The Precious Burden: Steven Isserlis and the Stradivarius ‘Marquis de Corberon’
For Steven Isserlis, a world-renowned cellist, the anxieties surrounding his instrument extend far beyond performance jitters. They manifest as vivid nightmares – the loss of his cello, its sudden disintegration, the vulnerability of a three-century-old masterpiece to the unpredictable forces of fate. these anxieties, as he revealed during a conversation at his North london home, are not merely abstract fears but a poignant reflection of his deep connection to the 1726 Stradivarius cello he calls the ‘Marquis de Corberon’.
Isserlis’s devotion to the ‘Marquis’ is palpable, so much so that a simple conversation can trigger an instinctive need to ensure its safety. As the article’s author observed, Isserlis abruptly stood and began pacing, driven by a primal urge, “to rush into the other room and put the cello in the case, because I’m worried it’s getting cold.” This reaction underscores the unique and profound relationship between the musician and his instrument,a relationship built on reverence,obligation,and a touch of anxious guardianship.
Crafted during the golden age of violin making, when Antonio Stradivari was nearing the end of his career, the ‘Marquis de corberon’ represents a pinnacle of the luthier’s art. It’s a smaller, more refined cello, embodying the evolution of Stradivari’s designs and considered by many, including luthier Robert Brewer Young, to be a definitive example of the cello form. Young asserts that the ‘Marquis’ represents “an archetypal form of cello that has a perfect evolution, and ends, as far as we certainly know, with the Marquis de Corberon.” Its sound,therefore,is not merely lovely but historically meaningful,a direct link to the genius of Stradivari.
However, the ‘Marquis’ is not Isserlis’s to fully own. The cello belongs to the Royal Academy of Music, a London institution that has placed the instrument on long-term loan to the celebrated cellist. The Academy recognizes the symbiotic relationship between Isserlis and the ‘Marquis’, viewing them both as ambassadors for the institution. This arrangement, while prestigious, is not without its inherent anxieties. The loan is subject to strict conditions regarding travel, security, and maintenance, with the potential for immediate recall. Isserlis, acutely aware of this, once jokingly (yet pointedly) told the Academy that taking the cello away would be a fate worse than death.
Isserlis’s career has been marked by both critical acclaim and widespread popularity. His 1992 recording of John Tavener’s “The Protecting Veil” achieved rare success for a classical album, establishing him as a prominent figure in the music world. Beyond his performance schedule-a grueling pace of over a hundred flights a year-Isserlis actively engages with the public, presenting documentaries, authoring children’s books on musical history, and readily offering his insights through interviews.
The logistics of traveling with such an invaluable instrument are considerable. The ‘Marquis’ is granted its own airline seat – refusal to consign it to the hold, isserlis wryly explains, is akin to placing a child in cargo. Yet, even with these precautions, the lack of a passport frequently enough leads to frustrating delays as the cello navigates the intricacies of airline security.
For Steven Isserlis, the ‘Marquis de Corberon’ is more than an instrument; it’s a cherished companion, a source of artistic inspiration, and a weighty responsibility. His dedication to preserving its legacy,protecting it from the whims of fate,and sharing its splendid sound with the world is a testament to the profound connection between a musician and their instrument.
Keywords
* Primary Topic: Steven Isserlis and his Stradivarius cello, the ‘Marquis de Corberon’.
* Primary Keyword: Steven Isserlis
* secondary Keywords: Stradivarius cello, Marquis de Corberon, Royal Academy of Music, cello, classical music, Antonio Stradivari, luthier, musical instrument, classical musicians, cello performance.