Andrea Amati (Italian, ca. 1505–1578). Violoncello, "The King" (detail), mid-16th century. National Music Museum, Vermillion, South Dakota, Witten-Rawlins Collection, 1984 (NMM 3351)
«In July 2005 I was invited to the National Music Museum in Vermillion, South Dakota, to play Andrea Amati's "King" cello, now on view at the Met through September 8. The demonstration was to be a part of the conference "The Secrets, Lives, and Violins of the Great Cremona Makers, 1505–1744"—a four-day event devoted to the life and work of Andrea Amati, who standardized the form of the modern violin, and the other great Cremonese makers who followed him. I was thrilled and very grateful to be asked to see, touch, and play this original, Platonic Ideal of the cello—future examples being instantiations of this divine form.»
Left: Joshua Koestenbaum with the "King" cello at the National Music Museum, 2005. Photo courtesy of the author
When I first saw and touched the "King" cello, it was in a heavy, old-fashioned case in the basement of the National Music Museum. I had the eyes of the (presumably) nervous museum staff, curators, and guards as I bent to pick up the instrument from its case, being incredibly careful not to add an inadvertent nick, ding, or smudge. A work of art this precious, this rare, is usually accompanied by a "Do Not Touch" sign.
It didn't weigh very much—it was like lifting a papier-mâché cello. The wood was a caramel color and had the craquelure of a tobacco leaf, with remarkable lettering and figures painted in gold on the back and sides of the cello. The 450-year-old cello had been given new strings and a fresh adjustment so that it would be ready to speak after its long silence. I tuned the cello, slowly bringing the pitch to the modern standard of A equals 440hz. I played open strings, and tested different bow speeds and pressures. It didn't take much effort to find the instrument's naturally sweet, warm sound.
In fact, it was incredibly easy to play—comfortable, pleasurable, forgiving, and user-friendly. In this cello's form and sound I recognized other cellos I've played, including my own marvelous cello, made by Samuel Zygmuntowicz. I felt at home.
Joshua Koestenbaum performs excerpts from the first movement of the Sonata in E Minor by Johannes Brahms and the "Sarabande" from J. S. Bach's Suite No. 3 for Cello Solo on the "King" cello, 2005. Recordings used with the permission of Claire Givens Violins, Inc. and the performer
Joshua Koestenbaum performs excerpts from the first movement of the Cello Concerto in B Minor by Antonín Dvořák and "Après un rêve" by Gabriel Fauré on the "King" cello, 2005