Emily Sun becomes custodian of 'The Adelaide' Guadagnini violin
Florence Lockheart
Monday, December 11, 2023
The instrument, which was collectively purchased by the people of South Australia is held in trust by the UKARIA Cultural Centre and loaned to artists with a connection to the region
Australian violinist Emily Sun has been named the next custodian of ‘The Adelaide’ violin. Crafted in Milan in 1753–57 by Giovanni Battista Guadagnini the instrument was purchased by the people of South Australia and is held in trust by the UKARIA Cultural Centre in Adelaide.
Currently professor of violin at the Royal College of Music and Adelaide Symphony Orchestra (ASO) artist-in-association, Sun joins a long legacy of artists who have played or been custorian for the violin including Sophie Rowell, Paul Wright and Natsuko Yoshimoto. Sun, who is now based in London, will return to South Australia in 2024 for performances on ‘The Adelaide’ violin with the ASO in March and June as well as a solo recital at UKARIA in July.
Sun said. 'I feel very privileged to play on this beautiful instrument, during this fleeting period of its already long life and history. The tone is very warm, dark and rich; very even and homogenous across the registers. It is my responsibility to understand "The Adelaide" and draw out its authentic sound, rather than impose on it my perception of what it should sound like - it takes time, patience and love to truly understand its depth and possibilities.’
Bought for violinist Carmel Hakendorf by the Music Committee of South Australia via a public subscription campaign in the 1950s for £1,750, ‘The Adelaide’ is now worth over $1m. The South Australian Guadagnini Violin Trust was established in 1955 to preserve the violin for future generations and, in 2013 UKARIA agreed to become custodians of the instrument. Following restoration in Cremona in 2015 the violin was named ‘The Adelaide’ at the suggestion of Kerry Heysen-Hicks, who contributed to the public subscription when she was in grade two.
UKARIA CEO Alison Beare said. 'Emily has become an audience favourite in concert halls across Australia, and her ever-increasing array of international engagements are yet another testament to her universal appeal. Her close connection with local and national audiences will ensure the violin continues to be heard in Australia, whilst also playing a part in furthering her international career in London, as it once did for the inaugural custodian, Carmel Hakendorf, back in the 1950s.'
