Truls Mørk was born in Bergen, Norway and began his cello studies with his father. He later advanced on to cello teachers: Frans Helmerson, Heinrich Schiff and Natalia Schakowskaya. He solos with major orchestras throughout the world.
Truls Mørk is the founder and Artistic Director of the Chamber Music Festival in Stavanger, Norway situated on the southwest coast of Norway.
Stavanger, Norway is the hub of the North Sea oil exploration and development operations.
He was the first Scandinavian to be a finalist and prizewinner in the Tchaikovsky Competition in 1982 in Moscow.
He has won numerous awards: Moscow Tchaikovsky Competition, 1982 * Cassado Cello Competition in Florence, 1983 * Unesco Prize at the European Radio-Union competition in Bratislava, 1983 * Naumberg Competition in New York 1986
The cello pictured here with Truls Mörk is the 1713 Stradivari Bass of Spain cello in the David Fulton Collection. He will use it when he records the Bach Cello Suites.
Truls Mørk ble født i Bergen og begynte å studere cello med sin far. Han avanserte senere til cello-instruktørene Frans Helmerson, Heinrich Schiff og Natalia Schakowskaya. Han spiller solo med flere større orkestre over hele verden.
Truls Mørk er grunnlegger og kunsterisk direktør av Kammermusikk-festivalen i Stavanger.
Han var den første skandivanen til å bli finalist og prisvinner i Tchaikovsky konkurransen i 1982 i Moskva.
Han har vunnet flere priser:
* Tchaikovsky konkurransen i Moskva, 1982
* Cassado cello-konkurransen i Firenze, 1983
* Unesco-prisen ved den europeiske radio-union konkurransen i Bratislava, 1983
* Naumberg konkurransen i New York 1986
Celloen som er avbildet her med Truls Mørk er en 1713 Stradivari "Bass of Spain", fra David Fultons samling. Han vil bruke den når han spiller inn Bachs cellosuiter.
Antonio Stradivari, “Bass of Spain” 1713
This beautiful ‘cello is a well preserved and appealing example constructed on Stradi¬vari’s highly successful ‘forma B’ model. The handsomest materials have been used and there is still a generous quantity of original Cremonese varnish covering the instrument. The long and unusual history of the ‘Bass of Spain’ has been repeated in several publica¬tions. What follows is a synthesis.
The name of the cello derives from its Spanish origin as it was first known to be, for many years, in the possession of a family in or near Madrid. At some time around 1830-1840, the cello required repair and was entrusted to a local Madrid maker Silverio Ortega. For the repair he did not think it unusual to replace the original front of the cello with one of his own make. When the ‘repaired’ cello was returned to the owner, Ortega hung the original Stradivari front in the display window of his workshop. The famous luthier Georges Chanot, on a trip to Spain, passed by Ortega’s shop, recognised the rare find hanging there and was able to take it away to Paris.
Luigi Tarisio, the legendary Italian collector and dealer, saw the Stradivari front at Chanot’s shop, purchased it, and got the violin maker to reveal where he had found it as part of the bargain. Tarisio, intent on finding the rest of the cello, headed for Spain. He located the family that owned the cello and, after some bargaining, purchased the rest of the instrument. The pieces were transported to France where it was reassembled by the great Parisian luthier Jean-Baptiste Vuillaume. Purchased by Vuillaume, it was subsequently sold to a Russian nobleman. After the death of the nobleman, the ‘Bass of Spain’ was sold in 1876, along with other important instruments, to the well-known collector and dealer David Laurie who then returned to London. In 1877 the cello passed into the collection of Mr. John Adam and into that of the Duc du Camposelice in c.1884.
The Duc du Camposelice was a Belgian musician named Victor Reubsaet who inherited the title Vicomte d’Estemburgh. Around 1880 he married Isabella Eugenie
Boyer Singer, the second wife of Isaac Merritt Singer founder of the Singer Sewing Machine company. It is said, by the way, that Isabella was the model for Bartholdi's Statue of Liberty. In due course, doubtless facilitated by the Singer fortune, Reubsaet acquired the Italian title of Duc du Camposelice and gathered the famous collec¬tion of stringed instruments which bears his name and which included the ‘Bass of Spain’. Upon the duke’s death in 1887 some portion of his collection must have been distributed to the Singer children since, according to the Hill’s book on Stradivari, in 1902 Franklin Singer (d. 1939), youngest son of Isaac and Isabella owned the ‘Bass of Spain’. Also, on June 24, 1929 Arthur Hill recorded in his diary that a Stradivari cello from the Camposelice collection remained in the possession of Franklin’s older brother Paris Singer (d. 1932) who had a celebrated affair and fathered a child with the famous American dancer Isadora Duncan and who was a financial and spiritual force behind the work of Addison Mizner, the architect who devised the “Spanish Revival” style still seen in much of Palm Beach and Boca Raton, Florida. Paris Island near Palm Beach is named for Paris Singer. Winnaretta Singer, Princesse de Polignac, sister of Franklin and Paris was a great patron of the arts in the 20’s. She was benefactor of musicians like Stravinsky, Poulenc, Satie, de Falla, Rubenstein and Horowitz as well as many other French cul¬tural luminaries like Proust, Cocteau, Diaghilev, and Colette. She was also a pioneer in other ways being openly and un¬apologetically gay. (Also, wags said of Franklin Singer that he was the brother of Sir Mortimer Singer and the sister of the Princesse de Polignac.)
In 1954, apparently through the intermediary of Émile Français, the ‘Bass of Spain’ became property of Mr. Michael Antonacci. Señor Juan Luis Prieto of Mexico City owned the cello in 1979 and in 1988 it went to Mr. Yazukaze Chaki only to be resold, in that same year, to Bernard Goldblatt. In 1999, through the intermediary of Mr. Paul Childs, it became part of the enviable collection of classical Italian instruments put together by the present owner, Dr. David Fulton.
Antonio Stradivari, "Bass of Spain" 1713
Denne vakre celloen er vel ivaretatt og et vakkert eksempel på konstruksjonen av Stradivaris høyst vellykkede "forma B" modell.
De fineste materialer er tatt i bruk og der er forstatt generøse mengder av den originale Cremonesiske lakken som dekker instrumentet. Den lange og uvanlige historien bak "Bass of Spain" har blitt gjentatt i mange utgivelser. Et sammendrag følger.
Navnet til celloen kommer av dens spanske opprinnelse, siden den var først eid i mange år av en familie fra Madrid eller området rundt.
En gang rundt 1830-1840 trengte celloen reparasjon, og ble tiltrodd en lokal håndverker, nemlig Silverio Ortega.
For reparasjonen syntes han nok ikke det var noe merkelig ved å bytte ut fronten på celloen med en av sitt eget merke. Da den "reparerte" celloen ble returnert til sin eier, hang Ortega den originale Stradivari-fronten til utstilling i vinduet på butikken sin.
Den berømte instrumentmaker Georges Chanot, på tur i Spania, gikk ved Ortegas butikk, kjente igjen sjeldenheten som hang der, og fikk tatt den med seg til Paris.
Luigi Tarisio, legandarisk samler og forhandler, så Stradivari-fronten i Chanot sin butikk, kjøpte den og fikk fiolin-makeren til å avsløre hvor han fant den - som en del av handelen.
Tarisio, fast bestemt på å finne resten av celloen, reiste til Spania. Han fant familien som eide celloen, og etter noe pruting, kjøpte resten av instrumentet. Delene ble fraktet til Frankrike, der den var igjen satt sammen av den store Parisiske instrumentmakeren Jean-Baptiste Vuillaume. Kjøpt av Vuillaume, den ble så videresolgt til en Russisk adelsmann. Etter denne adelsmannen døde, ble "Bass of Spain" solgt i 1876 - sammen med andre veridfulle instrumenter - til den velkjente samler og forhandler David Laurie som deretter returnerte til London. I 1877 ble celloen inlemmet i samlingen til John Adam og i samlingen til Duc du Camposelice ca. 1884.
Picture included by Courtesy of the Dr. David Fulton Collection with permission to use it on Sheila's Corner.
It may not be downloaded for personal use or on any other web page.
Please respect this request so we may all enjoy viewing these special instruments.
Bilde inkludert med tillatelse av Dr. David Fultons samling for bruk på Sheila's Corner. Det kan ikke bli nedlastet for personlig bruk eller på noen annen webside. Vennligst respektér dette slik at vi kan alle nyte synet av disse spesielle instrumentene.