The National Symphony Orchestra music director just revealed that he’s been loaning personal treasures to create his ideal sound
and William Grant Still, the orchestra recently announced its first European tour under Noseda in February 2024. That trip will serve as a homecoming of sorts for Noseda, with a concert at Milan’s Teatro alla Scala.
Noseda has worked closely with Carlo Chiesa, a skilled Milanese luthier and curator for the Fondazione pro Canale, whose scholarship on ancient instruments has given him the sensitivity of a sommelier. Noseda tends to talk about instruments from Italy the way he talks about wines, in terms of terroir: A violin from Cremona might sound “wider” than the “soft and sweet” sound of a Venetian instrument.
Historical instruments can be valued in the hundreds of thousands of dollars, caught in a constant push and pull between their cultural significance and the ever-shifting dynamics of the market. She chose the instrument that Noseda first picked in 2011, the 1725 violin by Serafino. It was slightly smaller than her Vuillaume, with a rounder, more mellow “chocolaty” tone, and she felt immediately connected to it.
Regni knew Noseda was into instruments — citing his ability to identify her fellow musicians’ instruments at a glance — but couldn’t account for the nearly parental concern he’d show if, for some reason, she showed up to rehearsal sans Serafino. “Is everything okay?” he’d ask. “It frees your mind up to make more musical decisions,” he said, “not just the technical stuff of not making bad sounds.”
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