VENICE — In its 1600-odd history, any number of imaginary ships have swam in Venice’s Grand Canal, often during boat races or elaborate ceremonies dedicated to the sea. On Saturday morning, it took an absolutely unusual dizzying turn: a massive violin carrying a string quartet playing Vivaldi’s “The Four Seasons.”
Dubbed the “Noah’s Violin,” the vehicle set out to sea, accompanied by a gondola escort, and soon a fleet of small motorboats, water taxis, and traditional flat-bottomed Venetian sandoli joined the violin as it glided through the town hall near Rialto. The bridge is about an hour’s ride to the ancient Customs House across Piazza San Marco.
The ship is a faithful, large-scale replica of a real violin, made from about a dozen different types of wood, with room for an engine as well as nuts and bolts inside. Its builders say it takes a lot of tinkering and nautical expertise, in addition to art, to make the ship seaworthy.
“It was a novelty for us too,” said Michele Pitteri, member of the Consorzio Venezia Sviluppo, who financed and built the boat, along with Venetian artist Livio De Marchi, who conceived the idea during the quarantine last year.
“The violin is a sign that Venice is starting again after quarantine,” De Marchi said in an interview on Friday at his art-filled workshop on a narrow Venetian street in the San Marco district.
De Marchi called his piece “Noah’s Violin” because, like the ship, it was supposed to bring a message of hope after a storm, in this case a message that promotes “art, culture, and music.”
It is no accident that the journey down the Grand Canal was planned to end in the Dorsoduro district, next to the church of La Salute, Italian for health, built as an offering to the Virgin Mary to save her from a plague that devastated the city. in 1630.
Why a violin? De Marchi is a big fan of Vivaldi, a native of Venice and revered there. De Marchi added that he always regretted not having learned to play an instrument. “The huge simulacrum was the next best thing,” he said.
The boat was steered by a helmsman dressed in a black cloak and wearing a black tricorn hat like those popular in the 18th century. “I wanted him to channel the spirit of Vivaldi,” said De Marchi.
Leone Zannovello, head of the consortium, said the project sparked enthusiasm at the shipyard on the island of Giudecca, where it was held after the darkest days of the coronavirus pandemic. Even companies and individuals who were not part of the group offered to help. “It was something that united us even more,” he said. “We worked with our heart”
On Saturday, Zannovello and others proudly followed the violin in various boats across the Grand Canal.
“Bravo Livia!” A voice cried out in praise of De Marchi.
“Bravi got it!” (“Well done everyone!”), De Marchi replied.
For the most part it was a smooth course, although De Marchi muttered anxiously as the bow (the neck of the violin) deviated very sharply to one side. But even though the musicians played standing up (barefoot for better grip), they hardly missed a note. At one point the viola note flew from the music stand into the water, but quickly recovered.
“Let’s just say it’s a tough job between the wind and the waves,” said viola player Caterina Camozzi after she was back on the dry floor. “It was the most touching experience of my life as a Venetian and a musician,” cellist Tiziana Gasparoni interrupted.
As is often the case in Italy, the real hitches on the road were bureaucratic.
“We were told we needed a license plate, but the authorities didn’t know how to classify it,” said Mario Bullo, carpenter at the consortium. At first, the same plates were given to the rafts. “But the traffic cop objected, saying it wasn’t a raft, it was a violin,” he said, shrugging. In the end, city officials solved it.
CNA Venice director Roberto Paladini said the Venice branch of the National Confederation of Craftsmen (CNA), which represents small business interests, helped with contacts and permits.
Noting that funding initiatives like “Noah’s Violin” help shed light on artisans in a city where tourism takes precedence over other activities, Paladini said, “The only way to keep Venice a living city is to support artisans and give them visibility.”
de Marchi He is one of CNA’s featured craftsmen. Venice Original website displaying Venetian handicrafts such as glass beads, blown glass vases, colorful costume masks and leather photo albums. The e-commerce site is part of a recent project funded by JP Morgan.
“The artisans in the city never stopped during the quarantine. Even if they couldn’t work with their hands, they still used their brains,” says Aldo Reato, a local lawmaker who has arranged for half a dozen gondolas to accompany the violin. “There is no one better than a gondolier to represent the city’s traditions,” he said.
this is not the first de MarchiAn artist known for making household items or clothing from wood, he created large-scale floating works. He started with an origami-style paper hat made of wood in 1985, and has since sailed several large-scale wooden objects, including a women’s shoe, a horse-drawn pumpkin carriage, and various carriages. 1937 Jaguar, a Volkswagen Beetle and a convertible Ferrari.
People gathered on the Ponte dell’Accademia and along the paved banks of the Grand Canal to watch the floating concert, which also featured works by Bach and Schubert. Confused travelers took photos from vaporettos, large public transport boats.
When the violin finally approached the La Salute church, De Marchi admitted, “I was a little nervous that something might happen.”
This was followed by a short ceremony attended by the consortium members, their families and friends. De Marchi gave a speech and commemorated the relatives of those who had worked on the violin and died before they could see it finished. Reverend Florio Tessari blessed the violin and said he hoped it would “travel around the world as a message of hope.” De Marchi said there was interest in the violin from businesses in Italy and a museum in China.
The musical entertainment continued there, accompanied by toasts and various songs.
Zannovello, head of the consortium, said he hopes the violin will serve to showcase Venetian handicrafts after a slow and difficult period. “I believe there will be a comeback,” he said.