When Orchestra Instruments Aren't Original: Replicas in Classical Music Performance
When an orchestra plays a classical work, it may seem that all the instruments are original, untouched by time. However, the reality is often quite different. While some instruments are indeed centuries old and valuable, the majority of orchestra instruments used today are reproductions. This article explores the world of early music instrument replicas and the reasons why they are so prevalent.
The World of Replicas
Most of the instruments used by modern orchestras are not originals from the 18th or 17th centuries. Instead, they are contemporary reproductions. The industry of making early instrument replicas is thriving, with many makers in various countries producing instruments that can mimic any early or period music instrument. One of the pioneers in this industry was Arnold Dolmetsch, who brought back early instruments like the harpsichord and the recorder from forgotten oblivion.
A true pre-18th century instrument can be scarce, valuable, and may not be in the best condition for live performances. In some cases, true antiques are not even available. For example, true period lutes in functional condition are pretty scarce, as are Baroque guitars. However, modern reproductions are readily available and functionally identical to their historic counterparts.
Examples of High-End Replicas
Let's consider one of the high-end reproductions: the known playable Stradivarius GUITAR. This is the only known playable 18th-century guitar in existence, but it has been heavily restored to get it back to its original playable condition. Similarly, the Sabionari is another replica that has been modified and needs significant restoration work. This highlights the importance of maintaining the integrity of these instruments and the challenges involved in making them playable.
The father of the modern early music instrument making industry, Arnold Dolmetsch, played a crucial role in this revival. His son, Carl Dolmetsch, continued the craft in his French workshop, and there are many other makers of early instruments. Websites like those of the Renaissance Workshop Company showcase an impressive array of early instruments, including viols and lutes. Other notable makers, such as Moeck in Germany and Courtly Music Unlimited in New York, specialize in specific instruments like recorders.
Museum Treatments and Replicas
Museums often treat their valuable and rare instruments with great care, often keeping them on-site. For example, the cornet played by Bix Beiderbecke is now a sacred relic in the traditional jazz world. The Putnam Museum in Davenport, Iowa, allows only a professional jazz cornetist to play the instrument, which is handled with white gloves. Similarly, the Il Cannone Guarnerius, a national treasure due to its association with the great violinist Paganini, is allowed to be played under special controlled circumstances.
These examples show why museums often do not lend their valuable instruments, even for special performances. The risk of damage or loss is too high. However, this does not mean that the general public cannot enjoy these instruments. Replicas and reproductions allow modern musicians to perform these works faithfully, ensuring that the legacy of early music instruments is preserved and celebrated.
Conclusion
While true antique instruments are valuable and rare, the world of early music instrument replicas plays a crucial role in the performance of classical and historical works. Modern musicians and makers have bridged the gap between the past and the present through these reproductions, ensuring that the rich tradition of early music instruments continues to flourish.