Johannes Moser Goes in Search of Sound, Depth & Playfulness
One cello is a ‘teacher,’ the other is a ‘playground’
It's called mojo—that special magic that lies within the soul of an instrument (if, indeed, you agree that an instrument can have a soul). There's a scene in director Jim Jaramusch's 2009 film 'The Limits of Control,’ in which a con man (or is he a violin dealer?) tells the film's protagonist: "I believe that musical instruments, especially those made of wood—cellos, violins, guitars—I believe that they resonate, musically, even when they're not being played. Every note that's ever been played on them is still inside of them, resonating in the molecules of the wood. I guess, like everything, it's just a matter of perception, no?" In this department, 'Strings' asks the stewards of some of the greatest—and most coveted—stringed instruments to describe those qualities that make their fiddle so special.
This article, "Johannes Moser Goes in Search of Sound, Depth & Playfulness," is part of the Strings Archive, which you can access with a paid site subscription.
If you have a paid subscription, you are seeing this message because you have not logged in.
What do you want to do?
Log in using my current paid subscription account.
Subscribe now and get our best offer.
You may also be interested in
Picking up an electric stringed instrument isn’t just about sound—it can open up playing opportunities
Focused, Rich Bass Makes This Ancient Cello an Ideal Quartet Partner for the Borromeo Quartet's Yessun Kim
1576 Pellegrino di Zanetto De Micheli cello was born in tumultuous times
How contemporary violins copied from these two iconic makers are different and why it matters to you