Imagine holding a piece of history in your hands, an instrument that has survived over four centuries, its voice still capable of stirring emotions. This is the story of a 416-year-old Italian viola, now part of the Australian Chamber Orchestra's treasured collection. But here's where it gets even more fascinating: it took Stefanie Farrands, the orchestra's principal viola, five long years to find this musical gem. Her quest led her across continents, into the heart of concert halls, and through countless trials—until, finally, she found the one that spoke to her soul.
In a moment that could only be described as magical, Farrands recalls, 'I placed it on my collarbone, and the resonance was so profound, I couldn’t hold back my tears. It was as if this instrument had been waiting for me all along.' This wasn’t just any viola; it’s believed to be one of the finest tenor violas in existence, the only one of its kind. Crafted in 1610 by the legendary Italian luthier Giovanni Paolo Maggini, its sound is as rare as its history.
'Before this, I didn’t realize what I was missing,' Farrands admitted. 'Holding it felt like connecting with something extraordinary. Its sound is rich, mysterious, and deep—like dark chocolate, caramel, or a glass of red wine. It’s complex, much like a human, with its appearance mirroring its voice.'
And this is the part most people miss: the viola’s journey to the Australian Chamber Orchestra was no small feat. Acquired through the orchestra’s unique instrument fund—now in its 15th year—this viola cost over $3 million. Fiona McLeod, the orchestra’s chief financial officer, revealed, 'We even sold another instrument to make this purchase possible.' But the story doesn’t end there. Before it could take the stage, the viola underwent rigorous testing, including a CT scan, to verify its authenticity and ensure it was performance-ready.
'It’s not just about falling in love with the sound,' McLeod explained. 'We delve into its history, tracing its ownership over 400 years, from distinguished British violinist Henry Holmes to a US collector.' The viola’s provenance is as intriguing as its sound, adding layers to its already rich story.
Now, this historic instrument joins a prestigious collection at the Australian Chamber Orchestra, including two Stradivarius violins, a 450-year-old double bass, and Richard Tognetti’s 1744 Giuseppe Guarneri del Gesu violin. McLeod emphasizes, 'Playing these instruments not only preserves them but also enhances their value, unlike static artworks in galleries.'
For Farrands, playing this viola is 'the greatest privilege of my life. It challenges me, pushes me to my limits every time I step on stage. It’s a transcendent experience, allowing me to express myself in ways I never thought possible. It’s like being given a palette of endless colors—100 greens, 100 blues, 100 oranges—and being able to paint any musical phrase.'
But here’s the controversial part: Is it ethical to play such a fragile, historic instrument, or should it be preserved in a museum? Does its value lie in its sound or its history? We’d love to hear your thoughts. Leave a comment below and join the conversation!
