论文部分内容阅读
对克雷莫纳城蒙特威尔地音乐学院院长、著名弦乐器珍藏品保管人安德列亚·莫斯可尼说来,工作是他所喜爱的。每天,白发苍苍的莫斯可尼都在克雷莫纳辉煌的13世纪的城市大厅中来回巡视,演奏那里的藏品。今天,他可能会用永恒的、名为“克雷莫纳人”的小提琴演奏巴赫的作品。这把琴背板上写着:“克雷莫纳人”,安东尼奥·斯特拉地瓦利制于1715年。明天,他可能演奏另一把小提琴,即朱塞佩(又译约瑟夫)·瓜内利·戴尔·哲苏1734年制的琴,或阿玛蒂1566年和1648年制的两把琴之中的一把。即使是一把斯特拉地瓦利琴,如果不经常演奏它,其音将会变得刺耳,它的激情也会减弱。对于价值总共超过三百万美元的这四把琴来说,是绝不能等闲视之的。无论是斯特拉地瓦利,瓜内利或是阿玛蒂家族中一员,在这里陈列的小提琴有一个共同点:它们都是根据古典方法成型的,边板、腹板和背板是围绕着一个内模结合
For his part, Dean Andrés Moscone, dean of the Montelville Conservatory in Cremona, the famous collector of string instruments, was his favorite work. Every day, the gray-haired Mosconi touches the city hall of Cremona, a magnificent 13th-century city, where he plays the collections. Today, he may play Bach with an eternal violin named “Cremona”. The back of the piano reads: “Cremona”, Antonio Stella de Valletta in 1715. Tomorrow he may play another violin, the piano of the year 1734 by Giuseppe Guernsey dell-Tesu, or the two of Amadi in 1566 and 1648 One. Even a stelly walnut, if you do not play it often, its sound will become jarring, its passion will be weakened. For these four harpists, worth a total of more than three million U.S. dollars, they must not be overlooked. The Violins displayed here have one thing in common, whether in Stradivari, Guanevere, or in the Armadi family: they are all shaped according to the classical method, with the side panels, webs and back panels Combined with an internal model