David Grimal

David Grimal is a French violinist, conductor, and teacher born on February 9, 1973.  He is best known as the Artistic Director (and Conductor) of the French group Les Dissonances.  Ironically, Les Dissonances plays without a conductor and performs challenging repertoire (such as the Rite of Spring) which no other conductor-less orchestra would dare.  Grimal leads from the first chair.  Regarding Les Dissonances, Grimal has stated: “We work together in the sense of community of mind, a gathering of very strong positive energy and joy.”  Regarding the violin itself, he has said: “What interests me is the invisible - that something which makes the dancer take flight and causes his gesture to be eternal.”  The Dissonances musicians are from different parts of France and Europe – from various other ensembles – almost none are permanent members.  The orchestra plays in many different cities and venues.  Understandably, Grimal frequently plays the violin concerto repertoire with this orchestra.  When he does, he never actually conducts, as all other conductor/violinists do - he just lets the orchestra play by itself (and it is fully capable of doing so.)  His style of playing, although virtuosic and brilliant, is relaxed, unassuming, and unpretentious.  His repertoire includes the Schumann concerto, which is now gaining in popularity.  Grimal began lessons at age five but I do not know the name of his first teacher.  First teachers are usually not famous pedagogues or even famous violinists – sometimes they are immediate family members.  At the Paris Conservatory Grimal won first prizes in violin and chamber music at age 20 (1993.)  He later studied with the enigmatic Philippe Hirschhorn, most likely in the Netherlands, where Hirschhorn was then teaching.  He also briefly studied with other violinists after he graduated.  In 1996, he received the European Culture Prize.  He was 23 years old.  Needless to say, he has played in most of the world’s great halls with high-profile conductors and orchestras.  However, other than live recordings, his discography (on various labels) is not extensive.  Nonetheless, the few studio (commercial) recordings he has done have received national and international awards and recognition.  A great many composers have written works for him.  In 2004 Grimal founded Les Dissonances.  In 2008, he became artist in residence at the Dijon Opera.  (Dijon is about 200 miles southeast of Paris and is the birthplace of Rameau.)  Grimal has taught at the Advanced School of Music in Saarbrucken (Germany) for some time although I don’t know how long he has been there.  (Saarbrucken is about 180 miles north of Dijon and 200 miles east of Paris.  It is very close to the French border with Germany.)  Additionally, he plays at many music festivals around Europe and has frequently held masterclasses wherever he performs.  His violin is the Roederer Stradivarius from 1710, previously owned by Turkish violinist Ayla Erduran.  He also plays a modern violin made for him by French luthier Jacques Fustier.  You can listen to the finale from Brahms’ Third Symphony here.  Here is Grimal playing Mozart’s fifth concerto – first movement.  

Russian Violin Makers

In terms of fame, and very likely in terms of expertise, Italian, French, and German violin makers have the Russians beat by a long shot. At least that’s the general opinion. Whether that is so because the violin was actually invented in Italy (around 1530) and the most prolific makers worked from there and were the first to become famous is anyone’s guess.  The names of da Salo, Amati, Stradivari, Tononi, Guarneri, Maggini, Carcassi, Storioni, Gagliano, Guadagnini, Ventapane, Rogeri, Ruggieri, Pressenda, Albani, Gobetti, and Montagnana, are certainly very well known.  Their violins are prized above all others.  On the other hand, Russian makers are not known at all.  This peculiarity is striking since the whole world knows that most of the world’s celebrated violinists are Russian.  To filter them further, most among these superlative Russian players are Jewish – Oistrakh, Goldstein, Kogan, Heifetz, Elman, Zimbalist, Seidel, Milstein, and Gitlis, to name a few.  So, why aren’t there any great Russian violin makers – makers whose names are household words – Jewish or otherwise?  Perhaps it has to do with tradition – like the tradition of exceptional French wine making or fine watch making by the Swiss.  After Amati (and his relatives) and other early makers started violin making enterprises, the violin construction economic engine took off; soon, imitators sprang up elsewhere in Italy - some of them really good.  Entire families (such as the Guarneris and the Stradivaris) got involved in the trade and the tradition of fine Italian violin making was thus established.  By the time the ideas and patterns for violin making spread to other parts of Europe, the Italians had been at it for more than fifty years.  Then the Italian violin virtuosos got going as well.  Up until 1750, they were dominant in the violin playing sphere.  Italian violinists like Corelli, Somis, Pugnani, Tartini, Geminiani, Vivaldi, Tommasini, and Locatelli had few (if any) corresponding contemporaries in the other European countries or Russia. There was a time when Spain ruled the seas.  There was also a time when the Roman Empire ruled the world.  Nothing lasts forever.  Who knows whether the Russian violin makers will not someday soon take over the business?  

Castagneri

Andreas Castagneri was an important French violin maker born around 1696 (nobody knows for sure.) Very little is known about his life and work. It's a highly esoteric field after all. An encyclopedia of violin and bow makers is available from some publisher in New York. It sells for $595 plus shipping, in case you're interested. Castagneri built many violins like this one (circa 1740), though he is better known and appreciated for his cellos. Nowadays, his violins sell for between $5,000 and $25,000. Should you, or someone you know, find one in the attic, parting with it might be worth your while. This example is a little beat up - you can better see the scratches if you click on the photo. Castagneri died in 1747.