Ahead of summer performances at Music@Menlo, the violinist reflects on her beautiful instrument, no stranger to the hands of well known string players throughout history
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When did you first encounter this violin? How did you acquire it?
My gorgeous partner is the 1720 ’General Kyd’ Stradivari violin, on loan from Dr. Ryuji Ueno and the Rare Violins in Consortium, Artists, and Benefactors Collaborative. For instrument aficionados, this may ring a bell; the other violin owned by General Kyd (1714) was played by Itzhak Perlman. General Kyd clearly had spectacular taste! A British officer and a contemporary of Beethoven’s, General Kyd made some attempts to commission Beethoven to write a symphony, but alas, it didn’t happen.
One other bit of the violin’s history really delights me: for a decade, it was in the hands of Rebecca Clarke, the famed composer and violist (a gift from a teacher). It’s always fun to fantasise about the various incredible musicians who have likely touched instruments like this one - I’ve always thought that I had a streak of violist in me!
Our story is a complicated one, as all good stories are. Due to complications with instrument passports and visas during the pandemic, the instrument I was using on loan from a foreign country was temporarily unavailable to me. I did not own an instrument of my own and was desperately looking for a solution. I happened to be playing on the Violin Channel’s Vanguard Series and mentioned my anxiety over performing on a different violin every few weeks, and a few helpful souls then connected me with Rare Violins. Through them, I met Dr. Ryuji Ueno, the owner of my instrument. Beyond his generous loan of instruments, I feel inspired by his commitment to education and to helping young artists grow in different ways. This human connection certainly contributes to the beautiful glow surrounding my relationship with the General Kyd as we grow together.
How does the instrument compare to any other violin you’ve played? It’s from 1720 - is this evident in any way?
This violin straddles the Golden period and late period, so to speak. It feels a bit silly to categorise these instruments at all, as they’re like human beings - so individual, so distinct, and even different day to day. One of the many things I adore about this instrument is the kaleidoscope of available colours. The lower register is thick, lush - I would even dare to use the world guttural; the E string simply heavenly. The best way I know how to explain its variety is this: sometimes, you want to pour your heart out to the audience, and sometimes, you want the audience to lean in just a bit closer to hang on to your every word. The range of this instrument, the power of its lower register, the glistening beauty of the high register - expand my imagination of the stories and sounds I want to bring to listeners.
One of the many things I adore about this instrument is the kaleidoscope of available colours
Does the instrument have any interesting quirks? Was it easy to play straightaway, or did it take you some time to adjust?
When I first had the opportunity to play on a Stradivari violin long-term in 2019, I realised quickly that these instruments are just like humans - full of depth, temperamental, and always changing. I am growing as an artist every day and the ’General Kyd’ challenges and inspires me, it’s very much a symbiotic relationship. I don’t know if this is a quirk, but I’m constantly astounded by the almost deceiving power of the violin. It doesn’t sound so loud under the ear, it doesn’t sound so loud in a small room, yet- it almost seems as if the bigger the hall, the more the violin seems to carry, filling the space with glorious, glowing sound.
You’re performing at Music@Menlo on 7, 8 and 10 August 2024. Is there a certain piece of repertoire you are playing that truly showcases the instrument at its best, or poses a particular challenge?
On 7 August, Orli Shaham, Dmitri Atapine and I will be playing Rachmaninov’s Trio Elegiaque in G Minor. In one movement, there is an intuitive, sweeping narrative that unfolds so passionately, yet so organically- almost as if once the piece has begun, Rachmaninov demands that the listener not breathe nor look away until it’s over. The harmonies are anguished, the sonorities lush, the melodies highly emotional; I can imagine the human voice lamenting. The work demands an enormous scope of sound and emotion, from the most delicate of pianissimos to the most passionate outbursts. I’m very much looking forward to this performance with the ’General Kyd’ and my partners onstage.
Stella Chen appears at Music@Menlo Vocal Exchange (livestream) on 7 August, Renascence on 8 August and Renascence (livestream) on 10 August 2024. Find out more here.
Read: ‘Like a magnifying glass was put on my playing’: Tuulia Hero on her 1707 Stradivari violin
Listen: The Strad Podcast #97: Pavel Berman on playing Oistrakh’s Stradivari violin
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