"I can only say that it is a great blessing to be playing on CHACONNE cello."
We are so thrilled with the new cello and bow! Even in the two months since getting them, the sound is beginning to really grow. The response is amazing, and just the slightest hint of vibrato brings a warmth and shimmering glow. Having played on some Stradivari cellos, and even being able to directly compare this instrument with one makes me even more pleased with it.
Now that some adjustments have been made, I think it is reasonable to make comparisons with the Strads I am familiar with. The response is the slightest bit quicker than the Stradivari from Chaconne. It still has a soft core to the touch, yet speaks more like the Davidoff that Yo-Yo Ma allowed me to try. The playability across the strings is much more consistent than the Archinto Stradivari. Even my wife (a violinist) found it easy to play. She sounded pretty good too!
As far as the sound is concerned, my wife thought that Emmanuel (the name we have given our new instrument) immediately sounded as good as the Chaconne Stradivari. The Davidoff has a bright, warm, and powerful sound that is easy to love. However, I don’t think that it has the depth and range of dynamics that I have been able to find in Emmanuel. I can play with as soft of a sound as possible, but still project even above a piano. I have found that the sound is so enchanting I need to remember to play softly when the music calls for it. It is very easy to get carried away with my singing tone above the other members of our trio.
If any cello might be close in comparison to the quality of sound of Emmanuel, it would be the Archinto Stradivari. The A string and the C string of the Archinto have a deep, sonorous and warm quality similar to what I hear from Emmanuel. However, when I played the Archinto, it had just come out of the museum and desperately needed to be played. The middle strings would not respond, so it was awkward trying to break in a “new” Strad. However, the superb quality of the A and C strings gave me a good idea of the warmth and depth this great cello was capable of.
I can only say that it is a great blessing to be playing on Emmanuel. My instrument has the response of the Davidoff, and the quality I remember from the Archinto, yet it is consistent throughout each of the strings. Thank you so much for allowing me to obtain this amazing instrument. I will do my best to play it with the perfection and beauty it deserves.
"This instrument convinces me that even pianissimo reaches the back of a hall, similar to Stradivari."
I once took my N.Gagliano (Napoli 1750) to CHACONNE for repair, and was able to borrow a Guarneri del Gesu as a replacement for the period and also used it in a recital. I had been using Gagliano for approximately 25 years, and was satisfied with it; however I felt a world of difference with the excellent Guarneri. I wondered why there is so much difference in contemporary works and was not able to forget the feeling of Guarneri for a while. Around this time I played a “New CHACONNE” at the CHACONNE Exhibition and was surprised at the vibrancy, touch and tone of the same kind, which led to make a purchase decision on the spot.
I used both CHACONNE and Gagliano for one year after purchase. The condition of the CHACONNE was not yet stable, and I felt a sense of security with the Gagliano which I was more accustomed to playing. Stability increased after the second year, and I then began to use the CHACONNE most of the time.
I played a Stradivari at the “CHACONNE Music Festival.” I feel the Stradivari can reach the back (end) of a hall even when I play pianissimo. Therefore, I feel like playing with more subtle sound. In the beginning, I was uneasy to use CHACONNE for recitals because I could not tell if it was making a sound. When there is doubt on whether or not the part of pianissimo is making a sound, a desire of having to make a bigger sound will result. My accompanist and friends who came to recitals said that it was making a sound, so I believed and used it. It became clear to me when I played Beethoven’s concerto at an amateur orchestra concert. I later heard from orchestra members that they “wondered if the (solo) sound was too small” at the time of the Generalprobe (dress rehearsal) and violinists in the 1st violin section pointed out that the “E string was not making a sound.” However, a person who listened to the actual concert (family of acquaintance; never met the instructor) commented that it was amazing because the solo sounded bigger than the orchestra and that the E string made an exceptional sound, which is a completely opposite opinion of the members’ comments. I heard similar comments from other people, convincing me of the phenomenon of “sounding far.”
After three years passed, the sound of the instrument has dramatically changed. The sound that felt slightly stuffy was totally cleared out, turning into a clear sound; therefore I am now able to hear it well with my ears. It is however different from Modern Italy that can be heard by the ear. It is a sound that convinces me that even pianissimo reaches the back of a hall, similar to Stradivari.
(Professional violinist; violin instructor)
" People around me say that it looks new but has a tone of old or is close to old violins."
I used to use old violins as I never had new ones; however when I played this new violin for the first time, its depth and strength was comparable to old ones, which was shocking to me.
When I play it, there is not much difference in comparison with old violins I had been playing, and besides, this instrument has the youth and vitality to respond to how I play more than old ones. Since it also has the taste of old, I decided to buy it expecting that it will teach me many things for my practice in the future.
I actually feel that it gets better and better as I play it more. I enjoy the feeling of making sound with this new violin, which I could not have experienced with old violins.
It sounds transparent as if the sound passes straight through when I play it in a wide area.
The instrument responds to my touch as though it is singing, which makes me feel very good.
It would be good for harmony in chamber music, and it also has a tone that can stand out in a solo. It can be used for both, depending on how it is played.
People around me say that it looks new but has a tone of old or is close to old violins.
(Current student of music school)
"I have studied music with CHACONNE violin for this one year and my music life has much changed."
One year ago, I met CHACONNE violin at exhibition of CHACONNE.I just went to the exhibition to play and enjoy various violins, but once I played CHACONNE, I was fascinated by this violin and could not give up.
Until then, I had played some new violins, but I didn’t like these new tones, so I didn’t expect CHACONNE to have nice tone which I like.
However, this violin had so flexible and deep tone that I could not think the violin was new.
Moreover, it also had young sound and I was surprised and think this violin may be superior to old violin.
I have studied music with CHACONNE violin for this one year and my music life has much changed.
I could greatly grow up myself.
Before I meet CHACONNE, I could not pass tape judgment of competition or audition.
But with CHACONNE, I could pass all tape judgment and success on stage.
In master class held Salzburg, Vienna and Japan, many teacher of Europe said “This violin has very nice sound.” “Wonderful violin.” “Where was this violin made?”
I said them “This is made in Japan!!”, then they were very surprised.
My music could be accepted by some people by CHACONNE.
Now I think that when I met CHACONNE was turning point of my life.
I greatly appreciate CHACONNE violin and its makers.
At first, I felt anxiety whether I could make success with new violin.
But the tone of this violin has changed to flavor tone for this year.
I will challenge with confidence in not only Japan but foreign country.
For the last 40 years Chaconne has accumulated an impressive collection of old European instruments, including masterpieces of the most famous Italian violinmakers such as Stradivari and Guarneri ‘del Gesu’. These fine instruments are not exposed for sale but are kept as a private collection with the intention to maintain and preserve a precious world’s heritage. However, Chaconne offers a rental service to give musicians the chaconne to play one of these jewels.
Gasparo da Salo c1580
Antonio Stradivari 1687
Giovanni Battista Guadagnini c1762
Giovanni Battista Rogeri c1700
Pietro Guarneri “Venice” Viola
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