THE ART OF MUSIC 年斯特拉迪瓦利 DU PRE, HARRELL 大提琴虽然斯特拉迪瓦利一生制作无数小提琴, 但现存的大提琴不足 65 把, 当中只有 27 把于 1700 年前制作, 大概由于十七世纪甚少以大提琴性演奏, 故需求较少另一原因可能为当时大提琴市场已

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1 年制斯特拉迪瓦利 DU PRE, HARRELL 大提琴 1673 STRADIVARI THE DU PRE, HARRELL VIOLONCELLO

THE ART OF MUSIC 61 1673 年斯特拉迪瓦利 DU PRE, HARRELL 大提琴虽然斯特拉迪瓦利一生制作无数小提琴, 但现存的大提琴不足 65 把, 当中只有 27 把于 1700 年前制作, 大概由于十七世纪甚少以大提琴性演奏, 故需求较少另一原因可能为当时大提琴市场已饱和, 多梅尼科莫塔耶纳 (Domenico Montagnana; 1686 1750)

2 THE ART OF MUSIC 年斯特拉迪瓦利 DU PRE, HARRELL 大提琴虽然斯特拉迪瓦利一生制作无数小提琴, 但现存的大提琴不足 65 把, 当中只有 27 把于 1700 年前制作, 大概由于十七世纪甚少以大提琴性演奏, 故需求较少另一原因可能为当时大提琴市场已饱和, 多梅尼科莫塔耶纳 (Domenico Montagnana; ) 哥夫瑞勒 (Francesco Goffriller; ) 格兰奇诺 (G.B. Grancino; ) 或德籍罗马人大卫特克勒 (DavidTecchler; ) 皆制造不少顶级大提琴 1673 Stradivari 是所有早期斯特拉迪瓦利大提琴的典范, 外型比现代大提琴更大他制作的大提琴平均琴长为 76 厘米至 81 厘米, 琴身更阔, 并缩小尺寸方便演奏 ex-du Pré, Harrell 与其它早期的作品有不少共通之处, 轮廓皆饱满玲珑斯特拉迪瓦利采用波河峡谷的杨木打造 du Pré, 而 1697 年制作的 Castelbarco 1698 年的 De Kermadec Bläss 及 1698 年的 Magg 大提琴皆有类似的木纹, 证明木材都来自同一棵树有关 1673 年 du Pré 大提琴的最早期文献来自 1961 年, 当时伦敦乐器买卖商 William E. Hill and Sons 将大提琴售予年仅 16 岁的杜普蕾她在 Courtauld Trust 及教母霍兰 (Isména Holland) 的资助下买下大提琴, 并以此在 1961 年于威格摩尔音乐厅首次演出, 其后亦于 1962 年 3 月 21 日于皇家节日大厅与 BBC 交响乐团首演协奏曲音乐会大获好评, 令她一举成名, 展开短暂而璀璨的音乐生涯三年后大提琴已无法配合杜普蕾的音乐造谐, 于是她于 1965 年将它借予好友兼同事英国大提琴手 Sara Pacey, 但大提琴仍为杜普蕾所有于杜普蕾逝世前, 大提琴于 1983 年经纽约乐器买卖商 Jacques Français 之手转售予美国大提琴家林恩贺莱尔 (Lynn Harrell), 他曾以斯特拉迪瓦利大提琴及 1720 年制造的莫塔耶纳大提琴演奏 2006 年, 大提琴再次易手, 售予俄罗斯大提琴家妮娜柯朵娃 (Nina Kotova) 她以这部大提琴作主要演出, 并曾以此录制巴哈无伴奏大提琴组曲现藏家买下大提琴后, 一直供柯朵娃使用至今文件 : 伦敦 William E. Hill and Sons, 1961 年 2 月 15 日纽约 Jacques Francais, 1983 年 7 月 13 日来源 : W.E. Hill & Sons 杜普蕾 Sara Pacey ( 暂借 )(1965 年 ) 林恩贺莱尔妮娜柯朵娃

3 62 安东尼奥斯特拉迪瓦利 ( ) Du Pre, Harrell 大提琴克雷莫纳 1673 年制附 Antonius Stradivarius Cremonensis / Faciebat Anno 1673 标签背板长度 :30 ¼ 英寸 (76.9 厘米 )

THE ART OF MUSIC 63 Antonio Stradivari (1644 1737) A

4 THE ART OF MUSIC 63 Antonio Stradivari ( ) A Violoncello, Known as the du Pré, Harrell, Cremona, 1673 Labelled Antonius Stradivarius Cremonensis / Faciebat Anno 1673 Length of back: 30 ¼ in. (76.9 cm.)

5 STRADIVARI THE DU PRE, HARRELL VIOLONCELLO Documents William E. Hill and Sons, London, February 15, 1961 Jacques Français, New York, 13 July 1983 Provenance W.E. Hill & Sons Jacqueline du Pré Sara Pacey (loaned to) 1965 Lynn Harrell Nina Kotova Current owner Of the surviving instruments made by Antonio Stradivari there exist fewer than 65 violoncellos compared with his large output of violins. Of these 65, only 27 cellos remain that are dated before This may be explained by the small demand for cellos in the 17th century due to the limited performance repertoire for the instrument. It may also be that the market was well saturated with works by Domenico Montagnana ( ), Francesco Goffriller ( ), G.B. Grancino ( ) or the German-born Roman David Tecchler ( ), who all excelled at making violoncellos. The 1673 Stradivari is typical of all early Stradivari cellos in that originally it was constructed on a much larger outline than we are accustomed to today. With body lengths averaging between 76 cm. and 81 cm. and broader across the bouts, they have all been reduced in size to accommodate ease of playing. The du Pré, Harrell shares many attributes with these early Stradivari in its Rubenesque and sensuous outline. It should be noted that Stradivari used a local poplar (populus nigra) sourced in the Po Valley region for the du Pré. In examining the 1697 Castelbarco, the 1698 De Kermadec Bläss and 1698 Magg cellos, Stradivari undoubtedly had sourced a stock of poplar cut from the same tree, as evidenced by the similar grain pattern these instruments share. The earliest reference to the 1673 du Pré cello was the sale in 1961 to the then 16-year-old Jacqueline du Pré via London dealers William E. Hill and Sons. Purchased with funds supplied by the Courtauld Trust and her godmother Isména Holland, the young du Pré used this instrument for her recital debut at Wigmore Hall in 1961 and her concerto premiere with the BBC Symphony Orchestra at the Royal Festival Hall on 21 March The success of these concerts catapulted her short and celebrated career. Within three years du Pré s artisty had outgrown the instrument and by 1965 she had loaned the instrument to a friend, British cellist Sara Pacey, though it remained in du Pré s ownership. Prior to du Pré s tragic death, the cello was sold via New York dealer Jacques Français in The new owner was American cellist Lynn Harrell, who performed with the Stradivari as well as a 1720 Montagnana. In 2006 the cello changed hands again, this time passing to Russian cellist Nina Kotova. Her primary performance instrument, it can be heard on her Warner Classics recording of Bach Suites for Unaccompanied Cello. Since being acquired by the current owner, the cello has continued to be made accessible to Ms Kotova.

THE ART OF MUSIC 年制斯特拉迪瓦利 KOCHANSKI, ROSENHEIM Ex-Kochański, Rosenheim 小提琴制于 1686 年, 当时为斯特拉迪瓦利的阿玛蒂风格时期不过, 斯特拉迪瓦利 1690 年前制造的作品并非完全受阿玛蒂玲珑小巧的琴型

THE ART OF MUSIC 年制斯特拉迪瓦利 KOCHANSKI, ROSENHEIM Ex-Kochański, Rosenheim 小提琴制于 1686 年, 当时为斯特拉迪瓦利的阿玛蒂风格时期不过, 斯特拉迪瓦利 1690 年前制造的作品并非完全受阿玛蒂玲珑小巧的琴型 1686 年制斯特拉迪瓦利 KOCHANSKI, ROSENHEIM 小提琴 1686 STRADIVARI THE KOCHANSKI, ROSENHEIM VIOLIN THE ART OF MUSIC 71 1686 年制斯特拉迪瓦利 KOCHANSKI, ROSENHEIM Ex-Kochański, Rosenheim 小提琴制于 1686 年, 当时为斯特拉迪瓦利的阿玛蒂风格时期不过,