Meta-Luxury: Brands and the Culture of Excellence by Ricca Manfredi Robins Rebecca

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By Ricca Manfredi Robins Rebecca

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Their common trait was their humility in front of music – the belief that they were the servants of music, not the other way around. ’ He pauses, and then adds, ‘And I would have given anything to live in another century and meet Brahms, Beethoven or Mozart. Can you imagine? Doesn’t that really resize the notion of luxury? Overall,’ he concludes, ‘I suppose luxury isn’t what most people believe it is. Luxury is something deep. ’ Looking forward, the Maestro reveals that one of his dreams is ‘to see young people – not musicians – who really choose what music they should listen to.

An emotion that defies description. It is a kind of symbiotic relationship, in which one gives life to the other. ‘Let me tell you this story,’ he continues. ‘It happened to me when I bought a 1727 Stradivari from Zino Francescatti, one of the greatest violinists who ever lived. He had played it for over 40 years. He insisted that before buying it I should play it for a month or so. I performed my very first concert at Carnegie Hall with that violin. ” “I love Francescatti, but he’s not the only one,” I answered.

You can play a great concerto or sonata hundreds of times, and every single time you’ll discover something new about it. The moment this stops being true, you should get worried – you are the one who’s got nothing left to add. This influences the relationship between the musician and the audience. If your playing expresses nothing, nothing is what you’ll get from the audience, and vice-versa. ’ Luxury is never about ostentation, Accardo suggests, and that applies perfectly to music. ‘Some musicians seem to throw their talent in your face.

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