Fondazione Antonio Stradivari Ente Triennale Strumenti ad Arco - Liuteria a Cremona
Cremona 1730 - 1750
Classical masterpieces on show by Christopher Reuning Scientific Committee
President
Over the last three years, we have focused
on the founding of the Cremonese school by
the Amati family. It is now time to turn
our gaze forward about 200 years and examine
the final period of classical violin making
in Cremona. This period began in 1730 with
the development of two of the greatest makers
of all time, Giuseppe Guarneri “del Gesu”
and Carlo Bergonzi. At 32 and 47 years old,
respectively, their work already showed individual
and distinctive styles which would evolve
dramatically throughout the decade. The still
dominant house of Stradivari was firmly led
by Antonio, who was in his early eighties,
and he was capably supported by his two sons,
both in their 50’s.
Only 14 years later, in 1744, the violin
makers from the Stradivari and Guarneri families
were gone.
Only Carlo Bergonzi and his son Michel Angelo
remained to carry the torch of violin making
in Cremona. Carlo’s influence had significantly
waned, however, and he died just three years
later (1747). In spite of this, the contributions
from this period were immense: Carlo Bergonzi
left approximately 44 instruments, the three
Stradivari left about 70, and del Gesu produced
around 144 instruments, more than his four
competitors combined.
Although the prior 200 years showed a gradual
evolution of violin design, the period beginning
in 1730 was extremely creative within the
framework of the Cremonese system of construction.
Beginning in 1690, Stradivari was a great
innovator, but his innovation was gradual
compared to the rapid progression of del
Gesu and Bergonzi. Their bold instruments
were certainly necessitated by the acoustic
demands of the day and they continue to inspire
today’s craftspeople. The Stradivari workshop,
within the constraints of its legacy, allowed
for the individual expression of its three
members. The hand of each maker became even
more distinct and recognizable as the three
men aged.
For this exhibition, we have chosen fine
examples of each type of instrument made
in these three shops. Carlo Bergonzi’s earliest
work is represented by the “ex-Tonge” violin,
an excellent example showing the characteristic
“filius” outline and delicate edges. It is
followed by the “Perkin, Bernford” c. 1732,
a pure violin from his best period. The “Vinegra,
Wallace”, is a stunning Bergonzi with purple-red
varnish and is representative of Carlo’s
transitional style. Next we will show a fine
late Carlo Bergonzi c. 1740 known as the
“Gillfillan, Hoffman” which shows the collaboration
with his son, Michel Angelo. To conclude
the Bergonzi workshop, we will exhibit a
very pure Michel Angelo made just two years
after his father’s death but still very much
in the style of the previous instrument.
The Stradivari workshop will be represented
by four violins showing the different styles
of instruments made during the last seven
years of Antonio’s life. Included will be
the 1734 “Scottish University”, the 1733
“Hamma, Segelman” and two others.We will
also show examples of the two sons’ work
made subsequent to the death of their patriarch.
Finally, the work of Giuseppe Guarneri “del
Gesu” will be represented by no less than
seven instruments which will show his rapid
evolution of style. The first violin will
be the “Posselt” from 1732 which is demonstrative
of del Gesu’s first style independent of
his father’s strong influence. Following
this we will show the 1733 Lafont which strongly
foreshadows del Gesu’s classic style. The
next example is the 1736 “Neill, Teja-Ferni”.
All are fine and representative examples
of their respective periods. The last four
violins, to be announced soon, will show
this master‘s most creative expressions from
his final five years.
