May 2011 Volume 3 Magazine for Strings The History of The King Violincello created by Andrea Amati(1505-1577) YoYo Ma: Forging a Career in Music The Art of the Luthier The Music of Mozart, Become Inspired! The History of The King Violincello 2-10 created by Andrea Amati (1505-1577) Peggy Connor Forging a Career in Music 11-30 Inspiring advice from Yo Yo Ma The Art of the Luthier 31-35 Features A delicate art Harold Golden The Music of Mozart 36-45 Be inspired! Thomas Smith The Newest Juilllard Prodigy 46-57 Meet an amazing violinist Peggy Connor Priceless Violins of Cremona, Italy 58-63 A tour of the Museum of Cremona John Davis Suzuki Students 64-72 Observe how they learn Harold Golden Chicago Symphony Cellists 73-84 The newest generation John Davis The Latest Trends in the Music 85-94 A discussion with contemporary composers Eliza Jones Identifying a Young Prodigy 95-101 What defines truly gifted? Thomas Smith Orchestral Performance Schedules 102-105 May-Sept. Employment Opportunities 106-110 May 2011 May 2011 1 The History of The King Violincello Giuseppe (del Gesu) (1698-1744), Antonio Stradivari (1644-1737) Created by Andrea Amati, 1505-1577, Cremona, Italy of Cremona- and two of his sons, By Peggy Connor Francesco Stradivari (1671-1743) Omobono Stradivari (1679-1742), Jacob Stainer(1617-1683) of Absom The violin emerged from northern Italy Amati instruments that have survived. in Tyrol in the early 16th century, preceeded and One of oldest “surviving” dated violin, is Documented resident apprentices of the evolving from three likely fretted and non the “Charles IX” by Andrea Amati, made in Nicolo Amati workshop: fretted, stringed instruments: the rebec, the Cremona in1560. Renaissance fiddle, and the lira da braccio. The Caravaggio (1602ca) rebec derived from the Arab rebab had been in The most famous violin makers between Giacomo Gennaro (c.1624-after 1655) use since the 10th century. The earliest explicit the late 16th century and the 18th century (1641 to 1646 and possibly 1647) description of the violin, including its tuning, include the Amati School. Andrea Guarneri (c.1626-1698): was in the Epitome musical by Jambe de Fer, (1641-1646/7, 1650 to 1653) published in Lyon in 1556. By this time the Francesco Mola (c.1641-?): (1653 to 1655) Amati family of Italian violin makers: violin had already begun to spread throughout Leopoldi Todesca (c.1625-after 1665?) Europe by the popularity of the court dance (1653 to 1654, 1656) Andrea Amati (1500-1577), and street musicians. Gio Batta ------ (1653) Antonio Amati (1540-1607), The Malagamba brothers: (1654 to Hieronymus Amati I (1561-1630), In the first half of the 16th century some of 1655, 1666) Nicolo Amati (1596-1684), the early violins are attributed to Gasparo di Hieronymus Amati II Giuseppe (c.1634-?) Bertolotti da Salò (c.1540-1609) of Brescia, (1649-1740) Gio Batta (c.1637-?) founder of the school of violin making in Giacomo (Antonio?) (c.1644-?) Brescia. However, more convincingly, the first Guarneri family of Italian Bartolomeo Pasta (c.1640-after 1685?): (1660) violins were by Andrea Amati (1500-1577) of violin makers: Giovanni Battista Rogeri, Bolognese Cremona. There exists documentation of two- (c.1662-after 1705): (1661 to 1663) 3 string violins he created between 1542 and Andrea Guarneri Giorgio Taiper (c.1648-?): (1666 to 1667) 1546. The first 4 string violin was dated 1555; (1626-1698), Bartolomeo Cristofori (1655?-1731): (1680) likely by order of the Medici family, looking Pietro of Mantua Gioseppe Segher, Padovane (c.1646-?) for an instrument with the quality of a lute. (1655-1720), (1680 to1682) The violin immediately became very popular Giuseppe Guarneri Giuseppe Stucchi, Veneziano among the nobility, illustrated by the fact that (Joseph filius Andreae) (c.1663-?): (1681) the French king Charles IX ordered Amati to (1666-1739), Giacomo Railich (c.1650-?): (1683 to 1685) build a whole orchestra in the second half of Pietro Guarneri “The King” Violoncello by Andrea Amati, continued on following page the 16th century. There are 14 of these Andrea (of Venice) (1695-1762), Cremona, after 1538 ca. 2 Pluck 2011 3 continued from page 3 It is strongly believed that Antonio Stradivari apprenticed under Nicolo Amati, however there is no corroborating evidence, independent of one or two suspect makers’ labels. To this day, instruments from the “Golden Age” of violin making, especially those made by Stradivari and Guarneri del Gesu, are the most sought-after instruments by both collectors and performers. Some changes have occurred in the 18th century, particularly to do with the length and angle of the neck, as well as a heavier bass bar. The majority of old instruments have undergone these modifications, and hence are in a significantly different state than when they left the hands of their makers, doubtless with differences in sound and response. But these instruments in their present condition set the standard for perfection in violin craftsmanship and sound, and violin makers all over the world try to come as close to this ideal as possible. Cremona, Italy Fifteenth century drawing of a lute by Henricus Arnnault of Zwolle- with instructions for designing the outline and the inside form; a unique insight into the early proportional system used in string instrument design. 4 Pluck .