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Playing the Da Vinci Strad (Visiting World's Biggest Violin Auction House) - YouTube
Channel: unknown
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Hello everyone!
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Welcome to another episode of TwoSet Violin!
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So we're at an auction house called Tarisio.
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And what they do is buy and sell fine instruments.
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And they kindly invited us to
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give you guys a quick tour around their place.
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We think it'd be really cool to show the world of violin instruments
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because it's a pretty crazy world.
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There are these legendary historical makers.
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Some of their violins are known
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to have like, the most legendary sounds.
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And they're played by legendary players.
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They're a little bit like artworks as well.
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Yeah, imagine like the Picassos of instruments.
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- Yeah, or the Mona Lisas.
- Yes.
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And we're gonna have Carlos,
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who you're gonna meet soon,
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explain to everyone what they do.
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We'll be answering a lot of questions.
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And we hope you guys watching also learn a lot, too.
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So we're here now in the gallery.
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But first of all, I want to introduce Carlos,
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one of the directors here.
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Welcome guys!
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Everybody was waiting for you guys.
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Yeah, actually the whole office was so excited
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to have you actually come.
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- Thank you!
- Eddy: We're also very excited.
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Yeah, we're also excited.
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Can't wait to show you guys everything in here.
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From the gallery, which is here.
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We'll have a look now.
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So you can see this an open space.
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Really minimalistic.
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They even have like instruments over here right now.
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This is space-
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Actually, this gallery is meant for people to come
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and feel free that they can play the instruments.
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All the instruments for the auction are accessible to clients.
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So they can come here and play.
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We also built all these panels up here,
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so the acoustics actually are realistic.
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They sound good.
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So people are gonna get good sense of how things sound.
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Eddy: So are they the Stradivariuses?
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Not quite yet.
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I'm gonna show you guys later.
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These are others.
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The Stradivarius are in the vault.
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We're gonna see later.
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- I wanna show you the vault. Yes.
- Eddy: Ooh...
- Ooh, I can't wait!
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But also we've had concerts here.
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Masterclasses, lectures...
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It's a space that we really would try to invite people to come.
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- And information for us is very important.
- Yes.
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Through our website and through our presence,
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they can learn about instruments.
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- So we have a database that hopefully you-
- Yeah.
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- I know you guys probably visit once in a while.
- Yeah, I've checked the website.
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And it's incredible how much information you guys have.
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The certificates of all instruments,
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- old photos, black and white photos...
- Carlos: Yes.
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...the history of each maker,
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and the lineage?
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Exactly. There's a whole history of ownership.
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Anything, we have the largest database in the world.
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People just come and learn about instruments,
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which is our passion,
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to share information.
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Can I add something? So...
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Brett is definitely–
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He's quite into knowing about instruments and bows.
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And every time there's a new instrument we come across,
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he always goes on Google.
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And every time we end up on the Tarisio website.
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'Cause you guys just have so much information.
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- And it's so hard to find information
- Yeah.
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- about these makers and the histories, so-
- Yeah.
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- Yeah, so we're really appreciate it actually, on that note.
- You're very welcome!
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Brett: Alright, so now we're going to the workshop.
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So the idea of this was...
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that we wanted to make sure that
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everybody could share and participate on the workshop.
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- So all these sort of like visual-
- Brett: Oh, have a look.
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Carlos: The idea is that not to hide any secrets.
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That's Elizabeth and Rachel discussing instruments.
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It's that people can see how instruments are repaired, built.
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Brett: Wow, and so you must really have to...
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- have professionals looking after these instruments.
- Carlos: Absolutely.
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Carlos: Part of the responsibility of selling these instruments
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is also to be able to care for them.
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So we can actually have four different luthiers here.
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So it's a full service.
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Making, repairing, adjusting.
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For the repairing side of things,
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- have you ever had like, crazy incidents that–
- Oh...
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We haven't had incidents,
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but clients have brought us after the accident.
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Pieces, and we had to put it all together.
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Like literally in a shoebox.
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It's very traumatic.
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And we put them back together
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in a way that you couldn't see anything.
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And how long does that usually take?
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Each part, like the process of restoring is an art.
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It takes hours and hours and hours.
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So the restoration of something that has been through an accident
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could be years.
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That's fascinating.
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- So that restoration and making is very different things.
- Very different.
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And on that note, I remember you talked to me about
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- you had CT scans, was it? Or-
- Yeah.
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CT scan is a...
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a way that you do like X-rays of a violin,
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and nothing gets hidden.
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Eddy: Can we see some of those CT scans?
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- I can- Yeah, you want to see the...
- I'd love to see it!
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- Yeah, so we can make it spin and do fun things.
- Brett: That's incredible!
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- Rachel: Yeah, let's see.
- Brett: Whoa!
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Rachel: It's going through the insides of the violin.
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Eddy: No way...
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Eddy: So what does this help you guys do on a daily basis?
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Carlos: It helps deciphering the insides,
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what the eye cannot see.
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Densities, thicknesses...
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A lot of the technical aspects of the violin.
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To see, you know, the work that has been done,
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so we don't miss anything.
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Eddy: Yeah.
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Brett: So actually, I remember one point...
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Carlos, you talked about how makers...
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do their best to make the exact copy.
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- Yes.
- And the CT scan can pick up the most nuanced parts.
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- You can't hide anything from the CT scan.
- You can't hide any–
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- Wow!
- You can't hide absolutely anything.
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That's the-
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It is really like an X-ray of anything...
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- Yeah.
- that it shows and exposes pretty much anything.
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Look at that.
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CSI.
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Eddy: What are the goggles for?
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- Eddy: Those up there.
- Brett: Oh yeah.
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These are actually just like a little magnifying glasses on-
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- Oh okay.
- So it's really good.
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Actually, Elizabeth's doing like,
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touch-up work or something like that.
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- Whoa.
- Eddy: I see.
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Eddy: Touch-up work.
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Eddy: Touch-up work!
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Eddy: No pressure!
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Brett: So this is the vault.
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Brett: The code is 1-2-3-4.
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*laughter*
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Brett: And we're going in.
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Brett: So...
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- Whoa!
- Whoa!
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Brett: You know what this feels like?
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Brett: When you're in the Harry Potter world
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about to pick a wand.
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Eddy: I'm so scared I'm gonna like...
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- Brett: Yeah, don't trip.
- Eddy: knock something.
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This is where all the instruments come back at night.
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But also where we store multi-million dollar prices here.
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- So it's particularly in these glass doors.
- Okay.
- Brett: Wow.
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We carry a lot of history, and a lot of value.
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Let's pick a random thing.
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For example, this one.
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Carlos: From Strad.
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- Golden Period Strad.
- *gasps*
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Brett: Whoa, that's beautiful!
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Carlos: To...
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Carlos: This is one of my favourites.
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- Carlos: This is actually...
- Brett: Wow...
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a Guarneri violin that belonged to Kreisler.
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- Eddy: *gasps*
- Brett: Kreisler!
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Yeah.
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Carlos: The crazy thing about this...
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The neck is still original.
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It's extremely rare.
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So to see that there is one piece.
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It's all connected.
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To play violin now...
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like in the 21st century,
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99% of the instruments...
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they have replaced necks, the 18th century instruments.
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Perlman's or Joshua Bell's...
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All those violins have the replaced neck.
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Do you know what the reason is?
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Why all the necks are replaced?
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Because the length has to be different.
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Like, the violins have evolved.
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The body hasn't changed,
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but the tensions have changed.
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So to be able to play in bigger concert halls,
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the distance is different.
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To be able to be more virtuosic.
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- And the angles have changed.
- Oh wow!
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We have to adapt to that.
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But certain violins, like this one,
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sounds incredibly well.
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And it still preserves the original neck.
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I knew that the angle changed over time,
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- but I didn't realise the length as well.
- The length as well. They used to be shorter.
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- Wow...
- Yeah.
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I mean, this actually has adapted.
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That's why you see a wedge here.
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Eddy: Ahh...Oh!
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Carlos: That's the only thing the violin has changed.
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The science is to adapt to play...
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you know, in a big concert hall.
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You gotta have more power.
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And so to see something like this,
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I cannot emphasise how rare it is to find something like this.
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Especially of this quality.
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- And it's Kreisler's.
- It's very rare.
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- Brett: And it's Kreisler's.
- And it's Kreisler's.
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- Kreisler is like the daddy of violinists.
- Brett: Yeah!
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This, another Golden Period Strad.
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Down in the bottom.
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- Brett: Whoa...
- Eddy: Whoa...
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Brett: Dude, my hands are sweating just looking at it.
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Eddy: Imagine you trip,
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and the camera just like...
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...bumps into that.
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- And then you're in debt for the rest of your life.
- Brett: Then you fall and everything collapses.
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Carlos: What makes this vault also very special...
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is that when it was built,
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this entire shop actually have two generations of different dealers.
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This originally was built for a violin shop by Jacques Français,
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which is one of the greatest violin dealers.
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When he built this vault,
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he had to ask for a specific and special permit.
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So there are no sprinklers.
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There's no water in this room.
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So it's fireproof, waterproof as well.
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So this vault has seen more Stradivariuses
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than probably anywhere else in the world.
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- Brett: That's incredible.
- Yeah.
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I feel like I'm in-
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You know like, those cartoons when you're like-
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The pirate ships and you land in the golden treasure.
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- This feels like that right now.
- Brett: Yeah, it's like, "Wow!"
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This is actually the suitcase of Isaac Stern
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where he carried his tails for the concerts.
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- No way!
- It's right inside here.
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And this was made by Louis Vuitton for him.
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After he died,
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we were asked to sell the estate of Issac Stern.
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And this is something that we kept.
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Brett: Carlos, do you know like, every instrument in here?
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If we point at it, you'll know it?
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I should know most of them, yes.
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Which is not easy
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because we sell about 3,000 instruments per year.
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Whoa!
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Between the auction and the private sales,
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and our London, Berlin office,
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- it's about 3,000 instruments.
- Brett: 3,000 a year!
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Eddy: How many Strads are here, do you know?
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Carlos: Right now, three.
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- Eddy: Three Stradivariuses.
- Carlos: Yeah.
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Almost from every major maker,
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we have instruments available.
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Pretty much one of each, at least.
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Or two of each.
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I found it crazy too, like...
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how much the value has gone up in these instruments.
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Do you know how much they were worth like 20 years ago, roughly?
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That's a very good question.
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I can tell you one of the numbers
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that actually was very impressive to me...
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is when we sold the 'Lady Blunt' in 2011.
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It sold for 16 million dollars.
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Brett: WHOA!!
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And that's 2011!
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It had sold in 1971 for the equivalent of...
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So it's not that-
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The difference is not in time, it's not that much.
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But the price was 200 thousand,
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then we sold for 16 million dollars.
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- That actually is a number that- sort of to get around it.
- Brett: Wow!
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- It is very, very impressive.
- Brett: Yeah, that's impressive.
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That's- Was that 80 times?
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It's better than Bitcoin.
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So, here comes the main course.
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The 'Da Vinci' Strad we have here that's for auction, right?
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- Correct.
- Look at this, Eddy.
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I'm really scared holding it right now.
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But can you guys see how beautiful it is?
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This is history right here.
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Yeah, you're just looking at the...
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It's just amazing how like, spotless it is
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for something that's been around for...
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how many years?
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Since 1714.
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- 1714!
- Wow...
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I'm so scared I'm gonna scratch it.
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Eddy: Why is it called the 'Da Vinci?'
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It has no relation to da Vinci,
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but it was given by a dealer.
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There were three instruments
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that this dealer baptised.
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All Renaissance artists,
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'Titian,' the 'Michelangelo,' and 'da Vinci.'
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I think what makes this violin quite special...
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first, that it's been over 20 years
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since something similar to this has come to the auction.
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Something from sort of the apex of Stradivarius
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like 1714, has been over 20 years.
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- So it is a big deal.
- Wow.
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And we're very, very excited to have this one in particular.
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I mean, not only actually is it in incredible shape,
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but its history is incredible.
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To know that this violin was the soundtrack to The Wizard of Oz.
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And other things, I mean...
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This was owned by Toscha Seidel,
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one of the greatest violinists.
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He was a classmate of Heifetz.
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He was a competition to Heifetz.
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And some people say that he could have been better.
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But this was his violin for 40 years.
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And you can tell in the recordings-
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There are many recordings with this violin with Toscha...
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You can see the luscious, vibrant sound of this fiddle.
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You know, this is what Stradivarius is best known for.
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We always talk about this Golden Age of Stradivari.
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And what does that mean?
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This is where Stradivarius was at the height of his powers.
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He had been experimenting quite a bit with different models.
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And he arrived this model.
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During the 1710 to 1718
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where everything works.
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He has access to the best materials,
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he has been experimenting,
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he's developed a model that sounds and looks incredible.
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And he would keep experimenting after that.
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But this block of years is where you see
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that he's achieved something very unique.
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And this one was made in 17...
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- 14.
- 14. Okay.
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- So this is right at the peak of the best of the collection.
- Wow...
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- That's a really nice bow, too.
- Carlos: You guys actually sound so good.
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Carlos: I mean, it's actually kind of amazing.
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Carlos: I mean it, like...
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the amount of work that you do outside of playing,
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but how you keep yourself in practice is truly impressive.
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- Aww, thank you!
- Aww, thank you. We appreciate it.
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Carlos: No, truly. I really mean that.
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- Carlos: It's very, very impressive.
- Yeah.
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We really try to find as much time as we can.
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Carlos: And you walk the walk with the practice.
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- Yeah!
- Yes, definitely.
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- So at least we can enjoy these instruments.
- Carlos: Yes!
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For some of you guys might be curious to see...
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what sounds like a great instrument.
[739]
I think the instruments are believed to give different colours
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at different inputs, right?
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A bow speed, pressure, contact.
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I'd say the other main thing would be
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just the quality of its overtones,
[749]
which gives the sound its character, its personality.
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I think a lot of not so good instruments...
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A, they struggle with projection,
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so they don't ring as much.
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Or they typically sound very one-dimensional.
[762]
It's like you see an image,
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the colour is just one-dimensional,
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- like one or two colours.
- Yes.
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Whereas with the instruments we played,
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there's so many different- not just colours,
[769]
- but shades of colours that you can hear.
- Yeah.
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And there's a shimmer.
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- Yeah.
- There's a warmth to it. It's just-
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- Ah, it's so nice.
- I feel like I'm just discovering a lot of new things.
[776]
- I'm like, "Oh, by doing this, it sounds so different."
- Mm.
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And on the auction...
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How does that work with the auction?
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Yeah, 'cause Brett really liked it.
[803]
- He played it, so-
- So they're gonna buy it.
[804]
Yes, yes! I want to be the first!
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- He's asking for "a friend."
- Brett: Yeah.
[807]
- For "a friend."
- "A friend."
[808]
So, the auction is very simple actually.
[810]
You know, it is important, of course, that people see it,
[813]
...play it. People can-
[814]
We have all the information available.
[815]
And it's gonna tour.
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I'm actually gonna take the violin to Europe next week.
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And then it's gonna make its way to Asia.
[821]
But the actual bidding happens online.
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Carlos: So...
[825]
whether it is ten dollars or lots of millions,
[828]
it happens through...online.
[829]
It's a very transparent process.
[831]
You know, when we sold the 'Lady Blunt'
[833]
for 16 million dollars we were talking...
[836]
- That was online.
- Clicking.
[837]
That's incredible.
[838]
Is there like a...
[839]
minimum though?
[840]
- Yes-
- Or you can actually start at ten dollars?
[842]
Uh, no.
[844]
I was like...
[844]
"Oh, we have a chance!"
[845]
"Ten dollars!"
[846]
There is a minimum that's gonna start,
[848]
but the sky's the limit for something like this.
[850]
I think it's a very unique opportunity.
[852]
- It's definitely a collector's thing. It's so unique.
- Collectors, but...
[855]
- I hope actually it's a collector that maybe loans it to a player...
- Yes, I hope so.
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- Carlos: ...on stage.
- I mean, I'm up for the sign up for loans as well.
[861]
- Asking for patrons?
- Brett: I mean, the loan.
[862]
- Oh yes, please.
- Yes, patrons, please, please.
[864]
Well, I mean like...
[865]
I think you're right.
[865]
We played a few Stradivariuses in the last 2, 3 years.
[869]
And you can definitely tell...
[870]
you know, they're all great instruments,
[871]
but there's difference in the sound.
[873]
- And this one really does sound amazing.
- It's very outstanding.
[875]
Yeah, I think these fiddles...
[877]
inspire you.
[878]
They inspire you, they inspire the audience.
[880]
- Brett: Yes.
- I really believe in that.
[881]
And so it's almost like...
[882]
the violin pulls you to explore the type of sounds
[885]
this particular violin can make.
[887]
- Yes!
- 'Cause they're all different.
[888]
It's always extremely for us...
[890]
Every auction day is one of the most thrilling experiences.
[893]
- Yeah.
- You can't sleep. I can't...
- To see people from all over the world bidding...
[896]
I mean, it is- It never gets old.
[898]
- What date...
- Yeah-
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- Wait, what's the exact...
- June... It's on June 9th.
[901]
- June 9th. So everyone tune-
- I'm gonna keep an eye out.
[903]
Yeah, I'll probably watch it, too!
[905]
- I don't think I'll bid, but I'll keep an eye out.
- And your finger slipped...
[907]
"Uh-oh!"
[908]
Brett: "OH NO..."
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"Oops, all my life savings!"
[911]
- Probably not even enough.
- Not like 10X... like, everything!
[914]
But I'm glad that you guys had the opportunity to play it.
[916]
It's incredible. Yeah.
[917]
Thank you so much for giving us the opportunity...
[919]
- to come here.
- Thank you. You're welcome.
[920]
Thank you for coming.
[921]
And once again guys, please like and subscribe.
[923]
And check out Tarisio on the auction date.
[926]
- Yeah.
- And we'll see you guys next time.
[927]
Bye-bye!
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