Making a dream a reality… Call to investors to help bring a very rare Italian cello to Australia!
Being a cellist in the Sydney Symphony Orchestra, I am dedicated to the highest level of artistry. My role as a musician is to inspire my audience in every concert that I give through my commitment, passion and the sound I create on my instrument. For a long time I have been looking for a cello to match the sound quality of instruments in the Sydney Symphony Orchestra. At the conclusion of our European tour last December, I was notified about a very special cello that had just become available for sale.
The cello, which was made in 1701, is currently being kept in a small violin workshop in Mainz, Germany. I spent two full days with the cello, barely able to put it down. The cello has a brilliant and clear sound, and the 300-year old story attached to its tone production is quite amazing. In fact, this cello is regarded as one of the finest late-period cellos of Giovanni Battista Grancino I (1637–1709), who is placed among the top makers of string instruments in Italy at the turn of the 18th century.
I have uploaded a video of me playing the cello here
Unfortunately, the prices attached to these instruments are not within the reach of a full-time musician’s salary, and there are currently no foundations to support musicians in purchasing fine instruments in Australia. Despite the significant price tags attached to these instruments, the seemingly immortal longevity of these instruments makes them a strong financial investment, and throughout history, their value has never depreciated.
If you feel you are in a position to give a donation towards this amazing cello, please contact me at Chrispidi.firstname.lastname@example.org immediately. All donations over $2 are tax deductible. This is a serious investment opportunity (more stable the gold, property… and bitcoin!). Don’t delay if you feel this is something you would like to do, as it is extremely rare for a cello of this quality to be for sale.
Working with todays composers in a constructive environment
Recently i attended The Internationales Musikinstitut in Darmstadt (Germany), a Summer festival for contemporary classical music
There were some big changes for the festival this year, in particular, the festival made it compulsory that 50% of composers performed and attending had to be female, which was wonderful to see.
I discovered many interesting composers, and I hope to play many of their works back here in Australia and abroad.
I was bowled over by their sensitivity, extremely high intelligence, and their ability to describe music and the expressions behind gestural music in particular. It was a truly powerful experience for me, and I am excited for the future of music and how much sound is still to be notated and performed.
I was also greatly impressed by the advocacy of the instrumentalists attending the festival. What I really noticed, was a vivid servitude that instrumentalists have towards composers, being supportive of them and always going out of their way to create the sounds and expressions they were searching for. It really touched me that this cooperation was present, it seems everyone has a dignified role to play in the process of composition and there was a complete lack of ego in every musical encounter I found! I hope to continue working with composers in this spirit, and I recommend all serious musicians consider attending this festival when it returns in 2020!