violin

The Musical Instrument Fund received this violin as a gift in 2008 from a private individual in Rotterdam, who had once received the violin as a gift herself. See below for the story she wrote down in 2018:

2018, a special year for the Silvestre
“My” Silvestre is 160 years old this year, as it was built in 1858. I can’t resist calling it “my” violin here for just a moment longer. Because writing about the Silvestre is writing about an important part of my life.
I was ten years old when I started taking violin lessons—fortunately, from a very special woman, Mrs. Willebeek Le Mair-Muntz. I had lessons at her home, and it would sometimes happen that upon arriving, I’d walk right into a conversation she was having with her friends Clara Eggink and J.C. Bloem. It’s funny how you find that completely normal when you’re ten years old…. The wonderful thing was that they also thought it was normal to include me in their conversation.
Mrs. Willebeek was deeply dedicated, always thinking about her students. This wasn’t just about the best fingering, but also about instruments and bows. When I was fourteen, she had found an instrument for me to play: the Silvestre, the instrument she felt suited me and my talent. It wasn’t until later, after her passing, that I realized she had always seen a broader talent in me—so she knew from the start that I would never be just a violinist. Yet she gave me the violin.
Thanks to this instrument, I was admitted to the conservatory and was able to develop as a musician. Stravinsky, Brahms, early music, Bach: everything sounded good on my Silvestre. That’s how I discovered the music of Purcell and John Dowland, for example. The violin introduced me to an incredible amount of music, and I learned a great deal about making music—as a soloist, in ensembles, and in orchestras. I loved playing the orchestral repertoire in the conservatory orchestra. Yet I took a different path with music, and the violin did not remain my primary focus.

2018 is also a memorable year for another reason: it’s been ten years since I called the Musical Instrument Fund to ask if they were interested in the Silvestre. And so it happened that Frits Schutte came to Rotterdam to meet me and discuss a few things. It was a special meeting—open and warm—and it resulted in Frits taking the Silvestre back to Amsterdam with him. The naturalness of our meeting reflected my decision to donate the violin to the Musical Instrument Fund—clear and without any reservations. I also saw it as a tribute to Mrs. Willebeek, who had once given it to me. I truly felt: this is how it should be, and no other way.
In addition to the instrument, she also gave me the responsibility that came with it: the task of taking good care of it. In doing so, she also placed a great deal of trust in me. I was now able to pass that trust on.

You recognize good decisions; you’ve already made them almost unconsciously. Call it intuition—or whatever else you like. They sound like a fantastically pure chord. You do it yourself, but it also just happens to you.
This decision about my violin was one of those. It has made me very happy.
Floor Lecoultre was also very happy with the Sylvestre; she played the instrument for no less than 14 years. Now it’s Vivian Giesbertz’s turn.