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提琴收藏家萨拉布艾在1775年从斯老头的儿子手里把琴买下, 再传到收藏家塔尔西欧手里. 塔尔西欧总是向别人夸耀自己手里有这把琴,却从不把琴示人. 有一次,提琴大师阿拉尔德对塔尔西欧说,你那把琴总么和救世主一样,大家总在等他,他却总不出现. 琴因此得名叫 "救世主" .这把琴的音色如何, 如今是没有人知道了. 当初Hill家把琴捐给博物馆时的条件之一就是要把琴封在玻璃盒子里,不许人拉. 不过我们知道,法国的制琴家佛一洛美拥有这把琴时,曾照着仿做了多把. 他最引以为自豪的事就是当他请来当时的小提琴大师来试琴时,大师们往往分辨不出真伪.佛一洛美是当时法国著名的制琴师, 他会去仿制这把"救世主",想来琴的声音必属上乘. 以下是博物馆对该提琴的英文介绍.
The Messiah was made by Stradivarius in Cremona in 1716. His name, the date of the instrument and the place of manufacture are written on one of Stradivarius's labels, glued down inside the sound-box. It remained in the family workshop until 1775 when it was sold by his son, Paolo, to an Italian collector, Count Cozio di Salabue. From Salabue, it passed to a dealer, Luigi Tarsio, who used to boast of his wonderful instrument to his friends in Paris but never showed it to them. Once when Tarisio was speaking about it, the violinist, Delphine Alard, said : ?Your violin is like the Messiah: we wait for it constantly and it never appears!?. This is how it was given the name by which it has been known ever since. When Tarisio died in 1854, it was bought from his heirs by the maker, Jean-Baptiste Vuillaume, and was restored by him. The carved tail-piece by which the strings are attached to the body was made for it by Vuillaume. It shows the Nativity of Christ, a reference to the coming of the Messiah. The pegs by which the strings are adjusted were added at the same time. Otherwise, the instrument is in wonderful condition. It has been very rarely played in its long history and has suffered none of the wear which is common to nearly all old violins. As a result, the varnish preserves its original orange-brown colour and the black paint along the edge of the scroll and peg-box has not worn away with handling.
[此贴子已经被作者于2005-2-13 22:29:00编辑过]
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