Sound Test

with Carla Leurs

at the MuziekHaven:

Taking a Step Back

Maria swings open the door to the MuziekHaven and welcomes us to the historic clandestine church in Zaandam, which she and her husband, violinist Mathieu van Bellen, have opened as a chamber music center for musicians. Today, the sound test for the Guadagnini violin is taking place here. Carla has already gotten to know this violin quite well at home recently. But how will this Italian instrument perform in a concert hall compared to other top-tier violins?

True love?

Carla met the Guadagnini at violin maker and dealer Andreas Post’s shop. It was one of the many instruments he had set out for Carla so she could figure out what kind of sound she was looking for. Carla: “Nothing is as difficult as putting into words what you’re looking for with your ears. During that very first exploration, I immediately singled out the Guadagnini. It became the benchmark for comparisons with other violins that were for sale. And after some fine-tuning and the new bridge and soundpost that Andreas installed, the instrument sounded even better to me. At the same time, I felt very uncertain. Could one of the first violins I came across really be love at first sight? In the intimate setting of my home, it sounded wonderful. What would happen to its sound in a larger space?”

Taking a Step Back

It’s high time to take a step back and get to know some other top-tier instruments. In addition to Carla’s trusty Lupot and her favorite Guadagnini, three other Italian violins will be featured today at the MuziekHaven. First up is Maria Milstein’s violin, built by Michel Angelo Bergonzi around 1750. It was the sound of this violin that convinced Carla to part ways with the Lupot. In addition, there is a distinguished violin built by Giovanni Battista Ceruti in 1814, offered for sale by a private collector. And finally—quite unique—there is a second Guadagnini. Frits Schutte, head of the collection: “Coincidentally, Mathieu plays a ‘little brother’ to Carla’s Guadagnini. Mathieu’s violin is from a later period in the maker’s career, is strung with gut strings, and has a less arched top. It’s not often that you get the chance to hear two instruments by such a prominent violin maker side by side in such detail. I’m very curious to see how the two will compare.”

How does sound “travel”?

While the instruments are acclimating in the pews, the approach to the sound test is discussed. To make comparisons easier, Carla will play the same pieces on each instrument. Maria, Mathieu, Frits, and assistant Hidde Bekkers will be seated throughout the hall. After Carla, Mathieu and Maria will take their turns playing the instruments. Carla: “It’s so valuable that they’re here today. A violin sounds so different to the ear than it does in the hall. To some extent, I can imagine how sound ‘travels’ through a space. But for the most part, I can’t. I can’t wait to hear the instruments when Maria and Mathieu play them.”

Carla starts off with the Guadagnini. You can tell right away that she’s already comfortable with it. She then carefully explores the Bergonzi and the Ceruti. Curious about the Guadagnini’s projection, she passes it on to Maria and Mathieu. Mathieu plays Bach’s Chaconne alternately on his own Guadagnini and on Carla’s. It soon becomes clear that it’s difficult to compare them given such a large difference in setup, but in terms of projection, the violins aren’t that far apart. Maria gets along well with the Ceruti and compares the Guadagninis to the Lupot, which she finds unruly. Finally, she enchants Carla once again on her Bergonzi. Meanwhile, Frits and Hidde listen with the utmost concentration, occasionally conferring in hushed tones. In their whispers, you can catch snippets like: “radiant in the upper register… beautifully balanced… perhaps a bit one-sided…. captivating colors and contrasts….”

Take a moment to shift gears

By the end of the morning, Carla is still unsure. “I really need to take some time to adjust. I feel like the Guadagnini suits me. It’s a beautiful instrument with so many possibilities. It gives me the range of tones I’m looking for. To my ear, it’s definitely the most pleasant-sounding violin. But as I listened, I was also very taken with the Bergonzi. And I’m still worried that the Guadagnini doesn’t have enough projection. I’d really love to be able to try out the violin one more time in a large concert hall, as a final ‘test.’”

That afternoon, during a Zoom call with colleagues, Frits and Hidde enthusiastically shared their impressions: “It was wonderful to hear three fantastic violinists perform live, each showcasing their own ideal sound. The MuziekHaven is the perfect venue for this kind of sound comparison in an intimate setting. The acoustics are fairly straightforward, but the nuances came through very clearly. Maria and Mathieu are wonderful hosts; they bring a wealth of knowledge and experience to the table. Thanks to them, there was a very pleasant and positive interaction, which allowed us to listen to the instruments with a highly critical ear.” Frits and Manon immediately schedule a meeting to discuss which concert venue they’ll approach for Carla’s next step: the sound test in a large concert hall.

The process of purchasing an instrument for Carla Leurs is now at the stage where the Guadagnini is being thoroughly evaluated and compared with similar instruments. Expert advice is also being sought, and a second opinion is being obtained. The Musical Instrument Fund is in discussions with private foundations regarding the financing of an instrument for Carla and is open to support from major donors.