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Die Sammlung Historischer Streichinstrumente Der Oesterreichischen Nationalbank

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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. 1830–1840 60 Stainer Jacob 62 Violine, Absam 1671 62 Stradivari Antonio 64 Violine, „ex Rouse-Boughton“, Cremona um 1698 64 Violine, „ex Brüstlein“, Cremona 1707 66 Violine, „ex Hämmerle“ – „ex Adler“, Cremona 1709 68 Violine, „ex Smith-Quersin“, Cremona nach 1713 70 Violine, „ex Baron Oppenheim“, Cremona 1716 72 Violine, „ex Viotti“ – „ex Arnold Rosé“, Cremona 1718 74 Violine, „ex Rawark“, Cremona 1724 76 Violine, „Chaconne“, Cremona 1725 78 Tecchler David 80 Violoncello, Rom 1743 80 Tononi Giovanni 82 Violoncello, Bologna 1681 82 Ventapane Vincenzo 84 Violine, Neapel 1770 84 Biografien/ Biographies 86 Literaturverzeichnis/ References 98 Über die Sammlung About the Collection 6 Die Sammlung historischer Streichinstrumente der Oesterreichischen Nationalbank wurde 1989 anlässlich der Herausgabe der ersten österreichischen Goldanlagemünze „Wiener Philharmoniker“ mit dem Ankauf von vorerst drei Instrumenten begonnen. Mittlerweile besteht diese Sammlung aus 38 hochwertigen Instrumenten, darunter acht Violinen von Antonio Stradivari, drei Violinen von Giuseppe Guarneri del Gesù sowie einer Violine des großen Tiroler Geigenbauers Jacob Stainer. Es ist der Oesterreichischen Nationalbank ein großes Anliegen, diese Instrumente nicht in Tresoren ruhen zu lassen, sondern österreichischen Musikern ständig zur Verfügung zu stellen. Im Laufe der Jahre konnten – nicht zuletzt wegen dieser Förderung – viele Künstlerinnen und Künstler eine internationale Karriere starten und den Ruf Österreichs als Musikland in alle Welt tragen. Mitglieder von bedeutenden österreichischen Orchestern und Kammermusik- ensembles, aber auch viele Solisten konzertieren auf Instrumenten aus dieser Sammlung. Hochtalentierte österreichische Musikerinnen und Musiker können sich bei der Oesterreichischen Nationalbank um ein Instrument bewerben (Kontakt: [email protected]). Im Falle des Freiwerdens eines passenden Instrumentes zieht die OeNB ein hochrangiges Fachgremium zu Rate. Mit dieser Sammlung wird ein wichtiger Beitrag zur Erhaltung des gemeinsamen Kulturerbes Europas geleistet, eines Kontinents mit einer gemeinsamen Währung, für deren Stabilität die Oesterreichische Nationalbank mitverantwortlich zeichnet. The collection of valuable historical string instruments was established in 1989, when the first Vienna Philharmonic gold bullion coin was minted, and initially consisted of three instruments. Meanwhile, the collection has grown to encompass 38 rare instruments, among them eight violins crafted by Antonio Stradivari, three violins made by Giuseppe Guarneri del Gesù and one violin created by the preeminent Tyrolean violinmaker Jacob Stainer. Rather than locking the instruments away, the Oesterreichische Nationalbank seeks to lend them to Austrian musicians to use for the long term. Over the years, many musicians have benefited from the long-term loan of these instruments and have been able to embark on international music careers, which at the same time has helped spread Austria’s reputation for outstanding music throughout the world. Members of renowned Austrian orchestras – among them the concertmasters of the Vienna Philharmonic Orchestra – and chamber music ensembles as well as numerous soloists perform concerts with instruments from this collection. Exceptionally talented Austrian musicians may apply to the Oesterreichische Nationalbank (OeNB) for the loan of an instrument (contact: [email protected]). If a suitable instrument from the collection becomes available, the OeNB will commission an expert body to review the application. The collection of valuable historical string instruments represents an important contribution to upholding Europe’s common cultural heritage, just like the OeNB’s day-to-day business represents an important contribution to the stability of Europe’s common currency. 7 8 Streichinstrumente String Instruments 9 Amati Andrea Violoncello, Cremona, spätes 16. Jh. Zettel (nicht original): Andrea Amati in Cremona M. D. LXXIII Zu Amatis Zeit hatten viele Instrumente größere Korpusmaße und wurden im Lauf der nachfolgenden Jahrhunderte umgearbeitet, um sie für den Einsatz in Konzerten tauglich zu machen. Auch das vorliegende Instrument wurde „korrigiert“ und entspricht mit der heute üblichen Standardlänge nicht mehr dem Originalzustand. Die Decke ist aus vier Teilen, mit regelmäßigen und mittelbreiten Jahresringen. Der geteilte Boden im Fladerschnitt zeigt eine schwach ausgeprägte Flammung. Das Instrument erhält sein typisches Erscheinungs- bild durch steil stehende F-Löcher, wobei die oberen Beeren größer als die unteren sind. Wirbelkasten und Schnecke sind Ergänzungen im Stil Amatis aus jüngerer Zeit. Das Violoncello ist in Anbetracht seines Alters in gutem Gesamtzustand. Violoncello, Cremona, late 16th century Label (not original): Andrea Amati in Cremona M. D. LXXIII In Amati’s day and age, the standard dimensions of many instruments were larger. Over the next centuries, these instruments were modified to make them suitable for concert performance. This model was also “corrected”; its length was shortened from the original length to today’s standard. The four-piece belly is made of wood with a very regular grain and moderately wide annual rings. The slab-cut back is divided and exhibits weak flaming. The instrument receives its typical appearance from the steeply vertical F-holes, which have larger holes at the top than at the bottom. The pegbox and the scroll were added in the style of Andrea Amati at a later date. Given its age, the overall condition of the violoncello is good. 10 Verliehen an/ On loan Othmar Müller 11 Bergonzi Carlo Violine, Cremona 1723 Zettel mit Zierrand: Anno 17.. Carlo Bergonzi fece in Cremona Es handelt sich um ein Modell mit mittelhoher Wölbung, das unter dem Einfluss Stradivaris steht. Die zweiteilige Decke ist in der Mitte von feinjährigem Wuchs, die Breite der Jahresringe nimmt nach außen deutlich zu. Der geteilte Boden zeigt sehr schwache, nach außen leicht abfallende Flammen. Die eng stehenden F-Löcher sind an Stradivari orientiert und besitzen kreisrunde Beeren. Charakteristisch ist die kräftige, gut proportionierte Schnecke mit sehr breitem Stab. Die Voluten sind tief gekehlt und wirken dadurch sehr plastisch. Violin, Cremona 1723 Label with a decorative edge: Anno 17.. Carlo Bergonzi fece in Cremona This model has moderately high arching and shows the influence of Stradivari. The two-part belly is closely grained in the middle; the width of the annual rings increases clearly toward the edge. The divided back displays very weak flaming, which drops slightly toward the edge. The F-holes are quite close together in the manner of Stradivari and have circular holes. The powerful, well-proportioned scroll with a very wide eye contributes to the instrument’s distinctive appearance. The volutes are deeply incised and appear very sculptural. 12 Verliehen an/ On loan Birgit Kolar 13 Bergonzi Carlo Violine, Cremona nach 1724 Zettel mit Zierrand: Carlo Bergonzi fece in Cremona l’anno 1715 Es handelt sich um ein ungewöhnlich hoch gewölbtes Instrument aus der Frühzeit des Meisters. Stilistische Merkmale, besonders der Schnitt der F-Löcher, erinnern an die Instrumente der Guarneri-Familie, ein Einfluss Stradivaris ist kaum zu merken. Die zweiteilige Decke zeigt sehr feine Jahresringe, der geteilte Boden im Spiegelschnitt besticht durch eine feine, intensive, leicht V-förmige Flammung. Typisch für Bergonzi ist die sehr regelmäßig und schön geschnitzte Schnecke mit langem, dünnem Stab und tiefen Voluten. Violin, Cremona after 1724 Label
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