![]() ![]() This cookie is set by GDPR Cookie Consent plugin. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. We will keep you informed about the progress of the project. Numerous world-renowned media produce reports, podcasts, and news, including the BBC, CBS and CNN.Ĭlick here to listen to the BBC podcast, published at BBC UK’s SOUND section.Ĭlick here to read the feature at ClassicFM. Since stories, images and emotions develop almost by themselves and illustrate the handling of sound over a period of more than 400 years – from Cremona’s locally influenced historical craftsmanship to the modern computer-based music production worldwide, an article in the New York Times triggered the worldwide interest to the project. The microphone setup is highly powerful: barking dogs, high heels on cobblestones or glasses falling to the ground in cafes in the neighbourhood are detected and lead to the repetition of the respective recording. To capture even the last sound details 32 highly-sensitive microphones were expertly placed around the musician and in the concert hall. Antonio Stradivari “Stauffer” Cello from 1700. ![]() Gerolamo Amati “Stauffer” viola from 1614.Guarneri de Gesù “Prince Doria” violin from 1734.Antonio Stradivari “Vesuvius” violin from 1727.The selection features the following instruments by Amati, Guarneri del Gesù and Stradivari: Three sound engineers are supervising and controlling each and every note that is played. They will have to play countless scales, phrases, and arpeggios using all of the playing variations their instruments offer – including different bow techniques, finger styles, and multiple expression levels. During the recording period, hundreds of thousands of samples will be played by the four chosen musicians, eight hours per day, six days per week. The cultural-historical dimension of this mission offers a multifaceted insight into the magic of the noble string instruments as well as into e-instruments’ meticulous recording procedures. Even the people of Cremona were asked for active support during a press conference, meaning to avoid any noise in the surrounding area of the museum. In a press conference at the start of the recordings, the population was made aware of the project and asked to avoid any noise during the recording period in the surrounding area. During this process, all possible disturbing noises were determined and the far-reaching measures to remove them were discussed with the museum management, the mayor and finally even with the police.Īs a consequence, it is not only the concert hall that is shut down during the recording period, but even the surrounding streets are closed off and all traffic diverted. It included not only the careful compilation of the musicians and the evaluation of the best equipment but also extensive on-site measurements. Planning the project was intense, to say the least. The idea was not only to achieve the meticulous digital conservation of the unparalleled instrument sounds for future generations, but also to provide an opportunity to transfer the historical Cremonese string instruments into a modern framework for modern musicians. Our story begins back in 2016 when the renowned Museo del Violino in Cremona inquired about the possibility of preserving the unique sounds of certain string instruments in the digital domain. The Cremonese masters Amati, Stradivari, and Guarneri del Gesú defined the quality of stringed instruments there centuries ago and they are still considered the holy grail of violin sound today. The northern Italian city of Cremona is the cradle of violin making. E-instruments on a cultural-historical mission recording Stradivarius in Cremona ![]()
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