In a Guardian article about the disposition of a violin collector’s unexpectedly large trove of instruments, Graham Wells, founder of Sotheby’s musical instruments department is quoted as saying: “The violin trade has always been corrupt. Compared with the rest of the art and collectors’ market, and even with other instruments, only violins, because of their rarity, history and immense value, attract this level of corruption, with auction houses and the trade – and, of course, musicians who cannot afford these instruments – all suffering as a result.” This fact becomes clear in the convoluted tale of Gerald Segelman’s estate, as the lawyers for his charitable trust tussle with the dealer entrusted with selling, at fair market value, the many violins Segelman had collected. Along the way the female companion of the deceased claimed ownership of the collection and it was eventually discovered that there were even more instruments whose existence the dealer never disclosed to the trustees. Multiple lawsuits were filed. The remainder of Segelman’s collection now sits deteriorating in storage at Sotheby’s, awaiting its fate.

Speaking of violins, San Francisco Symphony concertmaster Alexander Barantschik has an arrangement to play Jascha Heifetz’s Guarnerius violin, which he willed (for unknown reasons) to the De Young Museum in San Francisco. The violin is known as “The David” after Ferdinand David, who premiered Mendelssohn’s Violin Concerto on it in 1845. Heifetz’s will stated that it be used “on special occasions by worthy performers.” The agreement between the museum and the SF Symphony is for three seasons.