Orlando Barera

Orlando Barera was an Italian (some would say American) violinist and conductor born (in Bologna, Italy) on February 6, 1907.  Two sources say he was born in Ferrara, Italy in 1908.  (Ferrara is about 25 miles north of Bologna.)  He began his career as a concert violinist but is best known for being the conductor of the El Paso (Texas) Symphony from the fall of 1951 to the spring of 1970.  Prior to that he was the conductor of the Baton Rouge (Louisiana) Symphony for one year and just before that, he was the concertmaster and Assistant Conductor (for one year also) of the Houston Symphony.  Before those two posts, he had served as concertmaster of the Kansas City (Missouri) Symphony and the Havana Symphony (prior to Fidel Castro’s political revolution.)  Barera is one of many violinists who turned from concertizing to conducting – Jaap Van Zweden, Eugene Ormandy, David Zinman, Alan Gilbert, Neville Marriner, Pierre Monteux, Peter Oundjian, Jacques Singer, Charles Munch, and Theodore Thomas are among them.  He began his studies with his father, who was a professor at the conservatory of music in Bologna.  He graduated at age 15 with diplomas in violin, composition, and piano.  Immediately thereafter, he added an additional two years of study before embarking on a solo career.  His concertizing began in Italy but then later included France, Germany, Hungary, Czechoslovakia, Russia, and the Netherlands.  His first appearance in the U.S. took place at Town Hall in New York on February 10, 1936.  He was 29 years old.  He later played at the Library of Congress in Washington D.C. that same year but returned to play in Europe in the latter part of that year.  On November 11, 1936, he played Lalo’s Symphonie Espagnol with the Prague Radio Symphony.  Karl Ancerl was on the podium.  I do not know if the performance was recorded.  Upon his return to the U.S., he gave a second recital at Town Hall on December 27, 1936. He played Mozart’s fourth concerto with the Boston Symphony on February 21, 1937.  Serge Koussevitzky conducted.  On December 3, 1938, he was guest artist with the New York Philharmonic.  This time, he played the Mendelssohn concerto, the one in e minor.  John Barbirolli conducted.  When war broke out, he enlisted in the U.S. Army and served a tour of duty until the war’s end.  His career - which he took up again when he was appointed concertmaster in Kansas City – was thus interrupted.  An interesting detail in his career is that between July 11 and November 10, 1950, he participated (as assistant principal second violinist) in 14 recording sessions which Leopold Stokowski conducted in New York.  At many of these recording sessions, Victor Aitay, the soon-to-be concertmaster of the Chicago Symphony, was Barera’s stand partner – Aitay was, at that time, a section violinist in the Metropolitan Opera Orchestra.  Being the well-known figure he was on the east coast and beyond, Barera was able to introduce many world class string players to El Paso audiences.  Among them were Ruggiero Ricci, Zvi Zeitlin, Isaac Stern, Berl Senofsky, Zino Francescatti, Pierre Fournier, Mischa Elman, Michael Rabin, Zara Nelsova, Arturo Delmoni, Salvatore Accardo, and Tossy Spivakovsky.  Of his association with Barera, Michael Rabin once said “Barera is very good and a hell of a nice guy.  Believe me, I wish every conductor would be as easy to work with as he is.  He takes away all the tightness and strain and just lets me enjoy myself.”  Barera owned and played a Gagliano violin from a year and specific maker unknown to me – the Gagliano violin-making family produced several good makers.  Barera died on March 26, 1971, at age 64.  

I told you so

The following is an abstract from an article which appeared earlier this month in some journal of the academy of science. The New York Times said something about it too.  It testifies to something I have been saying for years. New instruments are just as good, if not better, than old ones. Anyone spending a million dollars on an old violin is just wasting their money, unless they are buying it as an investment, the way one would buy an antique.  If you just want a violin to actually play on, buy a new one.  You will save a bundle.  By the way, the exact same thing applies to bows.  “Most violinists believe that instruments by Stradivari and Guarneri “del Gesu” are tonally superior to other violins - and to new violins in particular.  Many mechanical and acoustical factors have been proposed to account for this superiority; however, the fundamental premise of tonal superiority has not yet been properly investigated.  Player's judgments about a Stradivari's sound may be biased by the violin's extraordinary monetary value and historical importance, but no studies designed to preclude such biasing factors have yet been published.  We asked 21 experienced violinists to compare violins by Stradivari and Guarneri del Gesu with high-quality new instruments.  The resulting preferences were based on the violinists’ individual experiences of playing the instruments under double-blind conditions in a room with relatively dry acoustics.  We found that (i) the most-preferred violin was new; (ii) the least-preferred was by Stradivari; (iii) there was scant correlation between an instrument's age and monetary value and its perceived quality; and (iv) most players seemed unable to tell whether their most-preferred instrument was new or old.  These results present a striking challenge to conventional wisdom.  Differences in taste among individual players, along with differences in playing qualities among individual instruments, appear more important than any general differences between new and old violins.  Rather than searching for the secret of Stradivari, future research might best be focused on how violinists evaluate instruments, on which specific playing qualities are most important to them, and on how these qualities relate to measurable attributes of the instruments, whether old or new.”  

What you get for $5 million

As almost everyone knows, old Italian violins – especially Strads, Guarneris, and Guadagninis - are priced at far more than their weight in gold.  Their prices are now set so high hardly any artist can afford them.  In the old days, it was not unusual for someone in the nobility or a wealthy patron to gift a valuable instrument to a violinist.  Such a thing happened to Nicolo Paganini, Teresa Milanollo, and a host of other violinists.  Nowadays, pricy violins are owned by philanthropic foundations, banks, investors, or private collectors.  They usually lend their instruments out to worthy players – most of them young.  However, players are beginning to realize that many new instruments are as good as old ones – even the very best Strads – and the new ones can be purchased for less than two percent of the price of an old one.  That’s right, two percent.  During the time he owned it, Menuhin would take his (1934) replica of his Strad (the Khevenhuller - 1733) to concerts where he thought the original might be in danger.  Nobody knew.  Obviously, the sound did not give it away.  That tells you something.  Outstanding modern makers such as Sergio Peresson, Douglas Cox, David Burgess, Joseph Curtin, Greg Alf, Michael Darnton, David Gusset, Mario Miralles, Gregory Sapp, and quite a few others have constructed stupendous violins which have been praised by some of the world’s top violinists.  These violins are priced between ten and forty thousand dollars.  It has been stated that it can take a violin anywhere between six months to seventy five years to open up (though that, of course, is highly debatable.)  My own replica of Paganini’s famous Cannone was constructed by Daniel Houck from Ohio.  It is my second violin from Houck.  Since I am not a concert violinist with a sizable budget, I partly based my decision to commission Mr. Houck on price comparisons.  Houck’s price cannot be beat because he is at the beginning of his career as a maker.  The violin itself, which was completed just three weeks ago, is a wonderful instrument – it does everything a good violin should: it’s extremely responsive, clear, powerful, warm in quality, and even in tone across all strings.  What more can anyone ask?  The rest is entirely up to my bow arm.