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Netherlands Baroque Orchestra
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The relatively recent early music revival began in Europe and has swept the world. Not only has it uncovered forgotten musical treasures and masterpieces, but it has revealed many performance practices. This has transformed the way Baroque music is played. One such performance practice is the use of "original instruments". In 1994, I attended The Timber and Woodworking Show, at the Brisbane Exhibition Grounds, hoping to buy some wood to make a harpsichord. The harpsichord was to be part if an even grander plan; to establish a Baroque Orchestra. To form a Baroque Orchestra, one needs Baroque instruments which are a world away from modern instruments. As I journeyed through the exhibition, enjoying the scent of different woods and marvelous wood-work creations, something caught my attention. It was the sound of a violin being played, not just any violin but a baroque violin. I carefully wound my way through the exhibition for the source of this music. It seemed closer than it actually was as it echoed and resonated around the pavilion accompanied in an almost surreal manner by power tool demonstrations and the murmuring and footsteps of spectators. On finally tracking the source, I found a small boy playing a magnificent baroque violin under the loving eye of the instrument's creator. I do not know which drew my attention more, the character of the violin maker's face, the beautiful inlay of wood on the violin's finger board, or the fact that this man was happy for anyone, even little children, to touch and hold his creations. His face shone like a new father displaying his offspring and this was enough for everyone, young and old, to handle the instruments with care. I introduced myself to this master craftsman, and learned his name was John Godschall Johnson. As we talked, I confided in him my seemingly realistic dream to form a Baroque Orchestra in Australia, and that I was actually here looking for wood to make a harpsichord. To my amazement, he took me seriously, gave me his card, and told me to keep in touch as he might be able to help. I kept in touch with John, sent him recordings of my baroque performances and never forgot the magic twinkle in his eye when he said "I might be able to help." I wondered what he meant by this, with my wildest dreams imagining a cheque for five hundred thousand dollars to come rolling into my letter box one day from this master craftsman, for the commission of an entire Baroque Orchestra! John soon explained to me, that he never sells his instruments, but only gives them away in love with the condition that the instruments never be bought or sold. Words to this effect are actually inscribed on the inside of all his instruments. John once exclaimed. "How can a bit of scribble on a piece of paper ever equal the time and care involved in making one of my violins." After a number of months John flew to Brisbane and listend to some of my comcerts. John informed me that some years ago, he had made instruments for an entire Baroque Orchestra and had since been looking for a custodian for them.
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Each instrument was named and made in memory of members of his family who had passed away. The custodian he had chosen was to be me! Eventually, the time drew near for me to journey to Sydney to pick up the instruments. Since John offered me the custodianship of the instruments, I had been afraid to think about it in case it would not eventuate, but as the time to go came ever closer, I dared more and more to dream of the possibilities of such an orchestra in Australia. As I drove to Sydney, the world seemed to take on an almost magical quality. I was simply overwhelmed by wonderment and the generosity of this man. Could it be that John was an eccentric old millionaire, living in a palace and driving a Rolls Royce, with a teem of assistants to help him make instruments? For one man to make instruments for an entire orchestra of this size, represents years of thought and planning, years of work, of researching ancient and forgotten skills, of choosing wood and curing it, of sharpening chisels and patiently removing the tiniest amounts of wood at a time. I imagined John rising early in the morning and working late into the night, working for me years before he ever even knew I existed. Well, I can honestly say that the discovery of such a man as John changed my life. As I drove through the suburbs, I was curious to discover how John lived. I arrived at his home to find an ordinary suburban home, not unlike any other suburban home in Sydney. I instinctively walked around the back of the house, where I could sense the magic of his workshop beckoning me, and was confronted by the most amazing sight which brings tears to my eyes, even to recall it. Towering in front of me, was the most beautiful tree in full flower, and hanging by their slender necks from it's branches, were violins, cellos, and violas, as if they had formed out of the trees very branches.
As the tree swayed graciously in the gentle breeze, the instruments swayed from side to side as if displaying their lovely sensual contours. I walked into John's workshop where he hardly noticed me as he made final adjustments to a tiny palm-sized violin before presenting it to an almost infant little girl. My eyes scanned the workshop deeply scented with woods and the sweet aroma of seventeenth century recipe varnish. Instruments hung from every rafter, woods were stacked to the ceiling, and instruments lay in various stages of completion all over John's workbench, almost beckoning him to unite them with the hearts of musicians and audiences. That which I could not help noticing was the glow of John's face which seemed to illuminate the dimly lit room as the little girl began to play her violin. I realised then that John is rich after all. He is rich in character, in spirit and in generosity. The fact that he is not a millionaire, yet manages to give so much in the service of others, makes his instruments completely priceless. One can buy a Stradivari, but no one now, nor in the next three hundred years will ever be able to boast about the price of a Godschall Johnson.
TO FIND OUT MORE ABOUT JOHNS LIFE CLICK ON THE LINK AT THE BOTTOM OF THIS PAGE
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