Instruments Owned by Nippon Music Foundation

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Stradivarius

Stradivarius 1730 Cello

“Feuermann”

  • “Feuermann”
  • “Feuermann”

Feature

It is characteristic of “Feuermann” that it has a narrower body compared with normal cellos. The back, in two pieces of Italian maple, is marked by a faint small curl. That of the sides is similar, whereas the head is plainer. The table, in three pieces of pine, is of fairly even grain. The top left flank is marked by a small knot. The varnish, of thick texture, is of a light chestnut-red color. This instrument is in an excellent state of preservation.

History

In the 1860’s, the instrument was in the possession of a well-known Parisian amateur, Monsieur de Barrau, and was lent to the well-known cellist August-Joseph Franchomme (1808-1884) for the use of his son, who died young. In 1869 it was sold through the intermediary of Gand et Bernardel of Paris to Ernest De Munck (1840-1915) of Brussels, a cellist of repute and a pupil of Adrien-Francois Servais (1807-1866) who was considered one of the most influential cellists of the 19th century, and from him it passed to one of his own pupils named Heriot. In 1934, W. E. Hill and Sons sold the cello to Emanuel Feuermann (1902-1942), one of the greatest cellists in the world. Feuermann used it for many concerts and recordings, hence the name of this cello. After his death in 1942, it was acquired by the American collector Mr. Russell B. Kingman. It was then sold in 1956 to the distinguished cellist Aldo Parisot (1918-2018). In December 1996, Nippon Music Foundation acquired this cello from Aldo Parisot through a luthier.

Certificate

Stradivarius 1730 Cello “Feuermann”

August 4, 1956 Rembert Wurlitzer, to Aldo Parisot
April 5, 1939 W. E. Hill & Sons, to Emanuel Feuermann

Reference

Stradivarius 1730 Cello “Feuermann”

October 28, 1996 Andrew Hill, Report to Nippon Music Foundation
May 10, 1996 Andrew Hill, Report to Nippon Music Foundation
April 5, 1939 W. E. Hill & Sons, History letter to Emanuel Feuermann

“Antonio Stradivari: The Cremona Exhibition of 1987” by Charles Beare, (P 264)

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