A Stradivarius knows no boundaries, said Tasmin Little OBE at the opening of the Ashmolean Museum’s exhibition celebrating the life and work of Antonio Stradivari (1644 to 1737) — or Stradivarius as he is more commonly known. The classical violinist had been asked what makes a Stradivarius violin so special. “A seamless flow, strength of tone, a subtlety and purity of sound. It’s just a joy,” she replied, demonstrating the violin’s qualities. Canadian violinist James Ehnes, who played at the Ashmolean’s gala concert in its opening week might say the same. Writing in the exhibition catalogue Mr Ehnes said like most violinists he was enthralled from his earliest years: “The name Stradivarius had an air of magic to me. A Stradivarius was more than just a musical instrument; it was a symbol of achievement, of success, of greatness,” he said.

A Stradivarius is a thing of great beauty. In the main gallery of this exceptional exhibition are, displayed in cabinets in a room where shadow figures seem to play on the walls, are 21 of the finest instruments from between 1666 and 1734. Some have never before been publicly shown. Around half are from Stradivarius’s Golden Period (1700 to 1720) when the Italian was at the height of his creative powers. Exhibition curator Dr Jon Whiteley said: “At risk of sounding boastful, we have assembled a very special group — the greatest pearls of the period.” This the first major exhibition devoted to Stradivari’s work ever held in the UK. It offers an unrivalled opportunity for comparison. While the violins are the stars, the show includes violas, cellos, a mandolin and a guitar. For many of us, while the word Stradivarius signifies superlative musicality and seldom do we see them close up. In the exhibition we can see 21 fabulous instruments, and, by using an audio guide (from the exhibition entrance), hear many of them being played. Brief recitals also take place within the show every Tuesday and Saturday until 6 August.

The Messiah (Le Messie) is an exception. The violin has been played, but rarely, and no longer. It came to the Ashmolean in 1939 with the gift of the Arthur and Alfred Hill collection of musical instruments, carrying the express condition that it was never again played. Its name came about because its owner Tarisio, acquiring it in the 1820s, was given to boasting about his “immaculate violin” but seldom let it be seen. The story goes that in Paris someone said: “Then your violin is like the Messiah. He is always expected and never appears.” The Viotti violin, 1709, marking the beginning of Stradivari’s Golden Period, is one of the pearls Whiteley referred to. It belonged at one time to the violinist Giovanni Battista Viotti who did more than anyone to establish the fame of Stradivarius violins in the early 19th century. Many have unusual names like the Viotti, Serdet, or Parke. The names have nothing to do with Stradivarius himself, Whiteley explained; it could be simply the first owner’s name, or a story of some kind. The Lady Blunt, 1721, is named for its first owner Lady Anne Blunt, the great granddaughter of Lord Byron. Two years ago the violin fetched £9.8m at auction for Japanese disaster relief. In the first room we see how a violin was made, from spruce log sourced from the Tyrol to finished instrument, plus some original tools, models and paper patterns, on loan from the Museo Stradivariano in Cremona. A mock-up violin workshop, put together with the help of Oxford Violins, Banbury Road, gives an impression of Stradivarius’s workshop in Cremona.

 

Until August 11.