She slept with a violin on her pillow
A New York Times profile of a young violin maker in Italy prompts debate over what actually makes a great instrument: measurable acoustic qualities or the mystique of tradition and famous names like Stradivari. Commenters contrast handmade and factory-made instruments, cite blind tests suggesting modern violins can match or outperform old masters, and question whether artificial “antiquing” of new instruments is deceptive or simply meeting market expectations. Alongside technical points about wood, carbon fiber, and tap tuning, many highlight both the conservatism of the classical instrument world and the rarity—and value—of such intense passion for a demanding craft at a young age.
Acoustics, Stradivari, and Old vs New Instruments
- Several comments question the near-mystical status of Stradivarius and other old violins.
- Multiple blind-test studies are cited where players and audiences often cannot reliably distinguish old from new, and sometimes prefer modern instruments.
- Others argue tests may be biased: old instruments in those studies may not have had optimal setup or adjustments, unlike the new ones.
- Some claim wood has an acoustic “prime” (roughly a few decades) and then degrades, suggesting very old instruments are past their best and heavily rebuilt anyway.
- There is concern that violin culture treats Strads as the unattainable ideal, discouraging fundamental innovation.
Handmade vs Factory and Player Experience
- Handcrafted instruments are seen as superior because makers can respond to each piece of wood’s unique resonance (e.g., via tap tuning).
- Others note that factory instruments have tighter quality control but can’t tailor to individual “personalities” of wood.
- Several musicians emphasize the feedback loop between instrument and player: even if two instruments can produce similar sounds, one may “invite” better or easier playing.
Artificial Aging (“Antiquing”) and Aesthetics
- Many are uneasy with deliberate cosmetic aging (scratches, yellowed labels, fake wear), calling it deceptive or “relic-ing” akin to pre-ripped jeans or distressed furniture.
- Others defend it as a purely cosmetic, market-driven design choice; not dishonest unless age is misrepresented.
- Some players prefer non-antiqued instruments; others note that antiquing helps a new instrument visually blend with older ones and reduces anxiety about damage.
- There is disagreement over whether serious contemporary luthiers commonly antique; it’s described as controversial but widespread.
Materials and Innovation (Carbon Fiber, Composites)
- Carbon fiber instruments are viewed as acceptable travel or niche tools but generally not yet acoustically outstanding.
- One perspective is that current carbon-fiber builds use suboptimal composite methods (too much resin, flashy weave) driven by looks rather than acoustics.
- Discussion notes that traditional finishes and construction choices significantly affect damping and projection.
Passion and Youth
- Commenters are impressed by intense teenage dedication to such an esoteric craft.
- Some argue this kind of passion has always been rare and can be hindered by unsupportive environments and school schedules, rather than by “kids these days.”