced in advance that some famous Italian violin will be used, will not only double confidence of performer, but also excite emotions of audience, adding a lot of successful atmosphere to concert.

It cannot be said here that some mysterious "Guqin effect" does not exist. From a scientific, objective and fair point of view, both scientists and musicians believe that guqin is not perfect, and later, some outstanding violin makers created works comparable to guqin, and even have some aspects. . But it cannot be denied that this state is difficult to achieve. Among gucins, especially some of finest works by Stradivari and Guarneri in Cremona, Italy, few compare. For more than 300 years, violin has hardly changed.Most later products also used Guqin as a model. In their research, scientists also use Guqin as a model for comparison with new Qin.

The violin's legendary exploits have not only inspired several generations of makers in relentless efforts to catch up with guqin, but have also attracted many modern scientists to join ranks of developers. Since 19th century, some famous physical annotators have started this research. Around 1930, there were many physicists, mechanics, acoustics and chemists who used various scientific instruments and even high technology to devote themselves to study of violin. It is rare that some scientists are also qualified as producers or performers.

Now we can say that what has been hidden on violin for a long time is revealed layer by layer. However, it is still difficult to expect this research to become an advanced technical science that can be directly used to guide production of violins.

Francesco Bissolotti

Francesco Bissolotti, one of famous masters of modern Cremona, is recognized by current authority of Stradivari school for his work and achievements. Here is what he said about "mystery" of Italian violin: "I'm afraid I will disappoint you. There is no secret. I just try to follow tradition of Cremona as strictly as I can. it depends on how you give instrument. How much love, how much heart was used. Trees are living organisms, constantly changing. Just like no two people are same. No two planks are same. material. Everything should be based on its characteristics.

"My experience with Salvatore Accardo (a well-known contemporary Italian violinist) has been very helpful for me. His understanding and experience of playing violin is very deep. I respect that."

"Making a violin is not easy. Usually I spend about 200 man-hours on one violin and I never make two violins at same time. Because I can only focus on one violin. I have been working for 35 years and have created about 200 violins. "

"I am convinced that anyone who claims to have mastered secrets and laws of violin making will never be able to make a perfect instrument. The great Stradivarius himself strove all his life to improve his craft, constantly exploring new directions. "

This is truly epiphany of a generation of masters!