DOCSLIB.ORG

Antonio Stradivari, His Life and Work (1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Antonio Stradivari, His Life and Work (1 CORNELL UNIVERSITY LIBRARY MUSIC Cornell University Library ML 424.S89H64 1909 Antonio Stradivari, his life and work (1 3 1924 022 328 896 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022328896 ANTONIO STRADIVARI MACMILLAN AND CO., Limited LONDON BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN COMPANY NEW YOEK • BOSTON CHICAGO ATLANTA • SAN FKANCISCO THE MACMILLAN CO. OF CANADA, Ltd. TORONTO The Salabue Stradivari, dated 1716, KNOWN AS " LE MeSSIE," Frontispiece] Antonio Stradivari HIS LIFE AND WORK (1644—1737) BY W. HENRY HILL ARTHUR F. HILL, F.S.A. AND ALFRED E. HILL WITH AN INTRODUCTORY NOTE BY LADY HUGGINS SECOND EDITION MAC MILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON 1909 THIS BOOK WE DEDICATE TO THE MEMORY OF OUR FATHER WILLIAM EBSWORTH HILL TO WHOSE EXAMPLE WE ARE INDEBTED BEYOND ACKNOWLEDGMENT PREFACE TO THE FIRST EDITION. HE idea of writing this book is in some measure due to the intelligent initiative of A E*3 Signor Mandelli, of Cremona, to whom, as well as to our friends and subscribers, we owe some words of explanation and apology. Full of the desire to obtain fresh information concerning Antonio Stradivari, Signor Mandelli determined to make further researches in the archives of his native city, and thus add to the world's knowledge ; and, his material collected, he approached us in the year 1890 with a view to its publica- tion in English and Italian. The subject of Stradivari was an alluring one, and in a moment of enthusiasm we undertook the task of incorporating these interesting re- searches in a work more fully embracing the results of the master's career. Reflection, however, showed us that we had undertaken a task the labour of which we had under- estimated ; and time sped on, year succeeding year, only to find us still adding to our notes, yet unable—nay, un- willing—prematurely to publish that which we felt to be still incomplete. If we have thus long delayed the publi- cation of this work, owing to the daily cares of our business absorbing so much of our time and energy, we trust that our readers will obtain some slight compensation both from the more correct information given and the broader treatment of our subject. We decided to divide our work into twelve distinct chapters, and we believe that by this division the whole will have gained in clearness. We have to thank our friends and colleagues at home and abroad for aid and assistance in our researches. More especially we would wish to mention Mr. George Hart, the late M. Gand and M. Silvestre of Paris, and Signor — viii PREFACE Marquis Commendatore Lozzi of Rome. To the late Alessandro Dalla Valle we are under an exceptional debt to his of gratitude for having freely accorded us access unique collection of Stradivari relics. The encouragement and advice ungrudgingly given to us at all times by Sir William and Lady Huggins have can we sufficiently acknow- been of inestimable value ; nor ledge in words the friendship Lady Huggins has honoured us with in reading and advising upon the manuscript of our book. In conclusion, we venture to hope that the sincerity of our work will bring us that support which stimulates fresh undertakings. Much of absorbing interest to violin lovers yet remains to be written. PREFACE TO THE SECOND EDITION. The first edition of this work was published in 1902. Its reception was even more gratifying than was expected. The thousand copies of which the edition consisted were sold within three years. As the first edition is now only rarely to be obtained and even then at a cost much exceeding the price at which it was published— and as the demand for the work still continues, it is felt that the time for its republication has arrived, particularly in a much cheaper form, which will bring it within the reach of a more extended circle of readers. In taking this step the authors believe they will be gratifying a large number of violin lovers desirous of having within reach the fullest and most trustworthy in- formation accessible concerning the life and work of Antonio Stradivari. The text and illustrations of this edition, except only that half-tone plates are substituted for lithographic plates, are practically the same as those of the original edition. London, 1909. —— CONTENTS. PAGE Preface ........... vii Introductory Note ......... i Genealogical Tree of the Stradivari Family from the earliest known Records to the Present Time . 4 CHAPTER I. THE ANCESTRY OF ANTONIO STRADIVARI. The search for the certificate of his birth— Reason to believe that he was not born in Cremona—His marriage—The census returns—The purchase of his house and its subsequent his- tory—His home life and his children—The death and burial of his first wife—His second marriage—The purchase of a tomb in the Church of S. Domcnico—The burials therein His death arid interment—The demolition of the Church of S. Domenico—The disinterment of his remains and the disposal of them . .... 5 chapter ii. Stradivari's violins. The tradition that Stradivari was a pupil of Nicolo Amati —The actual proof— His fellow-apprentices—His early work and surroundings—His connection with Nicolo Amati until the ' latter's death in 1684—His first label—The dimensions of his earlier works, and comparison with those of Nicolo Amati Subsequent developments—The inception of the " Long Strad " in 1690—The return to Amati traditions in 169S A review of his work and the position to which he had attained by the end of the century—The dawn of the new century—The " Bctts " violin, 1704—The following years Fewness of his productions—His partiality for certain wood The varying character of his work^Comparisons of famous examples—His seventy-sixth birthday, in 1720—The ques- tion of his being assisted in his work—The features of the instruments of this period—The '' Rode " inlaid violin, 1722 —The other similar examples made by the master—The Spanish set and their history—The year 1727—He records his age—Consideration of the master's supposed pupils—The violins of his last years—Those made by his sons—Those made up from parts left unfinished by him—Contradictory statements as to his exact age, and elucidation of the matter — His death 27 —— x CONTENTS CHAPTER III. STRADIVARI'S VIOLAS. PACE previously The small number existing—A retrospectof violas made founded on to his time—The proportions as adopted by him difficulty the work of Antonius and Hieronymus Amati—The lhe music in accounting for the adoption of a smaller size— of the period—Comparison of the different examples and their tone—The tenore and contralto violas—The Paganim example, 1731, and the Berlioz incident—Characteristics of the violas as a whole—The maker's shortcomings ... 96 chapter iv. , Stradivari's violoncellos. Their excellence—A retrospect of the instruments made previ- ously—The gradual adoption of an instrument of smaller proportions—Stradivari's non-participation in the movement —His early productions—Review and comparison of his pre-i 700 examples—The" Medici," " Aylesford," " Cristiani," and " Servais " instruments—His tardy adoption of the smaller proportions—The earliest dated example known Examination of the designs left by him—The supreme merit of the examples of this form—Their tone—The views of Piatti, and Romberg's statement—The number existing, and their history—The master's adherence to this type until 1730 —A narrower form adopted in that year—A retrospect . 113. chapter v. Stradivari's aims in relation to tone. The achievements of Gasparo and Maggini—The four generations of the Amatis—The tonal success of their instruments—The non-existence of any record by past great players of the tonal merits of their instruments—The pre-\68^ Stradivari—Its character of tone—Changes between 1684 and 1690—The Long Strad of 1690—Its tonal quality—The " Tuscan " The brilliancy of its tone—The production of tone in relation to Stradivari instruments—Lady Halle, Joachim, Sarasate, and Piatti—Prejudice against certain violins—The difficulty of forming a correct judgment—The " Betts " Stradivari The distinguishing characteristics of its tone—The result attained by Stradivari—The " Ernst " Stradivari—The " " " Viotti —Joachim's violins, their tone—The " Alard example—Violins of the years 1720-22—Sarasate's violin, I 724—Other examples—Reason why Stradivari instruments are in universal use—A resume ... 152 CHAPTER VI. Stradivari's material. d M*ed c°ncerning its magical properties- Its nart Tn "fTn t0 .° the successful construction of an mstrument-A"LPf^nt A retrospect concerning the wood used by the — CONTENTS PACE early makers—Where obtained—The making up of faulty pieces—Stradivari's preference for the wood of certain trees in given years—Scarcity at times of foreign maple—The pine of the bellies—The virtues of old wood .... 167 chapter vii. Stradivari's varnish. The varnish used by other Italian makers—Amateur workers on the subject—Was the recipe a trade secret ? —The present existence of Stradivari's written formula—Whence sprang the use of fine varnishes and pure colours ?—The Amati colour—The basis of Stradivari's varnish—Reade's remarks —The importance of the colour—The effect of light—The picturesque appearance of the backs—The gradual disuse of oil varnishes—The reason for this, its revival, and final disappearance—The effect of the varnish upon tone . .174 CHAPTER VIII. STRADIVARI'S CONSTRUCTION. Based upon the work of the past—The master, above all, a practical workman—Examination of the interior construction —The thicknesses of Gasparo, Maggini, the Amati, and those of Stradivari—The blocks and linings—The bass-bar, its function and origin—The bars of early makers compared with those used by Stradivari—The outline—The marked ori- ginality of the Italians—The use cf moulds for bending the sides—Those employed by the master—The purfling—The sound-holes—The modelling—The head—Stradivari's method of work—His bridges, finger-boards, and fittings—The Dalla Valle Collection of patterns, etc.
Load more

Recommended publications
  • B&F Magazine Issue 31
    No. 31 A VIOLIN BY PIETRO GIOVANNI GUARNERI, MANTUA, 1709 superb instruments loaned to them by the Arrisons, gave spectacular performances and received standing ovations. Our profound thanks go to Karen and Clement Arrison for their dedication to preserving our classical music traditions and helping rising stars launch their careers over many years. Our feature is on page 11. Violinist William Hagen Wins Third Prize at the Queen Elisabeth International Dear Friends, Competition With a very productive summer coming to a close, I am Bravo to Bein & Fushi customer delighted to be able to tell you about a few of our recent and dear friend William Hagen for notable sales. The exquisite “Posselt, Philipp” Giuseppe being awarded third prize at the Guarneri del Gesù of 1732 is one of very few instruments Queen Elisabeth Competition in named after women: American virtuoso Ruth Posselt (1911- Belgium. He is the highest ranking 2007) and amateur violinist Renee Philipp of Rotterdam, American winner since 1980. who acquired the violin in 1918. And exceptional violins by Hagen was the second prize winner Camillo Camilli and Santo Serafin along with a marvelous of the Fritz Kreisler International viola bow by Dominique Peccatte are now in the very gifted Music Competition in 2014. He has hands of discerning artists. I am so proud of our sales staff’s Photo: Richard Busath attended the Colburn School where amazing ability to help musicians find their ideal match in an he studied with Robert Lipsett and Juilliardilli d wherehh he was instrument or bow. a student of Itzhak Perlman and Catherine Cho.
    [Show full text]
  • A Violin by Jacobus Stainer 1679
    146 A VIOLIN BY JACOBUS STAINER 1679 Roger Hargrave examines the construction and workmanship of this violin, which still retains its original undisturbed baroque neck. Roger Hargrave se penche sur la construction et la the necessary experience. facon d'un violon Jacobus Stainer, 1679, qui conserve Earlier Füssen in the Allgäu might have been a con - son manche baroque original encore intact. sideration, however, the ravages of the thirty years Roger Hargrave untersucht den Bau and die war had left Füssen bereft of skilled instrument mak - Machart einer Violine von Jacobus Stainer, 1679, ers, most of whom had found refuge in Italy and deren ursprünglicher barocker Hals unversehrt in particular in Venice, Rome and Padua. erhalten ist. Experts seem to agree that Stainer learned Jacobus Stainer is one of the very few non - his trade in Italy. And although this agree - Italian violin makers whose life and work have ment mostly rests on analogies of Stainer's been seriously researched. work, it is also known (from his writings) that he was familiar with the language. Furthermore, There have been a number of important publi - there are several oral traditions relating to an cations, most of which have drawn upon the Italian apprenticeship. As might be expected scholarly research work of the late Professor however these oral traditions are contra - Dr. Walter Senn. However, in spite of dictory, on the one hand saying that Senn's magnificent efforts, several im - Stainer worked in Venice and on the portant questions remain unanswered, other that he worked in Cremona. the exact dates of Stainer's birth and death, whether he used both written and Although Senn seems to have been printed labels, and undoubtedly the most convinced that Stainer .
    [Show full text]
  • Antonio Stradivari "Servais" 1701
    32 ANTONIO STRADIVARI "SERVAIS" 1701 The renowned "Servais" cello by Stradivari is examined by Roger Hargrave Photographs: Stewart Pollens Research Assistance: Julie Reed Technical Assistance: Gary Sturm (Smithsonian Institute) In 184.6 an Englishman, James Smithson, gave the bines the grandeur of the pre‑1700 instrument with US Government $500,000 to be used `for the increase the more masculine build which we could wish to and diffusion of knowledge among men.' This was the have met with in the work of the master's earlier beginning of the vast institution which now domi - years. nates the down‑town Washington skyline. It includes the J.F. Kennedy Centre for Performing Arts and the Something of the cello's history is certainly worth National Zoo, as well as many specialist museums, de - repeating here, since, as is often the case, much of picting the achievements of men in every conceiv - this is only to be found in rare or expensive publica - able field. From the Pony Express to the Skylab tions. The following are extracts from the Reminis - orbital space station, from Sandro Botticelli to Jack - cences of a Fiddle Dealer by David Laurie, a Scottish son Pollock this must surely be the largest museum violin dealer, who was a contemporary of J.B. Vuil - and arts complex anywhere in the world. Looking laume: around, one cannot help feeling that this is the sort While attending one of M. Jansen's private con - of place where somebody might be disappointed not certs, I had the pleasure of meeting M. Servais of Hal, to find the odd Strad! And indeed, if you can manage one of the most renowned violoncellists of the day .
    [Show full text]
  • Die Sammlung Historischer Streichinstrumente Der Oesterreichischen Nationalbank
    OESTERREICHISCHE NATIONALBANK EUROSYSTEM Die Sammlung historischer Streichinstrumente der Oesterreichischen Nationalbank The collection of Historical String Instruments of the Oesterreichische Nationalbank Inhaltsverzeichnis Contents Impressum Medieninhaberin: Oesterreichische Nationalbank, Otto-Wagner-Platz 3, 1090 Wien, T: (+43 1) 404 20-6605, F: (+43 1) 404 20-6697, www.oenb.at Redaktion: Mag. Brigitte Alizadeh-Gruber, Muna Kadum, Martina Leitner, Mag. Irene Mühldorf Grafik, Layout und Satz: Melanie Schuhmacher Fotos: © Graphisches Atelier Neumann, Wien Druck: Oesterreichische Nationalbank, Abteilung für Öffentlichkeitsarbeit und Publikationen, Gruppe Multimedia-, Internet- und Print-Service. © Oesterreichische Nationalbank, 2013. Streichinstrumente/ String Instruments 9 Amati Andrea 10 Violoncello, Cremona, spätes 16. Jh. 10 Bergonzi Carlo 12 Violine, Cremona 1723 12 Violine, Cremona nach 1724 14 Bergonzi Michelangelo 16 Violine, Cremona um 1740 16 Violine, „ex Hamma-Segelman“, Cremona um 1750 18 Camilli Camillus 20 Violine, Mantua 1736 20 Ceruti Giovanni Battista 22 Viola, Cremona um 1810 22 Gagliano Alessandro 24 Violoncello, Neapel ca. 1710 24 Grancino Giovanni 26 Violoncello, „ex Piatti“ – „ex Dunlop“, Mailand 1706 26 Guadagnini Giovanni Battista 28 Violoncello, „ex von Zweygberg“, Piacenza 174. 28 Violine, Mailand 1749 30 Violine, „ex Meinel“, Turin um 1770–1775 32 Violine, Turin 1772 34 Violine, „Mantegazza“, Turin 1774 36 Violine, Turin 177. 38 Viola, Turin 1784 40 Guarneri Andrea 42 Violine, Cremona, Mitte 17. Jh. 42 Guarneri del Gesù Giuseppe 44 Violine, „ex Sorkin“, Cremona 1731 44 Violine, „ex Guilet“, Cremona nach 1732 46 Violine, „ex Carrodus“, Cremona 1741 48 Lorenzini Gaspare 50 Violine, Piacenza um 1760 50 Maggini Giovanni Paolo 52 Viola, Brescia, frühes 17. Jh. 52 Montagnana Domenico 54 Violine, Venedig 1727 54 Seraphin Sanctus 56 Violine, Venedig 1733 56 Violine, „ex Hamma“, Venedig nach 1748 58 Silvestre Pierre 60 Violine, „ex Moser“, Lyon ca.
    [Show full text]
  • Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C
    Prejeto / received: 3. 5. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.07 RECONSTRUCTING LOST INSTRUMENTS Praetorius’S Syntagma musicum and the Violin Family C. 1619 Matthew Zeller Duke University Izvleček: Knjigi De organographia in Theatrum Abstract: Michael Praetorius’s De organographia instrumentorum Michaela Praetoriusa vsebujeta and Theatrum instrumentorum provide valuable dragocene namige, ki pomagajo pri poznavanju clues that contribute to a new understanding glasbil iz družine violin okoli leta 1619; številna of the violin family c. 1619, many surviving ex- preživela glasbila so manjša, kot so bili izvirniki amples of which are reduced in size from their v 16. in 17. stoletju. Podatki o preživelih glas- sixteenth- and seventeenth-century dimensions. bilih – predvsem izdelki družine Amati – skupaj The record of surviving instruments – especially z metrologijo, sekundarno dokumentacijo in those of the Amati family – alongside metrologic, ikonografskim gradivom kažejo na to, da je documentary and iconographic evidence shows Michael Praetorius opisal veliko glasbilo, po that Michael Praetorius describes a large in- velikosti izjemno podobno violončelu (basso strument conforming remarkably well to the da braccio),kar je odličen primer predstavitve original dimensions of the basso da braccio glasbila iz družine violin in točne uglasitve, kot (violoncello), as well as furnishing an excellent so jih poznali v času izida Praetoriusovega dela. scale representation of the violin family as it was at the time of these works’
    [Show full text]
  • Violin Detective
    COMMENT BOOKS & ARTS instruments have gone up in value after I found that their soundboards matched trees known to have been used by Stradivari; one subsequently sold at auction for more than four times its estimate. Many convincing for- KAMILA RATCLIFF geries were made in the nineteenth and early twentieth centuries, but the science did not exist then. Forgers now are aware of dendro- chronology, and it could be a problem if they use wood from old chalets to build sophisti- cated copies of historical instruments. How about unintentional deceit? I never like to ‘kill’ a violin — reveal it as not what it seems. But if the wood does not match the claims, I investigate. I was recently sent photos of a violin supposedly made by an Italian craftsman who died in 1735. The wood dated to the 1760s, so I knew he could not have made it. But I did see strong cor- relations to instruments made by his sons and nephews who worked in the 1770s. So Peter Ratcliff restores and investigates violins from his workshop in Hove, UK. I deduced that the violin might have been damaged and an entirely new soundboard made after the craftsman’s death. The violin Q&A Peter Ratcliff was pulled from auction, but not before it had received bids of more than US$100,000. Will dendrochronology change the market? Violin detective I think it already has, and has called into Peter Ratcliff uses dendrochronology — tree-ring dating — to pin down the age and suggest the question some incorrect historical assump- provenance of stringed instruments.
    [Show full text]
  • Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
    Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.
    [Show full text]
  • Stradivari Violin Manual
    Table of Contents 1. Disclaimer .................................................................................................................. 1 2. Welcome .................................................................................................................... 2 3. Document Conventions ............................................................................................... 3 4. Installation and Setup ................................................................................................. 4 5. About STRADIVARI VIOLIN ........................................................................................ 6 5.1. Key Features .................................................................................................... 6 6. Main Page .................................................................................................................. 8 7. Snapshots ................................................................................................................ 10 7.1. Overview of Snapshots ................................................................................... 10 7.2. Saving a User Snapshot ................................................................................. 10 7.3. Loading a Snapshot ......................................................................................... 11 7.4. Deleting a User Snapshot ............................................................................... 12 8. Articulation ..............................................................................................................
    [Show full text]
  • Reunion in Cremona
    Reunion in Cremona Reunion in Cremona is the name of the exhibition that is taking place at the Museo del Violino from September 21 2019 and October 18 2020. It is a “reunion” indeed between historical instruments made by the great violinmakers of the past and their birthplace. Within important exhibition are displayed 8 masterpieces of cremonese classical violinmaking tradition and a bow attributed to the workshop of the famous Antonio Stradivari that the National Music Museum of Vermillion, South Dakota decided to house to the Museo del Violino during the renovation of its building and the expansion of the exhibiting areas. The NMM is one of the most important musical instruments museums in the world, with more than 15000 pieces divided into different collections. The “Witten- Rawlins Collection” is of particular interest for Cremona. The instruments will be not only on display in the Museo del Violino, but also will undergo a complete non-invasive sientific examination in the Arvedi Labsof the University of Pavia within the Museo del Violino. Antonio e Girolamo Amati- violino “The King Henry IV”, 1595 ca. (National Music Museum, Vermillion- South Dakota) Girolamo Amati- violino, 1609 (National Music Museum, Vermillion- South Dakota) Girolamo Amati- violino piccolo, 1613 (National Music Museum, Vermillion- South Dakota) Nicolò Amati- violino, 1628 (National Music Museum, Vermillion- South Dakota) Antonio Stradivari- mandolino coristo “The Cutler- Channel”, 1680 (National Music Museum, Vermillion- South Dakota) Antonio Stradivari- chitarra “The Rawlins”, 1700 (National Music Museum, Vermillion- South Dakota) attribuito alla bottega di Antonio Stradivari- archetto da violino, 1700 ca. (National Music Museum, Vermillion- South Dakota) Nicola Bergonzi- viola 1781 (National Music Museum, Vermillion- South Dakota) Lorenzo Storioni- violino 1/2, 1793 (National Music Museum, Vermillion- South Dakota) .
    [Show full text]
  • PART I Dramatis Personae
    PART I Chapter 1 Dramatis Personae Antonio Stradivari (c16491-18th December 1737) Antonio Stradivari lived and worked in the Italian town of Cremona, south-east of Milan. His earliest violins date from the mid-1660s and follow the example of his Cremonese predecessor Nicolò Amati (1596-1684) in terms of size, proportion, and style.2 Between 1690 and 1700 Stradivari produced violins with sound-boxes which were slightly longer than the norm of 355mm, but this ‘Long Pattern’ style was apparently abandoned at the start of his ‘Golden Period’ – approximately 1700. During the subsequent two decades he produced well-proportioned instruments with gentle and low arching across the front and back plates, the scrolls being outlined with black pigment to emphasise the edges of the spirals, and the instruments varnished with what some have claimed to have been a unique mixture of ingredients.3 By this time Antonio was certainly being helped in his workshop by two of his sons, Francesco and Omobono, and Roger Hargrave has suggested that Giuseppe Guarneri del Gesù also worked in the Stradivari workshop.4 Charles Beare has indicated that, after 1720, Carlo Bergonzi (1683-1747) also participated in making instruments under Stradivari’s direction;5 however, Tim Ingles has stated that ‘Bergonzi was probably working independently in the early 1720s’.6 After 1720 Antonio’s energy, manual dexterity, and eyesight diminished (by then he was approximately 70 years old) and instruments from his final years are less well finished, with a more pronounced arch across the body and a distinctively dark tone. Antonio apparently continued to work until his death in 1737.
    [Show full text]
  • The Strad Magazine
    FRESH THINKING WOOD DENSITOMETRY MATERIAL Were the old Cremonese luthiers really using better woods than those available to other makers FACTS in Europe? TERRY BORMAN and BEREND STOEL present a study of density that seems to suggest otherwise Violins await testing on a CT scanner gantry S ALL LUTHIERS ARE WELL AWARE, of Stradivari. To test this conjecture, we set out to compare the business of making an instrument of the the wood employed by the classical Cremonese makers with violin family is fraught with pitfalls. There that used by other makers, during the same time period but are countless ways to ruin the sound of the from various regions across Europe. This would eliminate one fi nished product, starting with possibly the variable – the ageing of the wood – and allow the tracking of Amost fundamental decision of all: what wood to use. In the past geographical and topographical variation. In particular, we 35 years we have seen our knowledge of the available options wanted to investigate the densities of the woods involved, which expand greatly – and as we learn more about the different wood we felt could be the key to unlocking these secrets. choices, it is increasingly hard not to agonise over the decision. What are the characteristics we need as makers? Should we just WHY DENSITY? look for a specifi c grain line spacing, or a good split? Those were The three key properties of wood, from an instrument maker’s the characteristics that makers were once taught to watch out perspective, are density, stiffness (‘Young’s modulus’) and for, and yet results are diffi cult to repeat from instrument to damping (in its simplest terms, a measure of how long an object instrument when using the same pattern – suggesting these are will vibrate after being set in motion).
    [Show full text]
  • Amati's Dream
    Teacher’s Guide Amati’s Dream for Narrator, Violin & String Orchestra Amati’s Dream takes place in Cremona, Italy in the year 1666. The apprentice Raphael is learning to make violins in the shop of Nicolò Amati. Raphael enjoys his work, but he secretly yearns to be a violinist. His family cannot afford an instrument or music lessons, so Raphael tries his best to be content with working in the violin shop. Will Raphael fulfill his dream? The story is multi-layered and thought provoking. The children are introduced to the fascinating and magical world of the violin through narration and music. The information in the story is woven into the narrative and very accessible. The music is melodic and easy to comprehend. www.atlantic-crossing.com !1 Nicolo Amati Nicolò Amati was born in 1596 and died in 1684. He was an Italian violin maker; they are also known as luthiers. Amati built instruments over 300 years ago by candlelight, and without electric tools. Today, his instruments are very rare and extremely valuable. Nicolò Amati lived in the time known as the Renaissance; the word means rebirth. It is the time between the fourteenth and seventeenth centuries. The Renaissance was a time for the rebirth of science, education, music, art, and literature. The changes provided a better life for the people. Apprentice Raphael was an apprentice in the shop of Nicolò Amati. An apprentice trains for a craft or profession while working for an employer, as opposed to someone who learns by attending school. Often, the apprentice worked for his employer in exchange for lodging, food and training.
    [Show full text]