Violinist Romano Crivici, luthier Harry Vatiliotis and Michael Lea, curator of music at the Powerhouse Museum, with the ‘Powerhouse Twins’.

Whether it is a product of the passage of time, the exposure to the atmosphere, or the amount of playing, many violinists believe that oldies are goodies, and spurn inexperienced instruments. When the Powerhouse Museum wanted to buy an instrument for its collection, an opportunity arose to examine these questions. Three years ago, renowned maker Harry Vatiliotis made two very similar instruments from wooden plates, seasoned for 80 years, that had originally been intended to make a cello. Thus the bellies came from adjacent areas of the same slab of spruce, and both backs came from the same sample of maple.

During and after construction, they were subjected to acoustical tests and, when finished, to playing and listening tests. Since then, one has been maintained in museum conditions, unplayed, while the other belongs to busy Sydney musician Romano Crivici. How have they changed?
Three tests have now been conducted. The instruments were compared when new, after 3 years (in 2004) and then four days later, after the played instrument only had been adjusted during a session involving the owner and the maker. During this session, new strings and bridge were fitted, and minor adjustments were made to the soundpost.

The first good news for the experiment was that the playing and listening tests on the new instruments gave results that showed no statistically significant differences. Harry really can make two very similar instruments! Another interesting result is that, in the further two tests, panels of experienced violinists who played the instruments blindfolded, or who listened to them, also gave similar results. similar results (sounds files available).

Three years playing is not enough, it seems to make a discernable difference. Three years is not considered a long time for an instrument of which there are examples still being played after hundreds of years. The investigators hope that this study will continue, with this pair of instruments, for a time comparable with the age of these older violins.

Ra Inta, John Smith and Joe Wolfe