THE ART OF MUSIC 年制斯特拉迪瓦利 MUIR-MACKENZIE 小提琴 1694 年制造的 Muir-MacKenzie 小提琴保存状况非常良好, 结构几乎未曾修补, 对于一把有 320 年历史的小提琴而言十分罕有 Muir-MacKenzie 琴身偏长, 轮廓优雅

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1 年制斯特拉迪瓦利 MUIR-MACKENZIE 小提琴 1694 STRADIVARI THE MUIR-MACKENZIE VIOLIN

2 THE ART OF MUSIC 年制斯特拉迪瓦利 MUIR-MACKENZIE 小提琴 1694 年制造的 Muir-MacKenzie 小提琴保存状况非常良好, 结构几乎未曾修补, 对于一把有 320 年历史的小提琴而言十分罕有 Muir-MacKenzie 琴身偏长, 轮廓优雅, 具备斯特拉迪瓦利长型小提琴的特点精细的琴边音孔位置及中腰的几何结构一气呵成, 效果夺目这把小提琴与 1692 年的 Bennett 一样, 是当时的长型小提琴, 并与 1693 年的 Harrison 及 1694 年的 Benecke 同样采用两片式枫木背板最吸引历史学家的小提琴标签上, 斯特拉迪瓦利名字 Antonius 中的 u 罕有地倒转, 证明他采用活字印刷技术印制标签 Muir-MacKenzie 小提琴在十九及二十世纪曾由多位著名小提琴鉴赏家收藏, 先为比利时小提琴家 Charles Wilmotte, 后来经查尔斯法兰索瓦刚德 (Charles Francois Gand) 的商店售予收藏家 C.G. Meier 其后,W.E. Hill & Sons 以中介身分将小提琴售予罗伯特克罗福德 (Robert Crawford), 他已拥 1716 年制的斯特拉迪瓦利 Messiah 小提琴, 现藏于阿须摩林博物馆下一位有纪录的收藏家是著名小提琴鉴赏家兼买卖商大卫罗利 (David Laurie) W.E. Hill 于 1902 年出版 Antonio Stradivari, His Life and Work 时, 小提琴由 K.S. Muir-Mackenzie 拥有, 即 Ernest Doring 口中 Muir-Mackenzie 夫人的丈夫于 1920 年,Puttick & Simpson 透过拍卖以 1,700 英镑将小提琴售予 Cooper 先生于二十世纪, 这把名琴多次易手, 藏家包括美国小提琴家佛里茨西格尔 (Fritz Siegel) 及德国小提琴家 Maria Grevesmühl, 后者在 1996 年逝世后, 小提琴再度转售, 后来由现藏家买下长型小提琴斯特拉迪瓦利一直寻求能提升小提琴音色及响亮度的设计, 他于 1690 年开始研究十六世纪布雷西亚制琴大师提出的构思及几何结构, 决定放弃克雷莫纳流行的阿玛蒂小巧玲珑琴型, 制造出体型更大更独特的小提琴斯特拉迪瓦利在其后九年继续采用这种风格, 故可假设这项新尝试十分成功由 1690 年至大约 1699 年间, 他所制的大部分小提琴尺寸也介乎 360 毫米至 365 毫米, 但有少数例外目前尚有 80 把于长型琴时期制造的小提琴, 当中大部分琴身也较长现今小提琴家认为长型小提琴比斯特拉迪瓦利的早期作品音色更强劲均匀, 最适合演奏协奏曲的独奏者文件 : 伦敦 William E. Hill and Sons 证书, 1902 年 4 月 12 日伦敦 William E. Hill and Sons 来源信件,1902 年 4 月 12 日日内瓦 Alfred Vidoudez 证书, 1947 年 9 月 30 日巴黎 Etienne Vatelot 证书, 1970 年 5 月 18 日文献 : Gand, Charles-Eugene 着, CATALOGUE DESCRIPTIF des Instruments de Stradivarius et Guarnerius del Gesù. Spa: Les Amis de la Musique,1994 年 (1870 年 ) W.H. A.F. 及 A.E. Hill 合着, Antonio Stradivari, His Life & Work, 伦敦, 1902 年, 第 48 页 H.K. Goodkind 着, Iconography of Antoinio Stradivari , 纽约拉奇蒙特,1972 年, 第 ( 插图 ) 页 E.N. Doring 着, How Many Strads, Chicago,1945 年, 第页 W. Henley 着, Antonio Stradivari, 萨塞克斯,1961 年, 第 29 页 R. Hargrave 着, The Strad, 伦敦,1985 年来源 : Charles Wilmotte 查尔斯法兰索瓦刚德 C.G. Meier W.E. Hill & Sons 罗伯特克罗福德大卫罗利 Van de Weghe 先生 W.E. Hills & Sons Muir-Mackenzie 夫人 Arthur Swinburne 夫人 Puttick & Simpson ( 拍卖图录 ) Cooper M. Mouton 佛里茨西格尔 Maria Grevesmühl 现藏家

3 82 安东尼奥斯特拉迪瓦利 ( ) Muir-MacKenzie 小提琴克雷莫纳 1686 年制附有 Antonius Stradivarius Cremonensis / Faciebat Anno 1694 标签背板长度 :14 3 / 16 英寸 (36.2 厘米 )

THE ART OF MUSIC 83 Antonio Stradivari (1644 1737)

4 THE ART OF MUSIC 83 Antonio Stradivari ( ) A Violin, Known as the Muir-MacKenzie, Cremona, 1694 Labelled Antonius Stradivarius Cremonensis / Faciebat Anno 1694 Length of back 14 3 /16 in., 36.2 cm.

5 STRADIVARI THE MUIR-MACKENZIE VIOLIN Documents Certificate, William E. Hill and Sons, London, 12 April 1902 Provenance letter, William E. Hill and Sons, London, 12 April 1902 Certificate, Alfred Vidoudez, Geneva, 30 September 1947 Certificate, Etienne Vatelot, Paris, 18 May 1970 Literature Gand, Charles-Eugene. CATALOGUE DESCRIPTIF des Instruments de Stradivarius et Guarnerius del Gesù. Spa: Les Amis de la Musique, 1994 (1870) W.H., A.F., and A.E. Hill, Antonio Stradivari, His Life & Work, London 1902 p. 48 H.K. Goodkind, Iconography of Antonio Stradivari , Larchmont, NY, 1972, il. p. 254, 211, pp. 728, 756 E.N. Doring, How Many Strads, Chicago, 1945 pp W. Henley, Antonio Stradivari, Sussex, 1961, p.29 R. Hargrave, The Strad, London, 1985 Provenance Charles Wilmotte Charles Francois Gand C.G. Meier William E. Hill and Sons Robert Crawford David Laurie Mr. van de Weghe William E. Hill and Sons Lady Muir-Mackenzie Mrs Arthur Swinburne Cooper M. Mouton Fritz Siegal Maria Grevesmühl Current owner The 1694 Muir-Mackenzie survives in extraordinarily fine condition with little to no structural repairs. This is a rare occurrence for a violin that is 320 years old. It shares the attributes of all of Stradivari s Long Pattern violins with the elegant outline he achieved by lengthening the body. The edgework, placement of the f-holes and geometry of the c-bouts all flow together to create a striking silhouette. Like the 1692 Bennett, it is one of the longer violins of this period and shares the same strongly figured two-piece maple back as the 1693 Harrison and 1694 Benecke. Of interest to historians of Stradivari s work, the label of the Muir-Mackenzie was printed with the rare inverted u in Antonius, verifying that movable type was used in setting the printed characters of Stradivari s labels. The provenance of the Muir-Mackenzie reads like a top ten list of violin connoisseurship in the 19th and 20th centuries. Starting with the Belgian violinist Charles Wilmotte, the violin passed though the shop of Charles François Gand to the collector C.G. Meier. From Meier, the Hills brokered a sale to the collector Robert Crawford, who owned the famous Messiah Stradivari of 1716 now housed at the Ashmolean Museum in Oxford. The next recorded owner was the ubiquitous violin connoisseur and dealer David Laurie. By the time of writing of the Hills Antonio Stradivari, His Life and Work in 1902, the violin was in the possession of a Mr. K.S. Muir-Mackenzie who Ernest Doring claimed was the husband of the Lady Muir-Mackenzie. In 1920 the violin was sold at auction via Puttick & Simpson for the sum of 1,700 to a Mr. Cooper. Through the 20th century the violin changed hands a number of times, including passing to American violinist Fritz Siegel and later German violinist Maria Grevesmühl. Following the death of Ms Grevesmühl in 1996, the violin changed ownership once before being purchased by the current owner. The Long Pattern By 1690 Antonio Stradivari, in search of a pattern that would enhance tonal quality and projection of the violin, turned to ideas and a geometry already well established by the Brescian masters of the 16th century. He jettisoned the smaller and more feminine Amati outlines so prevalent in Cremonese making and produced violins of increasing body size and boldness. Stradivari continued on this track for the next nine years. From 1690 to about 1699 the bulk of his output was violins measuring between 36 cm. and 36.5 cm. (with some exceptions). There are 80 surviving Stradivari violins from this time, now known as the Long Period the vast majority of which are of this longer outline. Violinists find these instruments more powerful and tonally balanced than earlier works and excellent for the concerto repertoire so essential in soloists careers today.

THE ART OF MUSIC 年制斯特拉迪瓦利 PIATTI 及至 1717 年, 斯特拉迪瓦无疑已达到制琴生涯的顶峰,73 岁的他已成为克雷莫纳首屈一指的制琴师, 客户均为欧洲最富有的收藏家音乐家及赞助人他以顶级物料制成的乐器, 皆以高价出售 1707 年, 由于哈布斯堡

THE ART OF MUSIC 年制斯特拉迪瓦利 PIATTI 及至 1717 年, 斯特拉迪瓦无疑已达到制琴生涯的顶峰,73 岁的他已成为克雷莫纳首屈一指的制琴师, 客户均为欧洲最富有的收藏家音乐家及赞助人他以顶级物料制成的乐器, 皆以高价出售 1707 年, 由于哈布斯堡 102 1717 年制斯特拉迪瓦利 PIATTI 小提琴 1717 STRADIVARI THE PIATTI VIOLIN THE ART OF MUSIC 103 1717 年制斯特拉迪瓦利 PIATTI 及至 1717 年, 斯特拉迪瓦无疑已达到制琴生涯的顶峰,73 岁的他已成为克雷莫纳首屈一指的制琴师, 客户均为欧洲最富有的收藏家音乐家及赞助人他以顶级物料制成的乐器, 皆以高价出售 1707