Italian and French Violin Makers

Italian & French Violin Makers
by Jost Thöne Verlag
—pdf Sample—
Jost Thöne Verlag

Titiseestraße 19, 79853 Lenzkirch—Saig, Germany
Phone: +49 (0)171 64 63 597
E-Mail: jost.thoene@jost-thoene-verlag.de
Internet: www.jost-thoene-verlag.de
Volume I-IV
Preface
Preface
III
III
Introduction
T
he encyclopaedia which is planned to comprise ten volumes, is being continued in the form of this your own measurements on the illustrations in original size. The demand for copies and imitations has increa-
second volume of “Italian & French Violin Makers”. The first volume was very positively received all sed greatly since not every musician can afford an antique Italian instrument although many of these musici-
over the world, which reinforced me to publish a further volume each year. My travels throughout Italy ans prefer an antique-looking instrument. There have been reproductions and imitations around since the 19th
and France were very informative, especially as the violin makers I met imparted to me new stimuli and ideas Century. Naturally, a large part of the individuality and personality of the violin maker is lost in these replicas
by means of their knowledge and constructive criticism. I have been able to work some of these stimuli and ideas even though these works undoubtedly frequently display excellent craftsmanship. However, for the violin lovers
into this volume. of today and the future, the characteristic models of contemporary violin makers are more interesting. These
characteristic models allow conclusions to be drawn about both the personality of the violin maker and the
I am frequently asked why I have chosen this particular selection of instruments. The reply to this question has “Zeitgeist”.
its roots in the intention that each individual volume is meant to present a summary of the last four centuries
of violin making in Italy and France, and therefor each volume speaks for itself. Moreover, this composition I have deliberately refrained from naming the owners of the instruments in favour of data protection and to
brings with it the advantage of being able to place the various volumes of this encyclopaedia next to each other, avoid possible criminal consequences! Should any reader be particularly interested in one of the instruments,
so that instruments from the same period yet different schools, can be compared. Until now, the lack of a suf- I am willing to establish contact to the owner of said instrument, provided the owner agrees to this.
ficient and qualitatively-relevant range of illustrations in original sizes has made this more or less impossible.
The illustrated instruments are to be seen as a “snapshot” from the complete works of the master violin maker. All that is left for me to say is to wish you a pleasant read and a great deal of delight looking at the instruments!
I am not concerned with showing the “best” work of the particular master, which is impossible when you con-
sider the subjective perception of each individual observer. Only a monograph about the one or the other vio-
lin maker can convey a fair and just overview of the complete works of a particular master. Jost Thöne
This encyclopaedia is therefore confined to brief biographies which, following bibliographical research, sum-
marise the latest state of information. They are available in the German original as well as English, French,
Italian and Japanese translations. I would like to draw your attention to the bibliography in the appendix. This
appendix contains a selection of interesting supplementary literature for extending your studies in Italian and
French violin makers, should you be interested in doing so. For further information on the “Italian & French
Violin Makers” encyclopaedia, please visit: www.italianandfrenchviolinmakers.com.
In addition to the illustrated instruments by famous masters, there are also those instruments from one or the
other unknown violin maker. The interest shown in such instruments is great, and is what makes an ency-
clopaedia really attractive although the biographical data might be very rare. At this point, I would like to quote
Monsieur Etienne Vatelot’s reaction to the first volume: “I find it so much more interesting to find French and
Italian instruments of varying qualities and periods rather than keep on looking at the already much-published
great Cremonese masters!”
On a visit to Lyons, I met Monsieur Jean-Frédéric Schmitt. Along with Etienne Vatelot, Bernard Millant and
a few other master violin makers, he is without doubt one of the last “figureheads of the old guard”! His spon-
taneous and thrilling lecture on the dependency of violin making on political and religious developments over
the past few centuries in Europe made such an outstanding impression on me that I asked Monsieur Schmitt
to make this subject available in the form an interview for this second volume. I would like to thank both him
and my interview partner Igor Moroder, and hope that your interest in this complex subject has also been
aroused. I hope that Jean-Frédéric Schmitt can soon present us with his own planned publication on this sub-
ject.
It was difficult to find the right instruments for the first volume. In contrast, I am now being bombarded with
a plethora of instruments for documentation purposes. This fact does not make the decision any easier, how-
ever, yet it does increase the chance of presenting as interesting a selection as possible. The attribution of the
particular instrument by internationally-acclaimed experts remained the utmost commandment. In this second
volume, the creative talents of many a violin maker are represented by two or even three instruments. They are
mainly one violin with one viola or a cello.
At the suggestion of many, you will discover in this volume several more body views taken both from the side and
from a 3/4 profile. I have also inserted several additional sizes, yet continue to refrain from providing information
regarding the thickness of the tables and backs. These are too frequently unsecured – since they have been tou-
ched up – and therefore, in my opinion, do not present the true value. If required, the dimensions taken with the
slide calliper rule can be carried out by means of
IV V
In the history of all other instruments it is always the end or the need which is responsible for the development
The European Heritage of Stringed Instrument Making of the means. But in the case in point the reverse is true. Only a visionary could have foreseen the future in
this way. After the creation of the quartet, the cello returned to the church and the violin to the street. It was
not until 1600 that the violin was used in the orchestra by Monteverdi and in sonatas by Biaggio Marini.
When I was asked by Monsieur Thöne, who was aware of my work in the field over the last fifteen years, to write Instrument-making was then in its creative heyday.
an article on the possible connections between the development of stringed instrument-making and the history
and economy of Europe, my first reaction was to decline the invitation. I did so for the following reasons. The sub- 1680-1740 saw the second great period of instrument-making. It was not the consequence of a cultural encounter as
ject is too vast to cover in a few lines and the 19th century literature that can be used for information often lacks in 1530, but it would appear to correspond to a definite policy of unification on behalf of the rulers of the Habsburg
precision because the facts were misrepresented and even distorted to suit the personal convictions of the writers. Empire. The latter were no longer dreaming of an empire modelled on that of Charles V but were seeking instead to
Adopting an economic, social and historical approach to the history of instrument-making should nevertheless consolidate their position in what was to become the Austro-Hungarian Empire and returning to the theme of an
allow us to consider the reality in a different light and to improve our understanding of the influence of all these empire that was hereditary and catholic-dominated.
parameters on the evolution of musical instruments. The Object is the reflection of History but it is also by con-
sidering what the Object reflects that we can improve our understanding of History. A systematic and rigorous In 1680 the frontiers were closing3. Venice, henceforth cut off from its trading routes, was to go rapidly into
study of the subject requires a team consisting of historians and professional instrument-makers. Historical theo- decline, thus bringing about the collapse of instrument-making in Fussen, a satellite town whose success was
ries are of course called into question at regular intervals, which may not constitute a reason for not writing at all, dependent on the wealth of the Venitians. It should nevertheless be noted that despite this major crisis, Venice
but it does perhaps encourage us to express ourselves with caution. continued to invest more and more heavily in different aspects of music.
The approach adopted by Braudel and Duby, who saw our European culture as the continuation of Oriental The closing of the frontiers also resulted in the weakening of the position of the protestant tradesmen of
culture, was for me a marvellous example of scholarly reflection. Why should instrument-making, the ‘engine- Salzburg, who from 1680 onwards no longer received interest on the money they had invested in Venice. The
room’ of music, stand apart from the influences of history and why should it not be considered as an integral isolation of the city seriously affected instrument-making there. The problems the Habsburgs had to face were
part of this link-up? innumerable (containing the protestant uprisings in Bohemia, solving the Hungarian problems, inciting protes-
tants unwilling to convert to Catholicism to leave the country, and also dealing with considerable linguistic
If we begin by considering plucked stringed instruments we must look first to Asia and the Middle East. Their dis- diversity) and the need to find tools for unifying their empire became paramount. Religion, baroque art and
covery by the Christian world took place along a line descending vertically from the Baltic Sea to Hungary, corre- music were to develop both in popular and aristocratic culture. Surely this explains the decision taken by the
sponding roughly to the European frontier of the world of Islam. The Jews were swift to adopt these instruments, instrument-makers of Milan and Naples, two cities under the control of the Habsburgs, to orient their pro-
and carried them to and fro in the turbulent population movements in Central Europe. We will not comment on duction towards mass manufacturing in order to satisfy the needs created by the democratisation of music,
other currents such as the movement from Asia and the Middle East to Spain and France or the maritime route whilst Cremona continued to supply the aristocracy and the nobility? This democratisation was also mirrored
between the Middle East and Northern Europe which affected Brittany in the 7th century, because our civilisa- elsewhere in Europe, but some twenty years later than in Italy: in North Germany around 17254 and in France
tion was not sufficiently advanced at the time to allow the development of the instruments that they brought with in 17305. As regards Italy, how important were politics in the development?
them.
Venice, caught in the middle between the Turks and the Austrians, sought help from France. Exchanges began.
The beginning of the 16th century was a great period in history of instrument-making. The rational and prag- Could this not explain the similarity in style between Pierray and Bocquay and that of the Venetian instrument-
matic minds of the renaissance musicians, tired of the vocal quartet, preferred to use instruments for the parts makers? We know that bodies by Pierray have often been used in the past to repair instruments by Pierre
previously given to singers. This meant the birth of quartets for different families of instruments. These great Guarnerius of Venice.
inventions were once again the result of encounters between technicians from the north (Germans) and Italian
artists in which both parties were able to find what was they needed in order to progress artistically, just as hap- Prior to the 1740-1840 period, France had been isolated from baroque culture by the restrictions imposed by
pened in other art forms, such as painting, music, copper engraving and watch-making1. Emigration towards Lully, remaining unaffected by what was being produced in Northern Italy, whereas Prague, England and
Italy took place in several waves and for different reasons. They were in the first instance economic: Venice was Holland had drawn inspiration from it.
the flagship of Europe and attracted artists and traders alike. Another explanation was the exodus to the south,
and to safety from religious conflicts, of protestants not wishing to convert to Catholicism. In 1740 the removal of the restrictions allowed Italian musicians from Florence to come to Paris. French instru-
ment-makers appear to have followed the changes in musical taste by copying Italian instruments. This explains
It is impossible to evoke this period without mentioning two charismatic figures, Gaspard Tieffenbrucker and in turn why Pierray and Bocquay never acquired the status of a school and why Guersan and the ‘Vieux Paris’
Leonardo da Vinci. Tieffenbrucker, who belonged to a great family of instrument-makers in Fussen and was a violin-makers are so close to the Florentine style.
friend of Leonardo da Vinci, moved to Lyon with twelve other instrument-makers from Bohemia around 1530.
Why should they have chosen a town of 40,000 inhabitants with no court and a local market too small to justify The last great period occurred when Viotti arrived at the ‘Concert Spirituel’. His Stradivarius impressed the
their move? We now know that the instrument-makers came because Louis XI had founded four annual tax-free Parisians and in the space of a few months the violin-makers graduated from a caricature of a Stainer (by
fairs. For the same reason a hundred and fifty printers had come from Nuremberg a hundred years earlier. We Renaudin, conserved in the ‘Musée instrumental de Paris’) to a copy of a Stradivarius. Viotti and his pupils were
also know today that Lyon was situated on the great trading route that ran from Edinburgh via London, Paris and also to herald the development of French bow-making. The Belgians, who had maintained relations with the
Lyon to either Marseille and Spain or Milan and Venice. Tieffenbrucker, at all events, can be considered to be the Italians, came to work in Paris, which became a cultural centre which was to influence the whole of Europe but
first violin-maker and perhaps the creator of the quartet of stringed instruments in the modern sense. first and foremost France’s own instrument-makers. This was what was known as the ‘Franco-Belgian school’.
Vieuxtemps was later to promote the school in London, Budapest and St. Petersburg (where he would live for
“He is known to have been in contact with Leonardo da Vinci. The final achievement attributed to Leonardo is to have twenty years) and teach, directly or indirectly, all the great Russian and Hungarian violinists such as Boehm and
participated in the invention of the violin. It is claimed that Leonardo was not only acquainted with the Tieffenbrucker fam- Joachim, to name but two.
ily but was on intimate terms with them. It is certainly inconceivable that an invention of this sort should take place in a
house which Leonardo frequented as a friend without his knowing about it. Knowing Leonardo, it would seem impossible 1 Cf. L’Art renaissant, in Histoire de l’Art, Elie Faure
that he didn’t have a hand in it. All that remains is to find some proof of this assertion. It exists or it has existed. The bish- 2 Cf. Léonard de Vinci, Istituto Geografico di Ferrare, 1975 edition
op’s crook is also attributed to Leonardo. And what of the spiral, a symbol represented time and time again in Leonardo’s 3 Cf. Atlas historique, « Le 17e siècle », Georges Duby
work? Other mysteries still await elucidation, such as the two infants in the ‘Leda’ portrait on whose foreheads we can read 4 Cf. Comment l’Allemagne est devenue musicienne, Marcel Beaufils
the name ‘Gaspar’2. Are the three examples of the name ‘Léonard’ to be found among Tieffenbrucker’s proge- 5 Cf. Histoire du concert spirituel 1725-1790, Constant Pierre
ny also to be seen as a token of thanks? The encounter between a famous instrument-maker and a genius might
well explain the appearance a quartet of instruments perfectly adapted to the vocal quartet and fifty years before
anything was composed for it.
VI VII
Alphabetical Order
Giuseppe Dall´Aglio Mantova 1775 violin Vol.2 40 Matteo Goffriller Venice 1710 violin Vol.1 34 Santo Serafino Venice 1735 violin Vol.1 42
Nicolò Amati Cremona 1641 violin Vol.4 12 Antonio Gragnani Livorno 1781 violin Vol.1 48 Gaetano Sgarabotto Parma 1930 c. viola Vol.1 132
Riccardo Antoniazzi Milan 1892 violin Vol.1 102 Giovanni Battista Grancino Milan 1710 c. violoncello Vol.3 31 Pietro Sgarabotto Parma 1960 c. viola Vol.2 164
Nestor Dominique Audinot Paris 1905 violin Vol.4 128 Giuseppe Guarneri ´del Gesù´ Cremona 1734 violin Vol.4 47 Pietro Sgarabotto Parma 1962 violin Vol.2 172
Paul Bailly Paris 1902 violoncello Vol.1 126 Paolo Guadagnini Turin 1929 violin Vol.4 176 Antonio Sgarbi Rome 1890 viola Vol.1 96
Tommaso Balestrieri Mantova 1763 violin Vol.4 57 Giuseppe Guarneri ´filius Andrea´ Cremona 1710 violin Vol.3 27 Giuseppe Sgarbi Rome 1866 violin Vol.3 79
Paolo de Barbieri Genoa 1930 violin Vol.3 150 Giuseppe Guarneri ´filius Andrea´ Cremona 1712 violin Vol.4 37 Giuseppe Sgarbi Rome 1882 viola Vol.3 84
Joseph Bassot Paris 1788 viola Vol.3 52 Pietro Guarneri (II)´filius Joseph´ Cremona 1730 c. violin Vol.4 42 Hippolyte Chrétien Silvestre Lyon 1885 viola Vol.2 104
Joseph Bassot Paris 1790 c. viola Vol.3 56 Pietro Grulli Cremona 1885 c. violin Vol.1 90 Pierre Silvestre Sommerviller 1856 violin Vol.3 75
Gustave Bernardel Paris 1896 viola Vol.1 108 Pierre Joseph Hel Lille 1888 violin Vol.4 105 Amedeo Simonazzi Reggio Emilia 1951 violin Vol.3 160
Otello Bignami Bologna 1960 violin Vol.2 152 Jocobus Horil Rome 1757 violin Vol.3 37 Ettore Soffritti Ferrara 1908 violoncello Vol.4 132
Otello Bignami Bologna 1977 violoncello Vol.2 158 Pierre Charles Jacquot Nancy 1888 violin Vol.3 87 Ettore Soffritti Ferrara 1916 violin Vol.4 138
Giuseppe Leandro Bisiach Milan 1920 violin Vol.3 106 François Lejeune Paris 1780 c. violin Vol.3 47 Ettore Soffritti Ferrara 1926 violin Vol.2 126
Bernardus Calcanius Genoa 1750 c. violin Vol.2 28 Giovanni Battista de Lorenzi Vicenza 1875 violin Vol.1 84 Lorenzo Storioni Cremona 1796 violin Vol.1 60
Cesare Candi Genoa 1921 violin Vol.4 142 Giuseppe Lucci Rome 1975 viola Vol.2 178 Antonio Stradivari Cremona 1681 violin Vol.4 22
Cesare Candi Genoa 1930 violin Vol.4 147 Giuseppe Lucci Rome 1978 violin Vol.2 186 Antonio Stradivari Cremona 1724 violin Vol.2 14
Gioffredo Cappa Saluzzo 1700 violin Vol.3 12 Gennaro de Luccia Miami 1956 violin Vol.4 205 Antonio Stradivari Cremona 1727 violin Vol.4 27
Marinus Capicchioni Rimini 1937 violin Vol.2 138 Nicolas Lupot Orléans/Paris 1795 c. violin Vol.1 54 Carlo Giuseppe Testore Milan 1703 violin Vol.3 17
Marinus Capicchioni Rimini 1939 viola Vol.2 144 Nicolas Lupot Orléans/Paris 1795 violin Vol.4 62 Jacques-Pierre Thibout Paris 1837 violin Vol.3 65
Marinus Capicchioni Rimini 1954 violin Vol.2 148 Nicolas Lupot Paris 1824 violin Vol.4 67 Joannes (Giovanni) Tononi Bologna 1705 c. violin Vol.3 22
Luigi Cardi Verona 1884 violin Vol.4 95 Paolo Maggini Brescia 1620 c. violin Vol.2 2 Jean-Baptiste Vuillaume Paris 1860 c. violin Vol.1 78
François Caussin Neufchâteau 1870 c. violoncello Vol.2 92 Erminio Malagutti Milan 1991 violin Vol.3 188
Giovanni Battista Ceruti Cremona 1811 violin Vol.4 70 Antonio Mariani Pesaro 1670 c. violin Vol.2 8
Franciskus Chaló Turin 1872 violin Vol.2 98 Angelo Molia Genoa 1759 violin Vol.3 42
George Chanot Paris 1848 violin Vol.4 85 Erminio Montefiore Genoa 1899 violin Vol.4 110
Nicolas Augustin Chappuy Mirecourt 1760 violoncello Vol.2 46 Arnoldo Morano Turin 1957 violin Vol.3 164
Primo Contavalli Imola 1950 c. violin Vol.1 138 Giuseppe Nadotti Piacenza 1793 viola Vol.2 54
Felix Mori Costa Parma 1825 violin Vol.3 60 Carlo Giuseppe Oddone Turin 1934 violin Vol.4 181
Jean Joseph Honoré Derazey Mirecourt 1850 c. violin Vol.3 70 Giuseppe Ornati Milan 1921 viola Vol.3 111
Marco Dobretsovitch Bologna 1925 violin Vol.3 123 Giuseppe Ornati Milan 1952 violin Vol.3 115
Annibale Fagnola Turin 1924 violin Vol.4 151 Pierre Pacherele Nice 1845 c. violin Vol.1 72
Annibale Fagnola Turin 1925 violin Vol.4 156 Pietro Pallotta Perugia 1814 violin Vol.4 75
Annibale Fagnola Turin 1927 violin Vol.4 160 Gaetano Pareschi Ferrara 1938 violin Vol.3 155
Annibale Fagnola Turin 1931 violin Vol.4 164 Gaetano Pareschi Ferrara 1963 viola Vol.1 150
Celeste Farotti Milan 1901 violin Vol.4 115 Romolo Parmeggiani Modena 1963 viola Vol.3 178
Celeste Farotti Milan 1911 violin Vol.4 120 Ernesto Pevere Ferrara 1958 violin Vol.3 168
Celestino Farotto Milan 1939 violin Vol.4 190 François Louis Pique Paris 1802 violin Vol.2 70
Raffaele Fiorini Bologna 1893 viola Vol.2 112 Ansaldo Poggi Bologna 1928 violin Vol.4 168
Raffaele Fiorini Bologna 1895 c. violin Vol.2 120 Ansaldo Poggi Bologna 1954 violin Vol.1 144
Arturo Fracassi Rimini 1962 violin Vol.3 173 Ansaldo Poggi Bologna 1964 viola Vol.4 173
Jean-Baptiste Frébrunet Paris 1758 violin Vol.4 52 Gaetano Pollastri Bologna 1932 violin Vol.2 132
Mario Frosali Los Angeles 1945 violin Vol.4 195 Andrea Postacchini Fermo 1826 violin Vol.4 80
Giovanni Battista Gabrielli Florence 1754 c. violin Vol.2 34 Vincenzo Postiglione Naples 1891 violin Vol.3 92
Gaetano Gadda Mantova 1928 violin Vol.3 128 Giovanni Francesco Pressenda Turin 1829 violin Vol.2 76
Gaetano Gadda Mantova 1934 violin Vol.3 132 Umberto Roazzi Milan 1951 viola Vol.4 200
Gaetano Gadda Mantova 1949 viola Vol.3 136 Giuseppe Antonio Rocca Turin 1831 violin Vol.2 86
Giovanni Gagliano Naples 1800 violoncello Vol.2 62 Sesto Rocchi Reggio Emilia 1975 violin Vol.3 183
Nicola Gagliano Naples 1750 c. violin Vol.2 22 Azzo Rovescalli Milan 1900 c. violin Vol.1 114
Raffaele & Antonio Gagliano Naples 1805 violin Vol.1 66 Francesco Rugieri Cremona 1680 violin Vol.4 17
Giovanni Gaida Ivrea 1903 violin Vol.4 123 Francesco Rugieri Cremona 1685 c. violoncello Vol.1 26
Gand frères Paris 1856 violin Vol.4 90 Vincenzo Rugieri Cremona 1693 violoncello Vol.4 31
Ferdinando Garimberti Milan 1928 violin Vol.3 139 Vincenzo Sannino Naples 1900 violoncello Vol.3 96
Ferdinando Garimberti Milan 1929 violin Vol.3 143 Stefano Scarampella Mantova 1903 violin Vol.3 102
Ferdinando Garimberti Milan 1967 violin Vol.3 147 Carlo Schiavi Cremona 1938 violin Vol.4 186
Giorgio Gatti Turin 1900 viola Vol.1 120 Iginio Sderci Florence 1924 violin Vol.3 118
Emile Germain Paris 1886 violin Vol.4 100 Iginio Sderci Florence 1972 viola Vol.1 156
6 7 8
Nicolò
Nicolò Amati
Amati
*Nicolò Amati
1596 Cremona
*† 1596 Cremona
1684 Cremona
* 1596 Cremona
† 1684 Cremona
† 1684 Cremona
Nicolò Amati, the son and pupil of Girolamo Amati, worked until about 1625 after his father's guidance. Yet his search
Nicolò Amati,regarding
for perfection the son and pupil
beauty andof sound
Girolamo Amati,
of the worked made
instruments until him
aboutdevelop
1625 after his father's
his own model. guidance.
He changed Yetthe
hisarching
search
Nicolò Amati,
for perfection the son
regardingand pupil
beauty andof Girolamo
sound Amati,
of the worked until about 1625 after his father's guidance. Yet his search
and the thickness of wood of the model used untilinstruments
then. Nicolò made him instruments
Amati's develop his own
showmodel. He sound
very bold changed the arching
holes, and an
for perfection
and the and regarding
thickness beauty and sound of the
untilinstruments made him instruments
develop his own
showmodel. He sound
changed the arching
elegant ratherof wood
small of the
scroll. Hismodel
suppleused
varnish isthen.
of a Nicolò Amati's
yellow-brown or red-golden tinge verythe
and boldwood washoles,
chosenand an
with
and the
elegant thickness
andNicolò of wood
rather Amati of the
small scroll. model
His suppleused until
varnish then. Nicolò Amati's instruments show very bold sound holes, and an
great care. is considered as the mostisimportant
of a yellow-brown or red-golden
and gifted violin maker tinge andfamily.
of his the woodHis was chosen
pupils with
included
elegant
great andNicolò
care. rather small scroll. His supple varnish
mostisimportant
of a yellow-brown or red-golden tinge andfamily.
the woodHis was chosen with
Andrea Guarneri, Amati
Giacomois considered
Gennaro and as the
possibly, and Francesco
Jacob Stainer, gifted violin maker
Rugieri of his
and Antonio pupils
Stradivarius. included
He built
great
Andreacare. Nicolò Amati
Guarneri, is consideredandas the most important and Francesco
gifted violin makerand of his family.Stradivarius.
His pupils included
mainly violins, andGiacomo
especiallyGennaro
the ones made possibly,
after hisJacob Stainer,
bigger “Grand Pattern“Rugieri
are highly Antonio
sought after. His violasHe
arebuilt
rare
Andrea
mainly Guarneri,
violins, andGiacomo
especiallyGennaro
the ones and
madepossibly,
after Jacob
his Stainer,
bigger Francesco
“Grand Pattern“Rugieri
are and
highly Antonio
sought Stradivarius.
after. His violasHe
are built
rare
and the violoncellos are made after a relatively small pattern. Nicolò Amati had nine children, yet only his son Girolamo
mainly violins,
and the violin and
violoncellosespecially the ones made after his bigger “Grand Pattern“ are highly sought after. His violas are rare
became maker.are made after a relatively small pattern. Nicolò Amati had nine children, yet only his son Girolamo
and the violin
became violoncellos
maker.are made after a relatively small pattern. Nicolò Amati had nine children, yet only his son Girolamo
became violin maker.
Nicolò Amati, der Sohn und Schüler seines Vaters Girolamo Amati, arbeitete bis etwa 1625 nach dessen Anleitung. Jedoch
Nicolò ihn
führte Amati,
seinder Sohn und
Streben nachSchüler seinesimVaters
Perfektion LaufeGirolamo Amati, arbeitete
seines Schaffens zu seinembis eigenen
etwa 1625 nach dessen
Modell, wobei Anleitung.
er Wölbung Jedoch
und
Nicolò
führte Amati,
ihn der der
seinbis Sohn
Streben und Schüler seines
nach Perfektion Vaters
im Laufe Girolamo Amati,
seines Die
Schaffens arbeitete
zu sind
seinembis etwa 1625 nach dessen Anleitung. Jedoch
Holzstärke dato verwendeten Modelle veränderte. ff-Löcher sehreigenen Modell,
kühn und wobei ergeschnitten,
schwungvoll Wölbung und die
führte ihn
Holzstärke sein
der Streben
bis dato nach Perfektion
verwendeten im
Modelle Laufe seines
veränderte. Schaffens
Die zu
ff-Löcher seinem
sind sehreigenen
kühn Modell,
und wobei
schwungvoll er Wölbung und
geschnitten, die
Schnecke recht klein und überaus elegant gestochen, und der gelbbraune oder rotgoldene Lack ist von großer
Holzstärke der bis
Schnecke recht kleindato verwendeten
und Sorgfalt Modelle
überauswidmete veränderte.
elegant ergestochen, Die ff-Löcher
undverwendeten sind
der gelbbraunesehr kühn und schwungvoll geschnitten, die
Geschmeidigkeit. Besondere der Wahl des Holzes.oder rotgoldene
Nicolò Amati giltLack istbedeutendste
als der von großer
Schnecke recht klein
Geschmeidigkeit. und Sorgfalt
Besondere überauswidmete
elegant ergestochen,
der Wahl undverwendeten
des der gelbbraune
Holzes. oder rotgoldenegiltLack istbedeutendste
von großer
und begabteste Geigenbauer seiner Familie. Zu seinen Schülern zählten Meister wieNicolò
AndreaAmati
Guarneri, alsGiacomo
der Gennaro
Geschmeidigkeit.
und Besondere Sorgfalt widmete erseinen
der Wahl des verwendeten Holzes. Nicolò Amati gilt alsGiacomo
der bedeutendste
und möglicherweise Jacob Stainer, Francesco Rugieri und Antonio Stradivari. Nicolò Amatis ProduktionGennaro
begabteste Geigenbauer seiner Familie. Zu Schülern zählten Meister wie Andrea Guarneri, umfasst
und
und begabteste Geigenbauer
möglicherweise Jacob seiner Familie.
Stainer,besondersZu
Francesco seinen Schülern zählten Meister wie Andrea Guarneri, Giacomo Gennaro
hauptsächlich Violinen, von denen dieRugieri und größeren
nach seinem Antonio Modell
Stradivari. Nicolò
gebauten Amatis Produktion
Instrumente begehrt sind.umfasst
Seine
und möglicherweise
hauptsächlich Violinen,Jacob
von Stainer,
denen Francesco
besonders die Rugieri
nach und
seinem Antonio
größeren Stradivari. Nicolò Amatis Produktion umfasst
Bratschen und Celli fertigte er nach einem vergleichsweise kleinen Modell. Von Nicolòs neun Kindern wurde nurSeine
Modell gebauten Instrumente begehrt sind. sein
hauptsächlich
Bratschen Violinen,
und Celli von denen besonders die nach seinem größeren Modell gebauten Instrumente begehrt
fertigte er nach einem vergleichsweise kleinen Modell. Von Nicolòs neun Kindern wurde nur sein sind. Seine
Sohn Girolamo Geigenbauer.
Bratschen und Celli fertigte er nach einem vergleichsweise kleinen Modell. Von Nicolòs neun Kindern wurde nur sein
Nicola Amati, figlio e allievo di Girolamo Amati lavora fino circa il 1625 sotto la guida del padre. La sua personale ricer-
Nicola
ca Amati,lofiglio
sul suono portaeaallievo di Girolamo
sviluppare Amati lavora
un suo personale fino cambiando
modello circa il 1625lesotto la guidae gli
bombature delspessori
padre. Ladelsua personale
legno ricer-
nel modello
Nicola
ca Amati,
sul fino
suono figlio
lo porta e allievo di
a sviluppare Girolamo Amati
un suo personale lavora fino circa il 1625 sotto la guida del padre. La sua personale ricer-
usato a quel momento. Gli strumenti di Nicolamodello cambiando
Amati mostrano le bombature
delle e gli spessori
ff molto personali e unadel legno ed
elegante neluna
modello
testa
ca sul
usato suono lo
finopiccola porta
a quel ma a
momento.sviluppare un suo
GliLastrumenti personale
di Nicola modello cambiando le bombature e gli spessori del legno nel modello
piuttosto elegante. sua vernice varia daAmati mostranoa delle
giallo-marron ff molto
rosso-oro personali
e la scelta e una éelegante
del legno sempre ed una accu-
molto testa
usato fino
piuttosto a quel
piccola momento.
maéelegante. Gli strumenti
La sua di
vernice Nicola Amati mostrano
varia da esponente
giallo-marron delle ff
a rosso-oro molto personali
e la scelta e una elegante ed una testa
rata. Nicola Amati considerato il piú importante della sua famiglia. Fra idel legno
suoi é sempre
allievi molto
troviamo: accu-
Andrea
piuttosto
rata. piccola
Nicola Amati maéelegante.
consideratoLa sua piú
vernice varia da esponente
giallo-marron a rosso-oro e la scelta
Fra idel legno é sempre molto accu-
Guarneri,Giacomo Gennaro, forse ilJacob importante
Steiner, Francesco Rugeridella sua famiglia.
e Antonio Stradivari. suoi
Costruíallievi
moltitroviamo:
violini e Andrea
special-
rata. Nicola Amati Gennaro,
Guarneri,Giacomo é considerato forse ilJacob
piú importante
Steiner,sono esponente
Francesco della Antonio
sua famiglia. Fra i Costruí
suoi allievi troviamo: e Andrea
mente un tipo fatto dopo il suo modello grande molto Rugeri
ricercatie per Stradivari.
il suono dolce e pieno. Lemolti violini
sue viole sono special-
rare e
Guarneri,Giacomo
mente un tipo fatto Gennaro,
dopo forse Jacob Steiner, Francesco Rugeri e Antonio Stradivari. Costruí molti violini e special-
i violoncelli sono fatti conil modello
suo modello grande sono
relativamente moltoNicola
piccolo. ricercati per ilebbe
Amati suono dolce
nove figlie epieno. Le sueGirolamo
solamente viole sonoseguí
rarelee
mente un tipo
i violoncelli fatto dopo il suo modello grande sono molto ricercati per il suono dolce e pieno.
sono fatti con modello relativamente piccolo. Nicola Amati ebbe nove figli e solamente Girolamo seguí Le sue viole sono rarelee
orme del padre.
i violoncelli
orme sono fatti con modello relativamente piccolo. Nicola Amati ebbe nove figli e solamente Girolamo seguí le
del padre.
orme del padre.
Elève de son père Girolamo Amati, Nicolò travailla jusque vers 1625 d'après les indications de celui-ci. Cependant, son
Elève de son pèreconcernant
perfectionnisme Girolamo Amati, Nicolò de
l'amélioration travailla jusque
la qualité vers 1625
sonore d'après les indications
de l'instrument l'amena à créerde celui-ci. Cependant,
son propre modèlesonen
Elève de son
perfectionnismepère Girolamo
concernant Amati, Nicolò
l'amélioration travailla
de la jusque
qualité vers
sonore 1625
de d'après
l'instrumentles indications
l'amena à de
créer celui-ci.
son Cependant,
propre modèle son
en
modifiant la voûte et l'épaisseur du bois des modèles employés jusqu'ici. La courbe des ouïes est très hardie, la volute est
perfectionnisme
modifiant la et
voûteconcernant l'amélioration de la qualité sonore de l'instrument l'amena à créer son propre modèle en
plutôt petite très etfinement
l'épaisseur du boisetdes
travaillée, le modèles employés
vernis jaune doré ou jusqu'ici. La courbe
brun rouge a une des ouïessouplesse.
grande est très hardie,
NicolòlaAmati
voluteatta-
est
modifiant
plutôt la et
voûte etfinement
l'épaisseur du bois des modèles employés jusqu'ici. La courbe des ouïessouplesse.
est très hardie, la voluteatta-
est
cha unepetite trèsparticulière
attention travaillée,
au choix etdulebois
vernis jaune
employé. doré
Il estou brun rouge
le luthier a une
le plus grande
important et le plus douéNicolòdeAmati
sa famille.
plutôt
cha unepetite et trèsparticulière
attention finement travaillée,
au choix et lebois
vernis jaune doré
Il estou brun
luthierrouge a une grande souplesse. NicolòdeAmati atta-
On compte au nombre de ses élèves des du employé.
maîtres comme Andrea leGuarneri, leGiacomo
plus important
Gennaroet et,
le plus doué
peut-être, Jacobsa Stainer,
famille.
cha une attention
On compte particulière
au nombre au choix
des du
de ses Stradivari.
élèves bois comme
maîtres employé.Andrea
Il est le luthier leGiacomo
plus important et et,
le plus doué de sa Stainer,
famille.
Francesco Rugieri et Antonio La production de NicolòGuarneri,
Amati englobe en premier Gennaro peut-être,
lieu des violonsJacob
; parmi ceux-
On compteRugieri
Francesco au nombre
et de ses Stradivari.
Antonio élèves des maîtres commede Andrea
NicolòGuarneri, Giacomo Gennarolieu et,des
peut-être, Jacob Stainer,
ci, ceux fabriqués d'après son modèle le La plusproduction
grand sont appréciés. Amati englobe
Ses altos en premier
et ses violoncelles sontviolons ; parmi
construits ceux-
selon un
Francesco Rugieri et
ci, ceux comparativement Antonio
fabriqués d'après plus Stradivari.
son modèle La
le neufproduction
plus grand de Nicolò Amati englobe en premier lieu des violons ; parmi ceux-
modèle petit. Des enfantssont appréciés.
de Nicolò, seulSes
sonaltos
fils et ses violoncelles
Girolamo sont construits
devint lui-même luthier.selon un
ci,
modèle comparativement plus petit. Des neuf enfants de Nicolò, seul son fils Girolamo devint lui-même luthier.selon un
ceux fabriqués d'après son modèle le plus grand sont appréciés. Ses altos et ses violoncelles sont construits
modèle comparativement plus petit. Des neuf enfants de Nicolò, seul son fils Girolamo devint lui-même luthier.
ニコロ・アマティはジローラモ・アマティの息子、弟子であり1625年頃までその父親の手本に従い製作していた。
しかしながら、響きへの製作行程における完璧さへのひたむきさが、彼の創作のなかで自身のモデルへと衝き動か
し、そのなかで湾曲と木の強度を今日でも用いられているモデルへと変えることになる。ｆ字孔は勢いがあり大胆
に刻まれ、スクロールは非常に小さく洗練され、そして黄褐色、もしくは赤味を帯びた金色のニスはしなやかさを
もっている。かれは使用する木材に注意をはらっていた。ニコロ・アマティはその家系のなかで最も重要で才能あ
るヴァイオリン製作者とみられている。彼の弟子には名匠アンドレア・グァルネリ、ジャーコモ・ジェンナーロ、
そしておそらくヤコブ・シュタイナー、フランチェスコ・ルジェッリとアントニオ・ストラディヴァリが数えられ
る。ニコロ・アマティの製作は主にヴァイオリン、そのなかでも特に彼の大きめのモデルのヴァイオリンは当時も
今日も切望されている。それと比較して彼のビオラやチェロは小さめのモデルにより作られている。ニコロの9人の
子供のうちただひとり、ジローラモがヴァイオリン製作者になった。
12
12
12
Giuseppe
Giuseppe Guarneri
Guarneri ´filius
´filius Andrea´
Andrea´
* 1666
*† 1666
1740 Cremona
† 1740 Cremona
Giuseppe Giovanni Battista Guarneri was the third son of Andrea Guarneri. Like his elder brother Pietro he
Giuseppe
Giuseppe
was Giovanni
a pupilGiovanni Battista
Battista
of his father. Guarneri
Guarneri
Pietro was the
was
left Cremona thearound
third son
third son of and
of
1679 Andrea
Andrea Guarneri.
wentGuarneri.
to Mantua. Like
Like his Andrea’s
his
After elder brother
elder brother Pietro
deathPietro he
he
in 1689
was a pupiltook
Giuseppe of his
overfather. Pietro leftThe
his workshop. Cremona around
same year 1679 and
Giuseppe’s went to
youngest sonMantua. AfterGiuseppe
Bartolomeo Andrea’s was
death in 1689
born, who
Giuseppe
later was taught violin making by Giuseppe. For many years father and son worked together and numerouswho
took over his workshop. The same year Giuseppe’s youngest son Bartolomeo Giuseppe was born, in-
later was taught violin making by Giuseppe. For many years father and son worked together
struments Bartolomeo Giuseppe built the body and Giuseppe the scroll. From 1720 Giuseppe Guarneri Seniorand numerous in-
struments
suffered from Bartolomeo
poor healthGiuseppe built
and thus the body
resulting and Giuseppe
financial problems.theHis
scroll.
sonFrom 1720
carried Giuseppe
on helping himGuarneri Senior
and so he was
suffered
suffered from
from poor
poor health
health and
and thus
thus
able to lead his workshop until his death.resulting
resulting financial
financial problems.
problems. His
His son
son carried
carried on
on helping
helping him
him and
and so
so he
he was
was
able to
able to lead
lead his
his workshop
workshop until
until his
his death.
death.
Giuseppe Guarneri ´filius Andrea´

* 1666 Giovanni Battista Guarneri, Sohn des Amati-Schülers Andrea Guarneri, erlernte zusammen mit sei-
Giuseppe
Giuseppe
Giuseppe
† 1740
nem Giovanni
Giovanni
Cremona
Bruder Pietro denBattista
Battista Guarneri,
Guarneri,
Geigenbau Sohn
Sohn
in der des Amati-Schülers
des
Werkstatt Amati-Schülers Andrea
seines Vaters.Andrea
Während Guarneri,
Guarneri, erlernte zusammen
erlernte
Pietro Cremona zusammen
gegen 1679mit mit sei-
sei-
verließ
nem eine
nem
und Bruder
Bruder Pietro den
Pietro
Werkstatt den Geigenbau
Geigenbau
in Mantua in der
in der Werkstatt
eröffnete, Werkstatt
übernahmseinesseines Vaters.
Vaters.
Giuseppe Während
nach dem Tode Pietro Cremona
seines Vaters gegen 1679
im Jahre verließ
1698 die
und
und eine
eine Werkstatt
Werkstatt in
in Mantua
Mantua eröffnete,
eröffnete, übernahm
übernahm Giuseppe
Giuseppe nach
nach dem
dem Tode
Tode seines
seines
Werkstatt in Cremona. Im selben Jahr kam sein jüngster Sohn Bartolomeo Giuseppe zur Welt, er sollte später Vaters
Vaters im
im Jahre
Jahre 1698
1698 die
die
Giuseppe
Werkstatt
Werkstatt Giovanni
in Cremona. Battista
Im Guarneri
selben Jahr was
kam the
seinthird son
jüngster of Andrea
Sohn Guarneri.
Bartolomeo Like
Giuseppe his elder
zur brother
Welt, er Pietro
sollte he
später
unter deminNamen
Cremona. Im selben
Giuseppe Jahr kam
Guarneri „del sein
Gesù“ jüngster Sohn Bartolomeo
den Namen Guarneri in Giuseppe
die höchstenzur Sphären
Welt, er sollte später
des Geigen-
was
unteraheben.
unter pupil
dem of his father.
dem Namen
Namen Giuseppe
GiuseppePietro left Cremona
Guarneri around
„del Gesù“
Gesù“ den 1679 and Guarneri
Namen went to Mantua.
inseines After Andrea’s
die höchsten
höchsten Sphären death in 1689
desvornehm-
Geigen-
baus Von 1714 bis circaGuarneri „del
1722 assistierte „del den
Gesù“ Namen
in derGuarneri
Werkstattin die Sphären
Vaters. Er war dort des Geigen-
Giuseppe
bausfür
baus took
heben.
heben. Von
Vonover hisbis
1714
1714 workshop.
bis circa
circa 1722
1722 The same year
assistierte
assistierte Giuseppe’s
„del
„del Gesù“ in
Gesù“ in youngest son Bartolomeo
der Werkstatt
der Werkstatt seines
seines Giuseppe
Vaters.
Vaters. Er was born,
war dort
dort who
vornehm-
lich die Herstellung der Geigenkörper verantwortlich, während sein Vater sich dem Er war
Schnitzen vornehm-
der Schne-
later
lich wasdie
lich für
für taught
die violin making
Herstellung
Herstellung der by Giuseppe.verantwortlich,
der Geigenkörper
Geigenkörper For many yearswährend
verantwortlich, father and
während seinson
sein worked
Vater
Vater sich
sich together and numerous
dem Schnitzen
dem Schnitzen der Schne-
der in-
Schne-
cken annahm. Ab 1720 hatte Giuseppe Guarneri ´filius Andrea´ zunehmend mit gesundheitlichen und daraus
struments
cken annahm.
cken Bartolomeo
annahm. Ab
Ab 1720Giuseppe
1720 hatte
hatte built the
Giuseppe
Giuseppe body and
Guarneri
Guarneri Giuseppe
´filius
´filius Andrea´
Andrea´thezunehmend
scroll. Frommit1720
mit Giuseppe Guarneri
gesundheitlichen Senior
und daraus
daraus
resultierenden finanziellen Schwierigkeiten zu kämpfen. Er wurdezunehmend
aber weiterhin gesundheitlichen
von und
seinem Sohn unterstützt,
suffered from
resultierenden
resultierenden poor health
finanziellen and thus resulting
Schwierigkeiten zufinancial problems.
kämpfen. Er Erkonnte. His
wurde aber son carried
aber weiterhin
weiterhin vonon helping
von seinem him
seinem Sohn and so he was
Sohn unterstützt,
unterstützt,
wodurch er diefinanziellen
Werkstatt bis Schwierigkeiten
zu seinem Todzu kämpfen.
weiterführen wurde
able to lead
wodurch his Werkstatt
er die workshop bis until
zuhis death.
seinem Tod weiterführen konnte.

* 1666 Giovanni Battista Guarneri, figlio dell’allievo della scuola amati Andrea Guarneri (1623-1698), im-
Giuseppe
Giuseppe Giovanni
Giuseppe Giovanni Battista
Battista Guarneri,
Guarneri, Sohn
figlio des Amati-Schülers
dell’allievo della Andrea
scuola amatiGuarneri,
Andrea erlernte
Guarneri zusammen
(1623-1698), mit im-
sei-
im-
parò
†nem1740l’arte della liuteria
Cremona nellaGuarneri,
bottega del figlio
padre dell’allievo
insieme aldella scuola
fratello amati
Pietro. Andrea
Questi Guarneri
si allontanò (1623-1698),
da Cremona per
parò Bruder
parò
aprire l’arte
l’arte Pietro
della
della
una sua
den Geigenbau
liuteria
liuteria
bottega nella bottega
nella
a Mantova bottegain der
del Werkstatt
del
lasciando padre
padre seinesal
insieme
così ainsieme
GiuseppealVaters.
fratello
fratello Während
Pietro.
quella diPietro.
Cremona
Pietrosi
Questi
QuestidoposiCremona
allontanò
allontanò gegen
la morte del da 1679 verließ
da padre,
Cremona
Cremona per
per
manca-
und
aprire
aprire eine
una Werkstatt
sua bottegain aaMantua
Mantova eröffnete,
lasciando übernahm Giuseppe
così aa Giuseppe
Giuseppe quellanach di dem Todedopo
Cremona seinesla
dopo laVaters
morte imdelJahre
padre, 1698 die
manca-
to nel una
1968. sua bottega
Nello stesso Mantova
anno nacque lasciando così
suo fratello più piccolo,quella di Cremona
Bartolomeo Giuseppe morte del
(1698-1744), padre,
il quale manca-
suc-
Werkstatt
Giuseppe in Cremona.
Giovanni Im
Battista selben Jahr kam sein jüngster Sohn Bartolomeo Giuseppe zur Welt, er sollte später
to nel
to nel 1968.
1968.
cessivamente, Nello
Nello stesso
con ilstesso
nome anno
annodi Guarneri
nacque was
nacque
Guarneri suo
“del the
suo fratello thirdpiù
fratello
Gesù”, son
più of
altoAndrea
piccolo,
piccolo,
tenne nomeGuarneri.
il Bartolomeo Like his
Giuseppe
della famiglia. elder
1714 brother
(1698-1744),
(1698-1744),
Dal Pietro“del
ilil quale
al 1722 quale
circa he
suc-
suc-
unter dem
was a pupil Namen Giuseppe Guarneri „del Gesù“ den Namen Guarneri in die höchsten Sphären des Geigen-
Gesù” lavoròofnella
cessivamente, his father.
con nomePietro
ilbottega di left Cremona
delGuarneri
padre; in“del around
Gesù”,
particolare, 1679
tenne
curava laand
alto went to
il nome
produzione Mantua.
delladifamiglia.
violini,After
DalAndrea’s
mentre 1714 death
al 1722
il padre in 1689
si circa “del
occupava
baus heben.
Giuseppe
Gesù” tookVon
lavoròinella 1714
over his bis circa
workshop. 1722 The assistierte
same „del
year Gesù“
Giuseppe’s in der Werkstatt
youngest son seines
BartolomeoVaters. Er war
Giuseppe dort
was vornehm-
born, who
di intagliare ricci.bottega
Per questo del padre;
motivoinoggi particolare, curava
si ritrovano la produzione
numerosi strumentidi violini, mentre
il cui corpo haill’impronta
padre si occupava
di “del
lich
later
di für
was die
intagliare Herstellung
taughti violin
ricci. Per der
making
questo Geigenkörper
by Giuseppe.
motivo oggi verantwortlich,
siFor many
ritrovano years während
numerosifather sein
and son
strumentiVater sich
worked
il cui dem
together
corpo Schnitzen
ha and der di
numerous
l’impronta Schne-
in-
“del
Gesù” e la testa quella di Giuseppe figlio di Andrea. Dal 1720 Giuseppe Guarneri “figlio di Andrea” si ammalò
cken annahm.
struments Ab
e la Bartolomeo 1720di hatte
Giuseppe Giuseppe
built Guarneri
the ´filius
Dal Andrea´ zunehmend mit gesundheitlichen und daraus
Gesù”
trovandosi testa quella
così costretto Giuseppe
ad abbandonarefiglio ilbody
di and
Andrea.
proprio Giuseppe
lavoro1720 the
e, diGiuseppe scroll. Guarneri
conseguenza, From ad1720 Giuseppe
“figlio
affrontare Guarneri
diproblemi
Andrea” Senior
si ammalò
economici.
resultierenden
suffered from finanziellen
cosìpoor Schwierigkeiten zufinancial
kämpfen. Ere,
e,wurde aber weiterhin vonhelping
seinem Sohn unterstützt,
trovandosi
trovandosi
Fu così
però aiutato dal health
costretto
costretto adiland
figlio,ad thusgliresulting
abbandonare
abbandonare
quale ilil proprio
consentì proprio problems.
lavoro
lavoro
di portare avanti di laHis son
di conseguenza,
conseguenza,
bottega carried
adalla
finoad on
affrontare
affrontare him
problemi
morte. problemi and so he was
economici.
economici.
wodurch
able
Fu er die
to lead
Fu però
però his Werkstatt
aiutato
aiutato dal figlio, bis
workshop
dal figlio, until zuhis
ilil quale
qualeseinem
death.
gli
gli Tod weiterführen
consentì
consentì di portare
di konnte.
portare avanti
avanti la bottega
la bottega fino
fino alla
alla morte.
morte.

* 1666
†Giuseppe
1740 Cremona
Giuseppe Giovanni
GiovanniBattista
BattistaGuarneri,
Guarneri,filsSohn
Guarneri, de l'eleve
figlio d'Amatidella
dell’allievo
des Andrea
Amati-Schülers Guarneri
scuola amati
Andrea apprit
Andrea
Guarneri, leerlernte
métier de
Guarneri luthier enmit
même
(1623-1698),
zusammen im-
sei-
temps
nem que son
parò Bruder
l’arte dellafrère Pietro
liuteria
Pietro den dansbottega
nella
Geigenbau l'atelier de Werkstatt
del
in der leur
padre père. Alors
seinesalque
insieme Pietro
fratello
Vaters. devait quitter
Pietro.
Während PietroCrémone
Questi siCremona
allontanò vers da1679
gegen pour
Cremona
1679 ouv-
per
verließ
rir un
aprire atelier a Mantua,
unaWerkstatt
sua bottega Giuseppe
aMantua
Mantova quant a
lasciando lui, reprit
cosìthird l'atelier
a Giuseppe de son père après la mort de celui-ci en 1698. Son plus
und eine
Giuseppe Giovanni in
Battista eröffnete,
Guarneri wasübernahm
the son of quella
Giuseppe nach
Andrea di Guarneri.
Cremona
dem Todedopo seines
Like laVaters
his morte
elder im del padre,
Jahre
brother manca-
1698
Pietro die
he
jeune
to nel fils
Werkstatt Bartolomeo
1968. in Nello
Cremona. Giuseppe
stesso Imanno vit le
nacque
selben jour
Jahr au
suo
kam cours
fratello
sein de cette
più
jüngster mème
piccolo,
Sohn année. Plus
Bartolomeo tard, ce
Giuseppe dernier devait
(1698-1744),
zur Welt, porter
er il le
quale
sollte nom
suc-
später
was a pupil of his father. Pietro left Cremona around 1679 and went to Mantua. After Andrea’s death in 1689
de Guarneri
cessivamente, dans
con les nome
plus hautes sphères“del
de laGesù”,
lutherie sous le nom de Giuseppe dieGuarneri «1714
del Gesù ». De 1714 à
unter
Giuseppedemtook NamenoverilGiuseppe di Guarneri
his workshop. Guarneri „del
The same Gesù“ tenne
den
year Giuseppe’s alto
Namen il nome
Guarneri
youngest dellain
son famiglia. Dal
höchsten
Bartolomeo al 1722
Sphären
Giuseppe wasdes circa “del
Geigen-
born, who
1722
Gesù”
baus environ,
lavorò
heben. «
Von del
nella Gesù
bottega
1714 bis » assista son
del padre;
circa 1722 père a l'atelier.
in particolare,
assistierte „del Il était
curava
Gesù“ en prémier
lafather
in produzione
der lieu
Werkstatt responsable
diseines
violini, de
mentre
Vaters. la fabrication
Erilwarpadredort du corps
si vornehm-
occupava
later was taught violin making by Giuseppe. For many years and son worked together and numerous in-
du
lichviolon,
di intagliare pendant
für dieBartolomeo
Herstellungque son
i ricci. PerGiuseppe
questopère se consacrait
motivo
der Geigenkörper oggibody a la sculpture
si ritrovano
verantwortlich, des
numerosi volutes.
während Ceci
strumenti
seinFrom explique
Vateril 1720
cui que
sichcorpo
dem hanombre d'instruments
l’impronta
Schnitzen der di “del
Schne-
struments built the and Giuseppe the scroll. Giuseppe Guarneri Senior
existent e dont
Gesù”annahm.la leAb
testa corps
quella est de
dihatte la main figlio
Giuseppe de «Guarneri
del Gesù ´filius
di Andrea. » etDal
la volute de Giuseppe
1720 Giuseppe « filius Andreae di ».Andrea”
A partirside 1720,
cken
suffered from poor 1720
health andGiuseppe
thus resulting financial Andrea´
problems. His sonGuarneri
zunehmend carriedmiton“figlio
gesundheitlichen
helping him andund soammalò
daraus
he was
Giuseppe
trovandosi
resultierendenGuarneri
così « filius
costretto adAndreae »
abbandonaredoit faire
il face
proprio à des problèmes
lavoro e, di de santé
conseguenza, et, par
ad voie de
affrontareconséquence,
problemi à des
economici.sou-
able to lead hisfinanziellen
workshop until Schwierigkeiten
his death. zu kämpfen. Er wurde aber weiterhin von seinem Sohn unterstützt,
cis
Fu financiers.
però aiutatoIl fut
dal cependant
figlio,
wodurch er die Werkstatt bis zu seinem il toujours
quale soutenu
gli consentì parportare
di
Tod weiterführenson fils,avanti
ce quilalui
konnte. permitfino
bottega de diriger son atelier jusqu’a sa mort.
alla morte.
ジュゼッペ・ジョヴァンニ・バティスタ・グァルネリは兄ピエトロと共に、アマティの弟子であった、父
アンドレア・グァルネリの工房でヴァイオリン製作の技術を学ぶ。兄ピエトロは1679年にマントバに独自
の工房を開くが、その間ジュゼッペは1698年父の死後、その工房を受け継ぐ。同年にジュゼッペの息子バ
ルトロメオ・ジュゼッペが生まれる。その息子は後にジュゼッペ・グァルネリ・デル・ジェズとしてグァ
Giuseppe Giovanni Battista Guarneri, Sohn des Amati-Schülers Andrea Guarneri, erlernte zusammen mit sei-
Giuseppe Giovanni Battista Guarneri,
ルネリ家の名を上げる。
nem Bruder Pietro den Geigenbau in derfiglio dell’allievo
Werkstatt seinesdella scuola
Vaters. amati Pietro
Während AndreaCremona
Guarnerigegen
(1623-1698),
1679 verließim-
ルネリ家の名を上げる。
1714年から1722年までデル・ジェズは父の元で働く。彼は優先的に胴体(共鳴体)を製作し、父はスクロー
parò eine
und l’arteWerkstatt
della liuteria nella bottega
in Mantua del übernahm
eröffnete, padre insieme al fratello
Giuseppe nachPietro. Questi
dem Tode si allontanò
seines Vaters imdaJahre
Cremona1698 per
die
ルの彫りに集中した。その為に、明らかにデル・ジェズに作られた胴体、そしてジュゼッペ・フィリウス
aprire una in
suaCremona.
bottega a Im
Mantova
Werkstatt selbenlasciando
Jahr kamcosì seina jüngster
Giuseppe quella
Sohn di Cremona
Bartolomeo dopo la zur
Giuseppe morte delerpadre,
Welt, solltemanca-
später
ルの彫りに集中した。その為に、明らかにデル・ジェズに作られた胴体、そしてジュゼッペ・フィリウス
・アンドレエのスクロールを仕組む楽器が数多く存在する。1720年後、ジュゼッペ・フィリウス・アンド
to nel dem
1968.Namen
Nello stesso annoGuarneri
nacque suo
unter Giuseppe „delfratello
・アンドレエのスクロールを仕組む楽器が数多く存在する。1720年後、ジュゼッペ・フィリウス・アンド Gesù“ più
denpiccolo,
Namen Bartolomeo
Guarneri in Giuseppe (1698-1744),
die höchsten Sphären ildes quale suc-
Geigen-
・アンドレエのスクロールを仕組む楽器が数多く存在する。1720年後、ジュゼッペ・フィリウス・アンド
レエの健康は益々衰え、その為に経済的な問題と闘うが、息子デル・ジェズの支えによって、生涯を終え
cessivamente, con1714
il nome di Guarneri “del Gesù”,
baus heben. Von bis circa 1722 assistierte
レエの健康は益々衰え、その為に経済的な問題と闘うが、息子デル・ジェズの支えによって、生涯を終え „del tenne
Gesù“alto il nome
in der della seines
Werkstatt famiglia. Dal 1714
Vaters. al 1722
Er war circa “del
dort vornehm-
レエの健康は益々衰え、その為に経済的な問題と闘うが、息子デル・ジェズの支えによって、生涯を終え
るまで工房を続ける事が出来た。
Gesù” lavorò nella bottega del padre; in particolare, curava la produzione di violini, mentre
lich für die Herstellung der Geigenkörper verantwortlich, während sein Vater sich dem Schnitzen der il padre si occupava
Schne-
るまで工房を続ける事が出来た。
di intagliare
cken annahm. i ricci. Per hatte
Ab 1720 questoGiuseppe
motivo oggi si ritrovano
Guarneri ´filius numerosi strumenti ilmit
Andrea´ zunehmend cuigesundheitlichen
corpo ha l’impronta
und di “del
daraus
Gesù” e la testafinanziellen
resultierenden quella di Giuseppe figlio di zu
Schwierigkeiten Andrea.
kämpfen.Dal Er
1720 Giuseppe
wurde Guarnerivon
aber weiterhin “figlio di Andrea”
seinem si ammalò
Sohn unterstützt,
27
trovandosi così costretto ad abbandonare il proprio lavoro
wodurch er die Werkstatt bis zu seinem Tod weiterführen konnte. e, di conseguenza, ad affrontare problemi economici.
27
Fu però aiutato dal figlio, il quale gli consentì di portare avanti la bottega fino alla morte.
Giuseppe Guarneri ´filius Andrea´ violin 1710
28 29
30
Giovanni
Giovanni Battista Grancino
1673 Milan Battista Grancino
*Giovanni Battista Grancino
* 1673 Milan
†* 1673
after Milan
1726
† after 1726
† after 1726
Unfortunately, little is known about the family and origin of Giovanni Grancino. The assumption that Giovanni
Unfortunately,
was the son of thelittleviolin
is known
maker about
PaolotheGrancino
family and originbe
cannot of GiovanniEven Grancino. Theexcistence
assumption of that Giovanni
Unfortunately, little is known about the family and origin ofverified.
Giovanni Grancino.today, theThe assumption Paolo
that has not
Giovanni
was
been the son
confirmedof the violin
by violin maker
any source. Paolo Grancino cannot be verified. Even today, the excistence of Paolo has not
was the son of the makerThe only
Paolo fact which
Grancino is sure
cannot beabout his Even
verified. early life,
today,is that he joined aofworkshop
the excistence Paolo haswithnot
been
his confirmed
brother by anyIn
Francesco. source.
the yearThe1708,
onlyhefact which
was is sure
accused andabout
later his early life,
convicted of is that he joined
manslaughter of a workshop
his colleague with
and
been confirmed by any source. The only fact which is sure about his early life, is that he joined a workshop with
his brother
rival SantinoFrancesco.
Lavazza and In the
wasyear
sent1708,
out ofhe was accused and lateritconvicted of manslaughter of him
his colleague and
his brother Francesco. In the year 1708, hetown. After this
was accused event,
and is nearly impossible
later convicted to track
of manslaughter in or outside
of his colleague and
rival
Milan Santino
and so Lavazza
details and was
about hissent
laterout of town.
working life After
are this
not event, His
known. it iswork
nearlyis impossible
inspired bytoNicolo
track him in or
Amati. Theoutside
work-
rival Santino Lavazza and was sent out of town. After this event, it is nearly impossible to track him in or outside
Milan
manship and soofdetails about his later workingthelife are notand
known. Hisscrolls
work is inspired by Nicolo Amati. Theclasswork-
Milan andisso very high
details aboutquality, especially
his later working lifef-holes the fine
are not known. His work isshow Grancinos
inspired oustanding
by Nicolo Amati. The as a
work-
manship
violin is
maker. of very high quality, especially the f-holes and the fine scrolls show Grancinos oustanding class as a
manship is of Like
very other Milanese
high quality, violin makers,
especially Grancino
the f-holes and thedidn‘t
fine use tonewood
scrolls of great beauty,
show Grancinos whichclass
oustanding limited
as a
violin
funds maker. Like other Milanese Hisviolin
early makers, Grancino didn‘twith
use tonewood of varnish
great beauty, which limited
violin of his Milanese
maker. Like other clientele.
Milanese violin instruments
makers, are covered
Grancino a red-brown
didn‘t use tonewood and the
of great beauty, instruments
which limited
funds
of of hisperiod
his later Milanesewithclientele. His earlyvarnish.
a golden-yellow instruments are covered with a red-brown varnish and the instruments
funds of his Milanese clientele. His early instruments are covered with a red-brown varnish and the instruments
of his later period with a golden-yellow varnish.
of his later period with a golden-yellow varnish.
Über das frühe Leben von Giovanni Grancino ist leider nicht viel bekannt. Insbesondere die Annahme, dass
Über
Giovanni das frühe Leben
Grancino einvon Giovanni
Sohn Grancino ist
des Geigenbauer leider
Paolo nicht vielwar,
Grancino bekannt. Insbesondere
kann aus die Annahme,
heutiger Sicht dass
nicht bestätigt
Über das frühe Leben von Giovanni Grancino ist leider nicht viel bekannt. Insbesondere die Annahme, dass
Giovanni
werden. Grancino
Selbst die ein Sohn
Existenz des
eines Geigenbauer
Paolo GrancinosPaolo Grancino
lässt sich nichtwar,
mit kann aus heutiger
Bestimmtheit Sicht
klären. Als nicht bestätigt
gesichert gilt
Giovanni Grancino ein Sohn des Geigenbauer Paolo Grancino war, kann aus heutiger Sicht nicht bestätigt
werden.
nur, Selbst
dassSelbst die
er am die Existenz
Anfang eines
seiner Paolo
Karriere Grancinos lässt sich nicht mit Bestimmtheit klären. Als gesichert gilt
werden. Existenz eines PaoloinGrancinos
Mailand eine
lässtWerkstatt
sich nichtmit
mitseinem Bruder Francesco
Bestimmtheit klären. Alsteilte. Im Jahre
gesichert gilt
nur,
1708 dass
wurdeer am Anfangdes
Grancino seiner Karriere
Totschlags anin Mailand eine Werkstatt mit Santino
seinem Bruder
LavazzaFrancesco
bezichtigt teilte. Im Jahre
nur, dass er am Anfang seiner Karriere inseinem Kollegen
Mailand und Rivalen
eine Werkstatt mit seinem Bruder Francesco und verurteilt.
teilte. Im Jahre
1708
Auf wurde Grancino
des Urteilsdes Totschlags an seinem Kollegen und Rivalen
und ab Santino Lavazza bezichtigt undGrancinos
verurteilt.
1708Grund
wurde Grancino desmusste Grancino
Totschlags Mailand
an seinem verlassen
Kollegen und Rivalen diesem Zeitpunkt
Santino lassen sich
Lavazza bezichtigt und verurteilt.
Auf
Spuren Grund
kaum desnoch
Urteils musste Grancino
nachvollziehen. Seine Mailand verlassen
Arbeit istverlassen und
an einemund ab diesem Zeitpunkt
Amati-Modell lassen
orientiert lassen sich Grancinos
und zeugt
Auf Grund des Urteils musste Grancino Mailand ab diesem Zeitpunkt sich von großer
Grancinos
Spuren kaum
Handwerkskunst. noch nachvollziehen.
Insbesondere Seine
die schön Arbeit ist an einem Amati-Modell orientiert und zeugt von großer
Spuren kaum noch nachvollziehen. Seine gestochen Schnecken
Arbeit ist an und die eleganten
einem Amati-Modell F-Löcher
orientiert belegen
und zeugt vondies ein-
großer
Handwerkskunst. Insbesondere die schön gestochen Schnecken und die eleganten F-Löcher belegen dies ein-
drucksvoll.
Handwerkskunst.
drucksvoll.
was die
Wie andere
Wie andereder
Zahlungskraft
Mailänder
Insbesondere
Mailänder
dieGeigenbauer,
Mailänder Geigenbauer,
Kundschaft
so verwendet
schön gestochen
so
Schneckenauch
verwendet auch
widerspiegelt.
und
Seine
Grancino
Grancino
frühen
nicht sonderlich
die eleganten
nicht sonderlich
Instrumente
attraktives
F-Löcher belegen
attraktives
tragen einen
diesHolz,
ein-
Holz,
weichen
drucksvoll.
*was1673 Wie andere Mailänder Geigenbauer, so verwendet auch Grancino nicht sonderlich attraktives Holz,
Milan
die Zahlungskraft
rot-braunen der Mailänder
Lack, während Kundschaft
der Lack seiner spätenwiderspiegelt.
Arbeiten vonSeine frühenFarbe
gold-gelber Instrumente
ist. tragen einen weichen
was die Zahlungskraft der Mailänder Kundschaft widerspiegelt. Seine frühen Instrumente tragen einen weichen
†rot-braunen
after 1726Lack, während der Lack seiner späten Arbeiten von gold-gelber Farbe ist.
rot-braunen Lack, während der Lack seiner späten Arbeiten von gold-gelber Farbe ist.
Unfortunately,
Purtroppo little ispochissimo
sappiamo known about thefamiglia
della family and origin
e della of Giovanni
provenienza diGrancino.
Giovanni The assumption
Grancino. that Giovanni
Sopratutto l‘ipotesi
Purtroppo
was Giovanni
che sappiamo
the son ofGrancino pochissimo
the violinera maker
figlio della
Paolo famiglia
Grancino
del liutaio e della
cannot
Paolo provenienza
Grancino be verified.
non puo di
EvenGiovanni
today,
essere Grancino.
the excistence
confermata Sopratutto
con of Paolo l‘ipotesi
sicurezza, has not
né puo
Purtroppo sappiamo pochissimo della famiglia e della provenienza di Giovanni Grancino. Sopratutto l‘ipotesi
che
essereGiovanni
been confirmed
confermata Grancino era
byl‘esistenza
any source. figlio
di The del
un del liutaio
only fact
Paolo Paolo Grancino
which liutaio.
Grancino is sure about non
L‘unico puo
hisfatto essere
earlysicuro confermata
life, isdella
that sua con
he joined sicurezza,
gioventùa workshop né puo
with
è che lavorava
che Giovanni Grancino era figlio liutaio Paolo Grancino non puo essere confermata con sicurezza, né puo
essere
his
in confermata
brother
unaconfermata l‘esistenza
Francesco.
bottega a Milano, In the di un
year
insieme Paolo
1708, Grancino
he was liutaio.
accused and L‘unico
later fatto
convicted sicuro
of della sua
manslaughter gioventù
of his è che lavorava
colleague and
essere l‘esistenza di unalPaolo
fratello Francesco.
Grancino Nel L‘unico
liutaio. 1708 fu accusato
fatto sicuro e poi condannato
della sua gioventùperèomicidio col-
che lavorava
in
posouna
rival bottega
Santino a Milano,
Lavazza and insieme
was sent al fratello
out of Francesco.
town. After Nel
this 1708
event, fu
it isaccusato
nearly e poi
impossiblecondannato
to track per
him omicidio
in or col-
outside
in unadelbottega
suo collega e rivale
a Milano, Santino
insieme LavazzaFrancesco.
al fratello e cacciato dalla città.fu
Nel 1708 Dopo quest‘evento
accusato è praticamente
e poi condannato impossibile
per omicidio col-
poso del
Milan
trovare andsuo
traccesocollega
details
della eabout
sua rivale
vita, Santino
his
sia later
privataLavazza
working
che e cacciato
life are not
lavorativa. Il dalla
known.
suo città.
lavoro Dopo
Hisè workquest‘evento
ispiratois inspired
a Nicolò è praticamente
by Nicolo
Amati e Amati.impossibile
denota Thegrande
una work-
poso del suo collega e rivale Santino Lavazza e cacciato dalla città. Dopo quest‘evento è praticamente impossibile
trovare tracce
manship
maestria. of della
isSopratutto sua vita,
very high sia privata
quality, che lavorativa.
eespecially the f-holes Iland
suo lavoro
si the fineèscrolls
ispirato a Nicolò
show Amati
Grancinos e denota una
di oustanding grande
class as a
trovare tracce della suanelle
vita,teste nel taglio
sia privata delle „effe“
che lavorativa. Il suo riconosce l‘eccezionale
lavoro è ispirato a Nicolò manoAmati Giovanni
e denota una Grancino.
grande
maestria.
violin
Come altriSopratutto
maker. Like other
Maestri nelle teste
Milanese
Milanesi e nel taglio
violin
anch‘egli non delle un
makers,
usava „effe“
Grancino
legno si riconosce
didn‘t usel‘eccezionale
esteticamente tonewood mano
of
bello. Questo greatdibeauty,
GiovanniwhichGrancino.
limited
maestria. Sopratutto nelle teste e nel taglio delle „effe“ si riconosce l‘eccezionale manosembra rispecchiare
di Giovanni le li-
Grancino.
Come
funds of
mitate altri
capacitàMaestri
his Milanese Milanesi
pecuniarie anch‘egli
clientele.
della His non usava
early instruments
sua clientela un
Milanese. legno
are
Egli esteticamente
covered
usò, perwith bello.
a red-brown
i primi Questo
suoiQuesto sembra
varnish una
strumenti, rispecchiare
and vernice
the instrumentsle li-
morbida
Come altri
mitate
of colore
di capacità
his later
Maestri
period
rosso-bruno
Milanesi
pecuniarie
withche
anch‘egli
a golden-yellow
abbandonò,
non usava
della sua clientela
varnish.
in seguito,
un legno
Milanese.
a favore
esteticamente
Eglidiusò,
una per i primi
vernice
bello. sembra rispecchiare
suoi strumenti, una vernice morbida
giallo-oro.
mitate capacità pecuniarie della sua clientela Milanese. Egli usò, per i primi suoi strumenti, una vernice morbida
le li-
di coloreMilan
*di1673 rosso-bruno che abbandonò, in seguito, a favore di una vernice giallo-oro.
colore rosso-bruno che abbandonò, in seguito, a favore di una vernice giallo-oro.
† after 1726
Malheureusement peu d‘éléments sont connus sur l‘origine de Giovanni Grancino. Ainsi, dans l‘état actuel de
Über das frühelittle
Unfortunately, Leben von Giovanni Grancino ist origin
leider nicht viel bekannt. Insbesondere die Annahme, dass
nos connaissances, lais supposition
known aboutselon
the family and
laquelle GiovanniofGrancino
Giovanni Grancino.
était un fils The assumption
du luthier Poalothat Giovanni
Grancino ne
Giovanni
was the sonGrancino
of the ein Sohn
violin maker des Geigenbauer
Paolo Grancino Paolo Grancino
cannot be verified.war,
Evenkann
today,austhe
heutiger Sichtofnicht
excistence Paolo bestätigt
has not
peut plus être confirmée. L‘existence même d‘un certain Paolo Grancino ne peut pas être vérifiée avec certitude.
werden.
been Selbst die
confirmed Existenz einesThePaolo Grancinos
whichilislässt sich nicht mit Bestimmtheit heklären. Als gesichert gilt
Par contre, il est by any
certain source.
qu‘au début only
de safact
carrière, sesure about
partageait his
un early
atelierlife, is thatavec
à Milan joined
son frèrea workshop
Francesco.with En
nur,
his dass erFrancesco.
brother am AnfangInseiner the Karriere
year 1708, in
he Mailand
was eineand
accused Werkstatt
later mit seinem
convicted of Bruder Francesco
manslaughter of his teilte. Im Jahre
colleague and
1708, Grancino fut accusé et condamné pour le meurtre d‘un collègue et rival nommé Santino Lavazza. En raison
1708
rival wurde Grancino
Santino Lavazza and deswas
Totschlags outan
sent dut ofseinem
town. Kollegen
After und Rivalen Santino Lavazzatobezichtigt und orverurteilt.
de cette condamnation, Grancino quitter Milan etthis event,
à partir deitceismoment
nearly impossible trackont
là, les historiens himduinmal àoutside
suivre
Auf
Milan Grund
and sodes Urteils
details aboutmusste
his Grancino
later working Mailand
life are verlassen
not known. und
His ab
workdiesem
is Zeitpunkt
inspired by lassen
Nicolo sich
Amati. Grancinos
The work-
ses traces. Son travail s‘oriente sur un modèle d‘Amati et atteste d‘un grand talent artisanal. En particulier les vo-
Spuren
manship kaum noch nachvollziehen. Seine Arbeit ist an einem Amati-Modell orientiert und zeugt von großer
lutes finement sculptées et les élégantes ouies le démontrent de manière impressionante. Comme d‘autres luthiersa
is of very high quality, especially the f-holes and the fine scrolls show Grancinos oustanding class as
Handwerkskunst.
violin maker. Like Insbesondere
other Milanese die schön gestochen Schnecken und tonewood
die eleganten F-Löcher belegen dies ein-
milanais, Grancino n‘utilise pas unviolin
bois makers, Grancino
de très bonne didn‘t
qualité, ce use of great
qui reflète le pouvoir beauty,
d‘achat which
peu élevélimited
de la
drucksvoll.
funds of his Wie andereclientele.
Milanese Mailänder Geigenbauer, so verwendet auch Grancino nichtvarnish
sonderlich
and attraktives Holz,
clientèle milanaise. Ses premiersHis early instruments
instruments are covered
sont recouverts d‘un with
vernisa souple
red-brown rouge-brun alors the
queinstruments
le vernis de
was
of die Zahlungskraft der Mailänder Kundschaft widerspiegelt. Seine frühen Instrumente tragen einen weichen
seshis later period
créations with
tardives estad‘une
golden-yellow varnish.
couleur or-jaune.
ジョヴァンニ・グランチーノの出生については残念ながら殆ど知られていない。特に彼がバイオ
リン製作者のパオロ・グランチ-ノの息子であるという説は現在の研究段階では確認できていな
Purtroppo sappiamo
Lebenpochissimo dellaGrancino
Über das frühe von Giovanni
い。そもそもパオロ・グランチーノの存在さえも確実に解明されていない。グランチーノが仕事
famiglia eistdella provenienza
leider nicht viel di Giovanni
bekannt. Grancino. die
Insbesondere Sopratutto
Annahme,l‘ipotesi
dass
che Giovanni Grancino era figlio del liutaio Paolo Grancino non puo essere confermata con sicurezza, né puo
Giovanni Grancino ein Sohn des Geigenbauer Paolo Grancino war, kann aus heutiger Sicht nicht bestätigt
を始めて間もない頃にミラノにある工房を兄のフランチェスコと共同で使っていたことだけは確
essere confermata
Selbst diel‘esistenza di un Paolo
Paolo Grancinos
werden. Existenz eines
実である。1708年にグランチーノは彼の同僚・ライバルであるサンティーノ・ラヴァツァの殺害
Grancino liutaio. L‘unico
lässt sich nichtfatto sicuro della suaklären.
mit Bestimmtheit gioventù
Alsègesichert
che lavorava
gilt
in una bottega a Milano, insieme al fratello Francesco. Nel 1708 fu accusato e poi condannato per omicidio col-
nur, dass er am Anfang seiner Karriere in Mailand eine Werkstatt mit seinem Bruder Francesco teilte. Im Jahre
の罪を着せられて有罪の判決を受けたので、彼はミラノを出なかればならなかった。その時点か
poso del suoGrancino
collega e rivale Santino Lavazza e cacciato dalla città. DopoSantino
quest‘evento è praticamente
1708 wurde
ら彼の行方に関しては殆ど手掛かりがない。 des Totschlags an seinem Kollegen und Rivalen
グランチーノの作品は、アマーティの一つのモデル Lavazza bezichtigt undimpossibile
verurteilt.
trovare tracce della sua vita, sia privata che lavorativa. Il suo lavoro è ispirato a Nicolò Amati e denota una grande
ら彼の行方に関しては殆ど手掛かりがない。グランチーノの作品は、アマーティの一つのモデル
Auf Grund des Urteils musste Grancino Mailand verlassen und ab diesem Zeitpunkt lassen sich Grancinos
を手本にしたものであり、彼の優れた手腕を示している。特に華麗に彫られた渦巻きと雄雁なf字
ら彼の行方に関しては殆ど手掛かりがない。
maestria. Sopratutto nelle teste e nelSeine
taglioArbeit
delle „effe“グランチーノの作品は、アマーティの一つのモデル
Spuren kaum noch nachvollziehen.
孔はその印象的な例として挙げられる。他のミラノのバイオリン製作者と同様、グランチーノも ist ansieinem
riconosce l‘eccezionale
Amati-Modell mano diund
orientiert Giovanni Grancino.
zeugt von großer
Come altri MaestriInsbesondere
Milanesi anch‘egli non usava un legno esteticamente bello. Questo sembra belegen
rispecchiare leein-
li-
孔はその印象的な例として挙げられる。他のミラノのバイオリン製作者と同様、グランチーノも
Handwerkskunst. die
特に魅力的な木材を使わなかったことは、ミラノの客の支払能力を反映している。初期の楽器は schön gestochen Schnecken und die eleganten F-Löcher dies
孔はその印象的な例として挙げられる。他のミラノのバイオリン製作者と同様、グランチーノも
mitate capacità
Wiepecuniarie della suaGeigenbauer,
特に魅力的な木材を使わなかったことは、ミラノの客の支払能力を反映している。初期の楽器は
drucksvoll. andere Mailänder clientela Milanese. Egli usò,auch
so verwendet per iGrancino
primi suoinicht
strumenti, una vernice
sonderlich morbida
attraktives Holz,31
特に魅力的な木材を使わなかったことは、ミラノの客の支払能力を反映している。初期の楽器は
di colore rosso-bruno che abbandonò, in seguito, a favore di una vernice giallo-oro.
was die Zahlungskraft der Mailänder Kundschaft widerspiegelt. Seine frühen Instrumente tragen einen weichen 31
31
Purtroppo sappiamo pochissimo della famiglia e della provenienza di Giovanni Grancino. Sopratutto l‘ipotesi
Giovanni Battista
GiovanniGrancino
Battista Grancino violoncello 1710 c.
32 33
Giovanni Battista
Giovanni Grancino
Battista Grancino violoncello 1710 c.
34 35
36
Jacques-Pierre Thibout
* 1779 Caen
† 1856 St. Mandé
Jacques-Pierre Thibout is thought to have been a son of “Thibout Fils” whose father was supposedly a violin
maker as well. In 1796 Jacques-Pierre moved to Paris and worked with Jean Gabriel Koliker. Then, in 1807, he
opened his own workshop. Thibout developed his own model that was influenced by Stradivarius. He was a very
meticulous and fine craftsman. His amber varnish was applied over a reddish undercoat. Thibouts instruments
are regarded as equal to the Italian masters of the period and he is counted as one of finest French violin ma-
kers.
Jacques-Pierre Thibout kam 1796 aus seiner Heimatstadt Caen nach Paris und arbeitete dort mit Jean Gabriel
Koliker zusammen. Im Jahre 1807 eröffnete er schließlich seine eigene Werkstatt. Thibout entwickelte mit der
Zeit ein persönliches Modell, das an Stradivari angelehnt war. Er war ein exzellenter Handwerker, was sich auch
in seinem Lack widerspiegelt. Dieser ist meist bernsteinfarben und auf einem rötlichen Untergrund aufgetragen.
Thibouts Instrumente stehen denen der italienischen Meister seiner Zeit in nichts nach und er wird heute als
einer der besten französischen Geigenbauer angesehen.
Jacques-Pierre Thibout lasciò la sua città natale nel 1976 e si trasferì a Parigi, ove lavorò con Jean Gabriel Ko-
liker e aprì successivamente, nel 1807, una sua bottega. Thibout sviluppò col tempo un modello personale
d’ispirazione Stradivari. Era un liutaio eccellente e la sua abilità si riflette nella scelta e nell’applicazione della
vernice. Questa, nella maggior parte degli strumenti, presenta un color ambra che risalta sulla base rossiccia. In
perfezione e bellezza gli strumenti del Thibout sono in tutto e per tutto uguagliabili alle opere dei maestri italiani
di quel tempo e a tutt’oggi è considerato uno dei migliori liutai francesi.
Jean-Pierre Thibout quitta sa ville natale de Caen en 1796 pour s‘installer à Paris. Il y travailla avec Jean Gabriel
Koliker. En 1807, il ouvrit son propre atelier. Avec le temps, Thibout conçut un modèle personnel, basé sur Stra-
divari. Il était un excellent artisan. On le remarque à la qualité de son vernis, le plus souvent de couleur ambre-
appliqué sur un fond rouge. Les instruments de Thibout sont à mettre au même niveau que ceux des luthiers
italiens de la même époque, et Thibout compte parmi les meilleurs luthiers français.
ジャック‐ピエール・ティブーは1796年に故郷のカンからパリに移り、そこでジャン・ガブリエル・コリ
カーと共同で仕事をした。その後1807年ついに、自分の工房を開いた。ティブーは漸次に独自のモデルを
開発する。そのモデルはストラディヴァリの様式を模倣した物である。丁寧に施されたニスはほとんどが
赤味を帯びた下地の上に琥珀色であり、彼は非常に優れた職人である事がわかる。ティブーは最も優れた
フランス派ヴァイオリン製作者の一人として認められている。
65
Jacques-Pierre Thibout violin 1837
66 67
Jacques-Pierre Thibout violin 1837
68 69
Giuseppe Ornati
* 1887 Albirate (Milan)
† 1965 Milan
In 1901 Giuseppe Ornati began to study the art of violin making with Carlo Moneta, an amateur violin maker.
From 1903 he worked in Leandro Bisiach`s workshop gaining a lot of making experience as well as studying
many of the valuable older instruments that passed through the Bisiach workshop. He soon became one of
Bisiach`s best pupils and like Gaetano Sgarabotto, Ornati made (until around 1918/1919) instruments for Bi-
siach and did repairs for him, even after he established his own workshop. Many of Ornatis violins, violas and
cellos were awarded medals including Gold at Rome (1923) and Milan (1924). He was the official violin maker
for the Scala Orchestra. From 1961 to 1963 he was a teacher in the Violin Making School of Cremona. One of
the Great makers of the 20th Century, Ornati Instruments are characterized by their accuracy and elegance.
Giuseppe Ornati absolvierte seine erste Ausbildung bei Carlo Moneta, ein Amateurgeigenbauer. Ab 1903 arbei-
tet er dann in der Werkstatt von Leandro Bisiach, wo er sein Können spürbar verfeinert und Studien an alten
Meisterinstrumenten anstellen konnte. Bald wurde er zu einem von Bisiachs besten Schülern und wie Gaetano
Sgarabotto, baute er bis 1918/1919 Instrumente für Bisiach und war auch als Restaurator tätig, dies sogar nach-
dem er seine eigene Werkstatt eröffnete.Viele von Ornatis Instrumenten gewannen Preise auf Ausstellungen.
So zum Beispiel Gold in Rom im Jahre 1923 und Gold in Mailand im Jahre 1924. Er war zudem der offizielle
Geigenbauer des Orchesters der Mailänder Scala und von 1961 bis 1963 Lehrer an der Geigenbauschule Cremo-
na. Giuseppe Ornati war einer der bedeutendsten Meister des 20. Jahrhunderts, was sich in der Eleganz und der
starken Persönlichkeit seiner Instrumente widerspiegelt.
Giuseppe Ornati imparò le prime arti del mestiere di liutaio presso Carlo Moneta, un dilettante liutaio. Dal
1903 lavorò nella bottega di Leandro Bisiach ove potè ampliare le sue conoscenze in materia e studiare su vecchi
strumenti realizzati da maestri. Divenne presto uno dei migliori allievi di Bisiach e, come Gaetano Sgarabotto,
costruì strumenti fino al 1918/19 lavorando al contempo come restauratore, pur tenendo aperta la sua bottega.
Ornati ricevette numerosi riconoscimenti per i suoi strumenti, come ad esempio il premio in oro a Roma nel
1923 e a Milano nel 1924. Inoltre era il liutaio ufficiale dell’orchestra del teatro La Scala di Milano e dal 1961 al
1963 lavorò come maestro alla scuola di liuteria di Cremona. Giuseppe Ornati fu uno dei più insigni maestri del
XX secolo; la sua abilità si riflette nell’eleganza e nella forte personalità dei suoi strumenti.
Giuseppe Ornati fit son premier apprentissage chez Carlo Moneta, un luthier amateur. A partir de 1903, il affi-
ne sensiblement son savoir-faire dans l’atelier de Leandro Bisiach où il a l’opportunité d’étudier des intruments
de maîtres anciens. Il devint bientôt l’un des meilleurs élèves de Bisiach et, à l’instar de Gaetano Sgarabotto,
il fabriqua des violons pour Bisiach jusqu’en 1918/19. Il fit également de la restauration, activité qu’il devait
poursuivre après avoir ouvert son propre atelier. Un grand nombre d’instruments d’Ornati remportèrent des
prix lors d’expositions : Médaille d’or en 1923 à Rome, et médaille d’or en 1924 à Milan. L’orchestre de la Sca-
la de Milan le nomma luthier officiel et il fut professeur à l’école de lutherie de Crémone entre 1961 et 1963.
Giuseppe Ornati fut l’un des maîtres les plus importants du 20ème siècle, l’élégance et la forte personnalité des
ses instruments en témoignent.
ジュゼッペ・オルナーティは最初に素人の弦楽器作成者カルロ・モネタにヴァイオリン製作を学ぶ。
1903年からレアンドロ・ビシアッチの工房で仕事をし、そこで古典弦楽器の勉強をしてヴァイオリン製作
の技術を磨くことが出来た。やがて彼はビシアッチの最も優れた弟子の一人となりガエタノ・スガラボッ
ト等と共に1918年又は1919年まで、既に独自の工房を開いたにもかかわらず、ビシアッチの下で楽器製作
や修復の仕事をした。オルナーティの作品は、1923年のローマにおける、1924年のミラノにおける金メダ
ルを初めとする、多数の顕彰を受けた。当時、彼はミラノのスカラ座の公的なヴァイオリン製作者であ
り、又、1961年から1963年までクレモナのヴァイオリン製作学校で教師をした。ジュゼッペ・オルナーテ
ィが20世紀の最も重要なヴァイオリン製作者の一人であった事は彼の優美で個性が強い作品に映し出ださ
れている。
111
Giuseppe Ornati viola 1921
112 113
Giuseppe Ornati viola 1921
114
Dimensions of the Instruments Table of the Measurements (in cm)*
A B C D E F G H I J K
Gioffredo Cappa 1700 violin 35,6 16,3 11,5 20,15 6,82 7,37 10,28 12,68 4 3,65 2,45
Carlo Giuseppe Testore 1703 violin 35,6 16,85 11,07 20,6 7,38 7,9 10,97 12,25 4,35 3,56 2,43
Joannis (Giovanni) Tononi 1705 c. violin 34,9 16,1 10,4 19,8 7 7,8 10,7 12,1 3,5 3,73 2,55
Giuseppe Guarneri ´filius Andrea´ 1710 violin 35,3 16,8 11,2 20,5 7 8,8 10,4 13,2 4,2 4,2 2,7
Giovanni Battista Grancino 1710 c. violoncello 72,6 33,4 23,8 42,6 13,2 17,1 22 27,6 11,26 5,89 4,89
Jacobus Horil 1757 violin 35,2 16,2 10,2 20,2 6,95 8,2 10,3 13 4,45 3,9 2,65
Angelo Molia 1759 violin 35,2 16,1 10,7 20 8 8,5 10,2 12,8 4 4 2,6
François Lejeune 1780 c. violin 35,5 16 10,8 20,2 7,9 7,96 11,1 12,5 3,98 4,08 2,57
Joseph Bassot 1788 viola 39,7 19 12,9 22,8 7,6 9,3 11,85 14,51 4,84 4,05 2,6
Joseph Bassot 1790 c. violin 35,8 16,8 11,25 20,85 7,7 8,15 10,87 12,85 3,9 4,12 2,9
Felix Mori Costa 1825 viola 38,5 17,9 12 22,8 8,7 8,7 10,65 14,8 4,6 4,3 2,6
Jacques-Pierre Thibout 1837 violin 35,6 16,7 11 20,6 7 7,66 10,51 12,96 4,1 4,28 2,63
Jean - Joseph - Honoré Derazey 1850 c. violin 35,4 16,3 11 20,6 7,75 8,35 11,07 12,6 4,35 4 2,75
Pierre Silvestre 1856 violin 35,6 16,8 11 21,1 6,8 7,7 10,5 13,3 4,2 4,1 2,65
Giuseppe Sgarbi 1866 violin 35,6 16,2 11,2 20,7 7,35 7,71 10,88 13,29 4,05 3,82 2,7
Giuseppe Sgarbi 1882 viola 41,7 18,85 12,7 23,8 8,1 9,55 12 15,05 4,9 4,85 2,9
Pierre - Charles Jacquot 1888 violin 35,7 16,8 10,94 20,7 7,4 7,6 10,82 12,97 3,95 4,11 2,65
Vincenzo Postiglione 1891 violin 35,8 16,9 11,3 20,9 7,4 7,6 10,9 12,8 4 4,05 2,6
Vincenzo Sannino 1900 violoncello 75,4 34,7 24,3 43,4 14 15,7 21 26,15 9,9 8 5,25
Stefano Scarampella 1903 violin 35,65 16,8 11,4 20,85 7,23 7,93 11,14 12,6 4 4,24 2,7
Giuseppe Leandro Bisiach 1920 violin 35,5 16,5 11,1 20,5 7,2 7,8 10,4 12,9 4,05 4,1 2,55
Giuseppe Ornati 1921 viola 41,6 19,9 12,7 24,35 8,5 8,85 12,5 15,75 5,05 4,9 3,2
Giuseppe Ornati 1952 violin 35,4 16,7 11,5 20,9 7,03 7,61 10,6 13,51 4,48 4,23 2,7
Iginio Sderci 1924 violin 35,3 16,6 11,13 20,6 6,7 7,82 10,7 12,75 3,95 4 2,55
Marko Dobretsovitch 1925 violin 35,5 16,7 10,95 20,7 6,8 7,6 10,8 13,3 4,2 4,15 2,6
Gaetano Gadda 1928 violin 35,7 16,8 11,4 20,7 7,04 7,55 10,8 12,35 4,02 4,18 2,6
Gaetano Gadda 1934 violin 35,8 16,7 11,1 20,95 7,5 7,9 10,55 12,66 4,03 4,35 2,67
Gaetano Gadda 1949 viola 42,6 20,3 12,5 24,9 9 9 12,4 14,1 4,05 4,7 3,05
Ferdinando Garimberti 1928 violin 35,6 16,75 11,3 20,6 6,82 7,68 10,98 12,68 4,19 4,14 2,57
Ferdinando Garimberti 1929 violin 35,6 16,9 11 20,8 7 7,76 10,75 12,88 4,15 4,3 2,6
Ferdinando Garimberti 1967 violin 35,6 16,9 11,2 20,9 7,05 7,7 11 13,1 4,15 4,5 2,85
Paolo de Barbieri 1930 violin 35,7 17 11 21 7 7,65 10,75 13,3 4,1 4,15 2,6
Gaetano Pareschi 1938 violin 35,8 16,7 10,8 20,75 7,1 7,7 10,5 13 4,1 3,9 2,5
Amedeo Simonazzi 1951 violin 35,5 16,7 11,2 20,8 7 7,65 10,7 13,3 4,3 3,85 2,7
Arnaldo Morano 1957 violin 35,6 16,8 10,95 20,8 7,02 7,5 10,8 13,1 3,9 4,5 2,8
Arturo Fracassi 1962 violin 35,5 16,7 11,4 20,7 7,5 7,6 11 13,5 4,2 4,3 2,82
Romolo Parmeggiani 1963 viola 42 19,3 12,75 24,4 8,5 8,6 12,9 15,35 4,9 4,9 3,05
Sesto Rocchi 1975 violin 35,75 17,1 11,6 21,1 7 7,45 11 13,5 3,9 3,8 2,6
Ernesto Pevere 1988 violin 35,4 16,7 10,86 20,6 7,3 8 10,25 13,1 4,42 3,75 3,94
Erminio Malagutti 1991 violin 35,7 17 11,5 21 7,35 7,7 11,1 13,5 4,1 4,1 2,7
193 194
*The dimensions are taken with the slide calliper rule
Jost Thöne Verlag

Titiseestraße 19, 79853 Lenzkirch—Saig, Germany Phone: +49 (0)171 64 63 597
E-Mail: jost.thoene@jost-thoene-verlag.de Internet: www.jost-thoene-verlag.de

Italian and French Violin Makers

Uploaded by

Copyright:

Available Formats

Italian and French Violin Makers

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Italian and French Violin Makers

Uploaded by

Copyright:

Available Formats

Italian & French Violin Makers

by Jost Thöne Verlag

Jost Thöne Verlag

Giuseppe Guarneri ´filius Andrea´

Giuseppe Guarneri ´filius Andrea´

Giuseppe Guarneri ´filius Andrea´

Jost Thöne Verlag

You might also like