It’s a Humbling Experience to Play a Sibling of the ‘Cannon’
Revealing the soul of a 1743 del Gesù that weeps, dances, and sings
Richard Tognetti relaxes with the “Carrodus” del Gesù in Sydney, Australia.
Photo: Jonathan May
Instrument: 1743 “Carrodus” Giuseppe Guarneri del Gesù of Cremona.
Further Resources
Hear Richard Tognetti, the “Carrodus” del Gesù, and the Australian Chamber Orchestra June 11–14 during the 65th Ojai Music Festival, Ojai, California, and the Ojai North! festival in Berkeley, California. American soprano Dawn Upshaw will join the ensemble June 12 for the world premiere of Maria Schneider’s “Winter Morning Walks,” an Ojai commission. aco.com.au
Condition: Rich red color with much of its original varnish remaining. The scroll is bold, roughly hewn, and compelling. Interestingly, it’s quite similar in character and color to the 1759 Guadagnini that I used to play.
When and how did you truly learn the soul of this instrument?
A very elusive character is the character of the violin. It’s a weeping, dancing, singing instrument I’m still exploring, and that’s what makes it so demanding.
How does this instrument inspire you as a performer?
In all ways. On one hand, it’s humbling to play an instrument that might have been played by Paganini, and ennobling on the other.
What gift does this instrument bring to your playing?
It has a depth of sound; it’s a real weeping instrument.
What is its story?
The “Carrodus” is named after the 19th-century English violinist John Carrodus, who once owned it. It’s said to be the twin to Paganini’s del Gesù, the 1743 “Cannon”—its wood came from the same tree. It’s also rumored that the “Carrodus” once belonged Paganini. The (alleged) story goes that he forfeited it to cover gambling losses.
The “Carrodus” was also recovered, unscathed, from the backseat of violinist Ossy Renardy’s car after he was killed in a car accident in the United States in 1953. At the time, Ross Parmenter wrote in The New York Times:
“Perhaps the saddest happening in the musical world during the local news stoppage was the death of Ossy Renardy, 33-year-old violinist, who was killed in an automobile accident the afternoon of [December 3]. The accident occurred in northern New Mexico while George Robert, the violinist’s accompanist, was driving him to a concert that night in Monte Vista, [Colorado]. Their car skidded on an ice slick and, while out of control, was hit by another car coming in the opposite direction. The other motorists were not seriously injured, and the violinist’s Guarnerius was not damaged. But many, knowing how fine an artist the young Viennese-born musician was, must feel so great a talent could be less well spared than even so precious an instrument.”
Renardy, interestingly, was the first to record all 24 Paganini Caprices—as far as I’m aware—so the lineage is certainly inherent.
Have you thought about the people who have handled it before you?
Yes, I have, given that it could have been played by Paganini. Also, because it was owned by Carrodus, who was revered as the finest British player of the Victorian era. It’s intriguing to wonder what they sounded like. And, of course, I think about poor Renardy.
What drew you to this instrument?
Its depth, its beauty, and its mystery.
What is your violin’s personality?
It’s not moody, which is lucky, living as it does in Australia’s humid climate. However, I use gut strings. Like most good instruments, it comes into its own in a hall.
What are your instrument’s strengths and limitations?
Its strengths are as above; its limitations are its player.
What are the violin’s likes and dislikes?
It likes fairly dry air, copes well with travel, and dislikes very humid climates, or changes of temperature. It hates it when I play it poorly.
Is your violin instrument female, male, or genderless?
It’s all of that and more.
What would your instrument say to you if the two of you sat down for tea?
“Stop slurping, Richard.”
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