An instrument in focus
Feature |
Albena Danailova, concertmaster of the Vienna Philharmonic Orchestra in the OeNB's gold vault with the Stradivarius ex Hämmerle.
Many voices are needed to make an opera production a success. This also includes the string instruments that sound from the orchestra pit. One of these instruments is the Antonio Stradivari violin, Cremona, 1709, "ex Hämmerle", played by the concertmaster of the Vienna Philharmonic Orchestra, Albena Danailova. The violin is on loan from the Oesterreichische Nationalbank's (OeNB) collection of historical string instruments.
The OeNB acquired this instrument back in the early 1990s for its collection, which was newly established in 1989. Even though it can certainly be regarded as an investment, the OeNB's committees were firmly convinced from the outset that the acquired instruments should not be kept in the vaults, but should continue to be played and listened to! For over 300 years, the Antonio Stradivari "ex Hämmerle" violin has fascinated not only with its ideal form - after all, it is a creation from Stradivari's "golden period" - but also with its special sound. Albena Danailova has been playing this violin since 2017 and, in conversation with Chiara Galbusera, curator of the OeNB's collection of historical string instruments, gave us a glimpse into her special relationship with this unique violin.
Ms. Danailova, what was your first encounter with the violin like?
I already knew the "ex Hämmerle": it had previously been in the hands of two concertmasters and colleagues, Werner Hink and later Rainer Honeck. When Rainer Küchl, also concertmaster, retired, Rainer Honeck decided to take over the violin that Mr. Küchl played [the Stradivarius "ex Chachonne" also from the OeNB collection, editor's note]. And so I had the opportunity to play the "ex Hämmerle". It sounded wonderful in unfamiliar hands, and I was very excited to see how it would sound in my hands. It is well known that these old instruments react very sensitively to the person playing them. I already had experience with this type of instrument, but you can always look forward to forms of expression that might not be possible with another instrument. For example, in the nuances or how to make the sound shine. And that was better and easier on this instrument.
Can you tell us something about the sound of the violin? How would you describe it?
The violin is a typical example from the golden period of Stradivari because it sounds so golden, open, balanced and even digestible. It is very adaptive: it has adapted well to every musician. You can say that it always retains its charisma, even if it changes its character a little.
Are there still surprises after so many years with the violin?
I am always surprised at how good the violin sounds in any acoustic. That certainly has to do with the person playing it, but not only that. The instrument gives its best in every acoustic and carries in every room. As I can rely on the sound and never have to "fight" with the instrument, I can concentrate fully on the music.
What does the violin mean to you?
I love her, it's a long-term relationship, she's like a person, like a friend. She is an extension of my inner voice. I can express myself without using words. The sound she gives me gives me new ideas on how I can express myself even better. She really has become a part of me.