Imagine cradling a violin that's witnessed more history than the United States itself—now envision a 24-year-old rising star getting the chance to unleash its magic on stage. That's the enchanting tale of Ray Ushikubo and the legendary 1741 Guarneri 'Playfair' violin, set to dazzle audiences at a complimentary performance in Los Angeles. Stay tuned, because this story isn't just about music; it's about bridging centuries and sparking debates on who truly deserves such treasures.
For what feels like an eternity, Colin Maki and his team—experts in handling some of the world's most exquisite and scarce violins—have been captivated by the Playfair, a masterpiece created by the renowned craftsman Guarneri 'del Gesù' back in 1741. As a quick primer for newcomers: a luthier is essentially a violin maker, much like a master carpenter crafting fine furniture, and del Gesù stands shoulder-to-shoulder with legends like Antonio Stradivari as one of the greatest in the field. We know precious little about the Playfair's journey through time, but its reputation paints a picture of it passing from one talented owner to another, much like a family heirloom cherished across generations. It last changed hands at W.E. Hill & Sons, a prestigious London shop with a storied history in fine instruments. From there, Maki explains, it moved to 'a notable collector, followed by another, and ultimately to a highly regarded performer' who decided it was time to let go, entrusting Maki with the responsibility of matching it to a musician capable of honoring its heritage.
'It was like fate intervened,' Maki reflects, 'giving us a chance to connect this violin with its perfect partner.' The musician they chose is Ray Ushikubo, a 24-year-old from San Gabriel Valley who skillfully handles both the violin and the piano, adding a unique twist to his artistry.
Ushikubo's resume is already glittering: he's graced the stages of Carnegie Hall and Walt Disney Concert Hall, made an appearance on NBC's 'Tonight Show With Jay Leno,' and scooped up accolades like the Davidson Fellow Laureate Award and victory at the Hilton Head International Piano Competition. Yet, his upcoming performance on the Playfair represents a pinnacle, offering him the debut on one of violin's most extraordinary creations.
When asked about the violin's monetary value, Maki politely declines to specify, citing privacy concerns. With a bit of gentle prodding, he hints, 'It's comfortably in the eight-figure range.' But here's where it gets controversial: Is it fair that such priceless artifacts are loaned out, potentially risking their integrity, or should they be locked away in museums for all to admire but never touch? This 284-year-old instrument, fashioned by del Gesù himself, is a rarity—fewer than 200 of these violins were ever produced, making each one a slice of musical history.
That a violin of this caliber would even be available for borrowing is remarkable on its own; pairing it with a young talent like Ushikubo, who's dedicated most of his life to honing his skills at the Colburn School just across from the Los Angeles Philharmonic, feels like destiny unfolding. 'Gaining access to a violin this old is extraordinarily uncommon,' Maki notes. He teamed up with colleague Aurélien Fort Pederzoli to hunt for the right fit. It was Pederzoli who suggested reaching out to Robert Lipsett, Ushikubo's instructor at Colburn for the last 16 years, and soon they had Ushikubo flying in to audition.
In Ushikubo, they discovered 'not just an exceptional performer, but a person of remarkable integrity,' as Pederzoli describes. 'He possesses the maturity of someone far older than his years.' Ushikubo exudes charm and approachability, with a poised demeanor that draws you in. He sits upright, eyes sparkling with enthusiasm, engaging effortlessly.
For the past few months, he's been adapting to the violin's unique personality. 'It's like a conversation,' he shares. 'I express what I need, and it responds.' Initially, they clashed, as often happens with new partnerships—think of it like breaking in a new pair of shoes that feel stiff at first. But gradually, the instrument seemed to adjust to him. 'Placing my chin on it now feels like I've played it forever.'
And this is the part most people miss: It took Ushikubo time to fully grasp performing on an instrument predating the founding of America. He treats it like a constant companion, carrying it everywhere. At Colburn's Zipper Hall, which seats about 400, he'll unveil it on December 3, slung casually over his shoulder. Unveiling it, the violin shines with the luster of a freshly carved chestnut—hard to believe it's nearly three centuries old.
'I'm only 24,' Ushikubo muses, 'and this violin dates back to 1741. That's older than the United States! It's mind-blowing.' Yet, he beams with joy. 'Primarily, I feel pure happiness and deep honor. Its sound surpasses any violin I've ever encountered.'
Demonstrating, he slips off his bracelets and jacket, takes a steady breath, and positions his chin gently. With eyes closed, nearly moved to tears, he draws the bow smoothly. His vibrato is precise and textured; his movements along the neck are fluid, reminiscent of a plane soaring into the sky. Del Gesù violins are known for their deep, resonant tones, filling spaces effortlessly with rich power. Ushikubo recalls his first tuning session a couple of months ago: 'It had this radiant quality I hadn't experienced before.' Testing it with a Tchaikovsky concerto, exploring its full range, he unearthed tones he 'never dreamed violins could produce.' He likens its sound palette to chocolate—ranging from light to dark with hints of caramel.
For his debut, Ushikubo will tackle four lush Romantic compositions: Tomaso Antonio Vitali's 'Chaconne in G minor,' Nathan Milstein's 'Paganiniana,' Ernest Chausson's 'Poème,' and Maurice Ravel's 'Tzigane.' These pieces mirror his personal growth. 'Each has pushed me to evolve,' he says. He confesses to dreading practice, but 'these works remind me of my passion.'
If the indefinite loan ends, he'd mourn its departure, he admits. His journey started as a child watching a Japanese TV show featuring an inspiring violinist-pianist who became his idol. He pleaded for a violin, and for his sixth birthday, his parents gifted him a modest $20 model from a local store. Discovering Colburn, they endured 90-minute commutes from Riverside to downtown L.A. for lessons before relocating to San Gabriel. He studied there until 17, then attended the Curtis Institute in Philadelphia, returning to Colburn for a master's and now pursuing an artist diploma—a selective advanced program. His daily routine includes about 10 hours of practice split between piano and violin, which Sel Kardan, Colburn's president and CEO, calls 'one-of-a-kind.'
Ushikubo is among Colburn's select students on track for solo or chamber music careers. The school's Colburn Artists program supports them in developing repertoires and personal brands. Kardan praises Ushikubo as 'mesmerizing on stage, with incredible skill and a deep absorption in music.' Yet, even with this backing, playing the Playfair transcends career strategy; it's a transformative moment, allowing him to embrace history while influencing the future.
Reflecting on a potential end to the loan, Ushikubo hesitates. 'I'd be heartbroken,' he says, carefully securing the violin in its case. While this may be the rarest he'll ever play, he's determined: 'I aim to uncover fresh sounds daily for the rest of my life.'
An Artist's Next Chapter: Ray Ushikubo Debuts the 1741 Guarneri 'Playfair' Violin
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What do you think—should instruments like the Playfair be hoarded by collectors, or shared with emerging talents to keep music alive? Is age the ultimate qualifier for who gets to play them, or should passion and skill trump everything? Share your opinions in the comments; I'd love to hear differing views and spark a lively debate!
