![]() Anyone interested in buying an instrument needs to ask difficult questions, do their own research and develop a level of trust with the dealer. There are clearly variations in the level of expertise among stringed instrument dealers, and there are also differences in the quality of the information that is shared during a major instrument sale. Stringed instruments are without question worthy of serious consideration to potential investors, but I have learnt through my contact with many of the main dealers that a balanced, constructive and consistent assessment of these instruments requires more work. Instrument dealers are at the centre of a great market – the opportunities are huge, both in existing markets like the US, Europe and parts of Asia, and also in emerging markets such as China, and the next ten years will be very interesting. Given a long enough period of time, they may prove to outperform all other asset classes. Unless it is for reasons of preservation, locking away great instruments means that a significant opportunity is squandered, and I would encourage all owners of fine instruments to consider whether their asset could be used to help build and sustain a developing career.Īs a banker I have spent many years looking at investment performance, and to my knowledge top-end antique stringed instruments have historically out-performed almost all other asset classes. This means they are never heard, and nor can they be used to help boost an exceptional performer’s career. In these cases the argument to preserve outweighs the argument to have them played, in order that they can be enjoyed by future generations.Ĭlearly there is a compelling case for conserving some instruments, but something I find perplexing are those patrons who own great instruments and choose to store them inside a vault. These instruments have a great deal of original varnish that is especially fresh in appearance, and the instruments’ interiors are practically as they were when they left the hands of Stradivari, Guarneri ‘del Gesù’ and other great makers. While the significant majority of the instruments in my collection can be freely loaned out, there are some which, after taking advice, I have decided not to lend. I am just as impressed by Nicola Benedetti’s ability to articulate the importance of music education and be at the centre of many of the ongoing music debates as I am with her ability to play the violin. I ask all those musicians who play my instruments to share that goal. Many of these are lent to players of exceptional talent, each time with a specific goal: that the instruments may be heard not just in concert halls but also in settings such as schools and local communities, where the potential to inspire creativity through music is extraordinary. Over the past 15 years or so I have been fortunate enough to acquire a number of rare and well-preserved instruments. My passion, outside of my profession as an investment banker and my support for a number of philanthropic causes, is collecting, loaning and preserving great stringed instruments, in particular violins and violas. A combination of knowledge and experience is needed to collect historical musical instruments responsibly.Nicola Benedetti with the 1717 'Gabriel' Stradivari which is on long-term loan to her from Jonathan Moulds Musicians who have purchased stringed instruments from expert craftsmen can attest to the fact that considering the craftsmanship, value in history, and market for an instrument is an art on its own. During this time, many talented Italian violin makers were working across the country in order to build on the traditions established by their predecessors while applying their own personal style to the process. The modern era of Italian violin makers is generally considered to be characters who lived during the time period between 18. This inspired other makers to match the sound and craftsmanship of these fine Italian makers. Early ‘classic’ makers created beautiful instruments from the 16th century right up until the 1890s.
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