Violin makers: Antonio Stradivari, Nicolo Amati, Giuseppe Guarneri and others. Great masters: Amati, Stradivari, Guarneri Information about famous Italian violin makers Amati

Italian violin makers created such beautiful musical instruments that they are still considered the best, despite the fact that in our century many new technologies for their production have appeared. Many of them are still in excellent condition, and today they are played by the most famous and best performers in the world.

A. Stradivarius

The most famous and master craftsman is Antonio Stradivari, who was born and lived all his life in Cremona. Today, approximately seven hundred instruments made by his hands have survived in the world. Antonio's teacher was the no less famous master Nicolo Amati.

The exact date of birth of A. Stradivari is unknown. Having studied with N. Amati, he opened his own workshop and surpassed his teacher. Antonio improved the violins created by Nicolo. He achieved a more melodious and flexible voice for the instruments, made them more curved, and decorated them. A. Stradivari, in addition to violins, created violas, guitars, cellos and harps (at least one). The great master's sons were his students, but they were unable to repeat the success of their father. It is believed that he did not pass on the secret of the magnificent sound of his violins even to his sons, so it has not yet been solved.

Amati family

The Amati family are violin makers from an ancient Italian family. They lived in ancient city Cremona. Founded the Andrea dynasty. He was the first violin maker in the family. His exact date of birth is unknown. In 1530, he and his brother Antonio opened a workshop making violins, violas and cellos. They developed their own technologies and created tools modern type. Andrea ensured that his instruments sounded silvery, gentle, clear and pure. At the age of 26, A. Amati became famous. The master taught his sons his business.

The most famous string maker in the family was Andrea Amati's grandson, Nicolo. He improved the sound and shape of the instruments his grandfather created. Nicolo increased the size, reduced the bulges on the decks, made the sides larger and more thin waist. He also changed the composition of the varnish, making it transparent and giving it shades of bronze and gold.

He was the founder of a school for violin makers. Many famous manufacturers were his students.

Guarneri family

Violin makers from this dynasty also lived in Cremona. The very first violin maker in the family was Andrea Guarneri. Like A. Stradivari, he was a student of Nicolo Amati. From 1641, Andrea lived in his house, worked as an apprentice and for this received the necessary knowledge for free. He left Nicolo's house in 1654, after he got married. Soon A. Guarneri opened his workshop. The master had four children - a daughter and three sons - Pietro, Giuseppe and Eusebio Amati. The first two followed in their father's footsteps. Eusebio Amati was named after his father's great teacher and was his godson. But, despite this name, he is the only one of A. Guarneri’s children who did not become a violin maker. The most famous of the family is Giuseppe. He surpassed his father. The violins of the Guarneri dynasty were not as popular as the instruments of A. Stradivari and the Amati family. The demand for them was due to their not very expensive cost and Cremonese origin - which was prestigious.

There are now approximately 250 instruments in the world made in the Guarneri workshop.

Lesser known violin makers in Italy

There were other violin makers in Italy. But they are less known. And their instruments are valued less than those created by great masters.

Gasparo da Salo (Bertolotti) - main rival Andrea Amati, who challenged the founder famous dynasty right to be considered the inventor of violins modern look. He also created double basses, violas, cellos, and so on. Very few of the instruments he created have survived to this day, no more than a dozen.

Giovanni Magini - student of G. da Salo. At first he copied his mentor's tools, then improved his work, relying on the achievements of the Cremonese masters. His violins have a very soft sound.

Francesco Ruggeri is a student of N. Amati. His violins are valued no less than those of his mentor. Francesco invented small violins.

J. Steiner

The outstanding violin maker in Germany is Jacob Steiner. He was ahead of his time. During his lifetime he was considered the best. The violins he created had great value than those made by A. Stradivari. Jacob's teacher was presumably the Italian violin maker A. Amati, since his work reveals the style in which representatives of this great dynasty worked. The personality of J. Steiner remains mysterious to this day. There are many secrets in his biography. Nothing is known about when and where he was born, who his mother and father were, or what family he came from. But he had an excellent education, he spoke several languages ​​- Latin and Italian.

It is assumed that Jacob studied with N. Amati for seven years. After that, he returned to his homeland and opened his own workshop. Soon the Archduke appointed him court master and gave him a good salary.

Jacob Steiner's violins were different from others. The arch of its decks was steeper, which made it possible to increase the volume inside the instrument. The neck, instead of the usual curls, was crowned with lion heads. The sound of his products was different from Italian samples, it was unique, cleaner and higher. The resonator hole was shaped like a star. He used Italian varnish and primer.

These three masters are considered the creators of the first modern violins. However, it would be an exaggeration to see them as the first masters who made bowed instruments High Quality. They inherited the tradition of making viols (and lutens), represented by the few surviving instruments. There is documentary evidence of the existence of violins, which were used 30 years (and perhaps earlier) before the appearance of the first instruments known to us by Andrea Amati, dating back to 1546.

On the other side, visual materials indicate that during Andrea's lifetime there was a model of instrument in use that differed from the one established as the standard by Amati in Cremona and his colleagues in Brescia. This last type of instrument was not significantly modified a century later by the great Antonio Stradivari. Amati was the first to establish the type of violin as an instrument whose expressiveness approaches the timbre of the human voice (soprano).

Andrea Amati made mostly small violins, with low sides and a fairly high arch on the sides. The head is large, skillfully carved. For the first time he determined the selection of wood characteristic of the Cremonese school: maple (lower soundboards, sides, head), spruce or fir (upper soundboards). On cellos and double basses, the backs are sometimes made of pear and sycamore. I achieved a clear, silvery, gentle (but not strong enough) sound. Andrea Amati raised the importance of the violin maker's profession to a high standard. The classical type of violin he created (the outline of the model, the processing of the arches of the soundboards) remained largely unchanged. All subsequent improvements made by other masters mainly concerned the strength of sound. Nowadays, Andrea Amati's instruments are rare. His works are characterized by great grace and perfection of geometric lines.

Amati brought the type of violin developed by his predecessors to perfection. In some larger format violins (364-365 mm), the so-called Grand Amati, he enhanced the sound while maintaining the softness and tenderness of the timbre. With the grace of form, his instruments produce a more monumental impression than the work of his predecessors. Golden yellow varnish with light brown tint, sometimes red is also found. Nicolo Amati's cellos are also excellent. Very few violins and cellos created by the most famous master of the Amati family, Nicolo, have survived - a little more than 20.

Amati's violins have a pleasant, clear, gentle, although not strong, tone; These violins are small in size, beautifully finished, significantly curved at the top and bottom, as a result of which they do not have a wide and sonorous tone.

It can be noted that people who have achieved perfection in any activity almost always have students. After all, knowledge exists in order to disseminate it. Someone passes it on to their relatives, from generation to generation. Some pass it on to equally talented craftsmen, while others simply pass it on to all those who show interest. But there are also those who try to hide the secrets of their skills until their last breath. Anna Baklaga about the mysteries of Antonio Stradivari.

Before you understand your true purpose, Great master went through many professions. He tried painting, making wooden decorations for furniture, and sculpting statues. Antonio Stradivari diligently studied the ornamentation of doors and wall paintings of cathedrals until he realized that he was attracted to music.

Stradivarius did not become famous due to insufficient mobility of his hands

Despite diligent practice of playing the violin famous musician he failed to become. Stradivari's hands were not mobile enough to produce a particularly pure melody. However, he had excellent hearing and a burning desire to improve sound. Seeing this, Nicolo Amati (Stradivari's teacher) decided to initiate his student into the process of creating a violin. After all, the sound of a musical instrument directly depends on the quality of the build.

Soon, Antonio Stradivari found out how thick the soundboards should be. Learned how to choose the right tree. I understood what role the varnish that covers it plays in the sound of a violin, and what the purpose of the spring inside the instrument is. At twenty-two he made his first violin.

Stradivari wanted to hear children's and women's voices in his violin

After he managed to create a violin that sounded no worse than his teacher’s, he began to work on his own. Stradivarius had a dream to build the most ideal instrument. He was simply obsessed with this idea. In the future violin, the master wanted to hear the sounds of children's and women's voices.

Before achieving the desired result, Antonio Stradivari went through thousands of options. The most important thing was to find the right type of wood. Each tree resonates differently, and he looked to differentiate them by their acoustic properties. Great importance It also mattered in what month the trunk was cut down. For example, if it was spring or summer, then there was a chance that the tree would ruin everything, since it would have a lot of sap. For real good tree came across rarely. Often, the master carefully used one barrel for several years.

The sound of the future violin directly depended on the composition of the varnish with which the instrument was coated. And not only from the varnish, but also from the primer that needs to be used to cover the wood so that the varnish is not absorbed into it. The master weighed the parts of the violin trying to find the best proportion between the lower and upper soundboard. It was long and painstaking work. Many tried and tested options long years calculations went into making a violin unsurpassed in sound qualities. And only at the age of fifty-six did he manage to construct it. It was elongated in shape and had kinks and irregularities inside the body, due to which the sound was enriched due to the appearance large quantity high overtones.

Stradivari created the perfect instrument at the age of 56

However, in addition to the excellent sound, his instruments were famous unusual appearance. He skillfully decorated them with all sorts of designs. All violins were different: short, long, narrow, wide. Later he began making other stringed instruments - cello, harp and guitar. Thanks to his work, he achieved fame and honor. Kings and nobles ordered him instruments that were considered the best in Europe. During his life, Antonio Stradivari made about 2,500 instruments. Of these, 732 originals have survived.

For example, the famous cello called “Bass of Spain” or the master’s most magnificent creation – the “Messiah” violin and the “Münz” violin, from the inscription on which (1736. D’anni 92) it was calculated that the master was born in 1644.

However, despite the beauty that he created as a person, he is remembered as silent and gloomy. To his contemporaries he seemed aloof and stingy. Perhaps he was like this because of constant hard work, or maybe they were just jealous of him.

Antonio Stradivari died at ninety-three years old. But until the end of his long life, he continued to make instruments. His creations are admired and appreciated to this day. Unfortunately, the master did not see worthy successors to the knowledge he acquired. IN literally words, he took them with him to the grave.

Stradivarius made about 2,500 instruments, 732 originals survive

The most interesting thing is that the violins he made practically do not age and do not change their sound. It is known that the master soaked the wood in sea water and exposed it to complex chemical compounds of plant origin. However, to determine chemical composition The primer and varnish applied to his instruments still fail to this day. Using the example of Stradivari's work, scientists conducted many studies and attempts to make a similar violin. Until now, no one has been able to achieve that perfect sound like the master’s original creations.

Many Stradivarius instruments are in rich private collections. There are about two dozen violins by the master in Russia: several violins are in the State Collection of Musical Instruments, one is in the Glinka Museum and several more are in private ownership.

Names for eternity
In the 16th and 17th centuries, large schools of violin makers formed in several European countries. Representatives of the Italian violin school were the famous Amati, Guarneri and Stradivari families from Cremona.
Cremona
The city of Cremona is located in Northern Italy, in Lombardy, on the left bank of the Po River. This city has been known since the 10th century as a center for the production of pianos and bows. Cremona officially holds the title of the world capital of stringed musical instrument production. Nowadays, more than one hundred violin makers work in Cremona, and their products are highly valued among professionals. In 1937, the year of the bicentenary of Stradivari's death, a school of violin making, now widely known, was founded in the city. It has 500 students from all over the world.

Panorama of Cremona 1782

Cremona has many historical buildings and architectural monuments, but the Stradivarius Museum is perhaps the most interesting attraction in Cremona. The Museum has three departments dedicated to the history of the development of violin making. The first is dedicated to Stradivari himself: some of his violins are kept here, and samples of paper and wood with which the master worked are exhibited. The second section contains works by other violin makers: violins, cellos, double basses, made in the 20th century. The third section talks about the manufacturing process string instruments.

The outstanding Italian composer Claudio Monteverdi (1567-1643) and the famous Italian stone carver Giovanni Beltrami (1779-1854) were born in Cremona. But most of all, Cremona was glorified by the violin makers Amati, Guarneri and Stradivari.
Unfortunately, while working for the benefit of humanity, the great violin makers did not leave behind their own images, and we, their descendants, do not have the opportunity to see their appearance.

Amati

Amati (Italian: Amati) - a family of Italian craftsmen bowed instruments from the ancient Cremonese family of Amati. The name Amati is mentioned in the chronicles of Cremona as early as 1097. The founder of the Amati dynasty, Andrea, was born around 1520, lived and worked in Cremona and died there around 1580.
Two famous contemporaries of Andrea, masters from the city of Brescia, Gasparo da Salo and Giovanni Magini, were also engaged in violin making. The Bresci school was the only one that could compete with the famous Cremona school.

Since 1530, Andrea, together with his brother Antonio, opened his own workshop in Cremona, where they began making violas, cellos and violins. The earliest instrument that has come down to us is dated 1546. It still retains some features of the Bresci school. Based on the traditions and technology of making stringed instruments (viols and lutens), Amati was the first among his fellow workers to create a modern type violin.

Amati created violins of two sizes - large (grand Amati) - 35.5 cm in length and smaller - 35.2 cm.
The violins had low sides and a fairly high arch on the sides. The head is large, skillfully carved. Andrea was the first to define the selection of wood characteristic of the Cremonese school: maple (lower soundboards, sides, head), spruce or fir (upper soundboards). On cellos and double basses, the backs were sometimes made of pear and sycamore.

Having achieved a clear, silvery, gentle (but not strong enough) sound, Andrea Amati raised the importance of the violin maker's profession to a high level. The classical type of violin he created (the outline of the model, the processing of the arches of the soundboards) remained largely unchanged. All subsequent improvements made by other masters mainly concerned the strength of sound.

At the age of twenty-six, the talented violin maker Andrea Amati had already “made” a name for himself and put it on the labels attached to the instruments. The rumor about the Italian master quickly spread throughout Europe and reached France. King Charles IX invited Andrea to his place and ordered him to make violins for the court ensemble “24 Violins of the King”. Andrea made 38 instruments, including treble and tenor violins. Some of them have survived.

Andrea Amati had two sons - Andrea Antonio and Girolamo. Both grew up in their father's workshop, were their father's partners all their lives and were probably the most famous violin makers of their time.
The instruments made by Andrea Amati's sons were even more elegant than those of their father, and the sound of their violins was even more delicate. The brothers enlarged the vaults a little, began to make recesses along the edges of the soundboards, lengthened the corners and slightly, just a little, bent the f-holes.

Nicolo Amati

Girolamo's son Nicolo (1596-1684), Andrea's grandson, achieved particular success in violin making. Nicolo Amati created a violin designed for public performances. He brought the form and sound of his grandfather's violin to the highest perfection and adapted it to the requirements of the time.

To do this, he slightly increased the size of the body (“large model”), reduced the bulge of the decks, enlarged the sides and deepened the waist. He improved the deck tuning system and paid special attention to deck impregnation. I selected wood for the violin, focusing on its acoustic properties. In addition, he ensured that the varnish covering the instrument was elastic and transparent, and the color was golden-bronze with a reddish-brown tint.

The design changes made by Nicolo Amati made the violin sound stronger and the sound travel further without losing its beauty. Nicolo Amati was the most famous of the Amati family - partly because huge amount instruments he made, partly due to his illustrious name.

All Nicolo's instruments are still valued by violinists. Nicolo Amati created a school of violin makers, among the students were his son Girolamo II (1649 - 1740), Andrea Guarneri, Antonio Stradivari, who later created their own dynasties and schools, and other students. The son of Girolamo II was unable to continue his father’s work, and it died out.

Guarneri.

The Guarneri are a family of Italian bowed instrument makers. The founder of the family, Andrea Guarneri, was born in 1622 (1626) in Cremona, lived, worked there and died in 1698.
He was a student of Nicolo Amati, and created his first violins in the Amati style.
Later, Andrea developed his own model of a violin, in which the f-holes had irregular outlines, the arch of the soundboards was flatter, and the sides were rather low. There were other features of Guarneri violins, in particular their sound.

Andrea Guarneri's sons Pietro and Giuseppe were also major masters of violin making. The elder Pietro (1655 -1720) worked first in Cremona, then in Mantua. He made instruments according to his own model (wide “chest”, convex arches, rounded f-holes, rather wide scroll), but his instruments were close in design and sound to his father’s violins.

Andrea's second son, Giuseppe Guarneri (1666-c. 1739), continued to work in the family workshop and tried to combine the models of Nicolo Amati and his father, but, succumbing to the strong influence of the works of his son (the famous Giuseppe (Joseph) del Gesu) began to imitate him in the development strong and courageous sound.

Giuseppe's eldest son, Pietro Guarneri 2nd (1695-1762), worked in Venice, younger son- also Giuseppe (Joseph), nicknamed Guarneri del Gesù, became the largest Italian violin maker.

Guarneri del Gesù (1698-1744) created his own individual type of violin, designed for playing in large concert hall. The best violins his work is characterized by strong voices with thick, full tones, expressiveness and variety of timbre. The first to appreciate the advantages of Guarneri del Gesù violins was Niccolò Paganini.

Guarneri del Gesù violin, 1740, Cremona, inv. No. 31-a

Belonged to Ksenia Ilyinichna Korovaeva.
Entered the State Collection in 1948.
Main dimensions:
case length - 355
width of the upper part - 160
bottom width - 203
smallest width - 108
scale length - 194
neck - 131
head - 107
curl - 40.
Materials:
the lower deck is made of one piece of semi-radial cut sycamore maple,
The sides are made of five parts of sycamore maple, the top is made of two parts of spruce.

Antonio Stradivari

Antonio Stradivarius or Stradivarius is a famous master of stringed and bowed instruments. It is believed that he lived and worked in Cremona because one of his violins is stamped "1666, Cremona". The same mark confirms that Stradivari studied with Nicolo Amati. It is also believed that he was born in 1644, although exact date his birth is unknown. The names of his parents are known: Alexandro Stradivari and Anna Moroni.
In Cremona, starting in 1680, Stradivari lived in St. Dominic, there he opened a workshop in which he began making stringed instruments - guitars, violas, cellos and, of course, violins.

Until 1684, Stradivarius built small violins in the Amati style. He diligently reproduced and improved the teacher's violins, trying to find own style. Gradually Stradivari freed himself from the influence of Amati and created new type a violin that differs from Amati violins in its timbre richness and powerful sound.

Beginning in 1690, Stradivari began to build larger instruments than the violins of his predecessors. A typical Stradivarius "long violin" is 363 mm long, which is 9.5 mm larger than the Amati violin. Later, the master reduced the length of the instrument to 355.5 mm, at the same time making it somewhat wider and with more curved arches - this is how a model of unsurpassed symmetry and beauty was born, which became part of the world history as a “Stradivarian violin”, and covered the name of the master himself with unfading glory.

The most outstanding instruments were made by Antonio Stradivari between 1698 and 1725. All violins from this period are distinguished by their remarkable finishing and excellent sound characteristics - their voices are similar to the ringing and gentle voice of a woman.
Over the course of his life, the master created more than a thousand violins, violas and cellos. About 600 have survived to this day, some of his violins are known as proper names, for example, the Maximilian violin, which was played by our contemporary, the outstanding German violinist Michel Schwalbe - the violin was given to him for lifelong use.

Other famous Stradivarius violins include the Betts (1704), housed in the Library of Congress, the Viotti (1709), the Alard (1715), and the Messiah (1716).

In addition to violins, Stradivarius created guitars, violas, cellos, and created at least one harp - according to current estimates, more than 1,100 instruments. The cellos that came from the hands of Stradivarius have a wonderful melodious tone and external beauty.

Stradivarius instruments are distinguished by a characteristic inscription on Latin: Antonius Stradivarius Cremonensis Faciebat Anno in translation - Antonio Stradivari of Cremona made in the year (such and such).
After 1730, some Stradivarius instruments were signed Sotto la Desciplina d'Antonio Stradivari F. in Cremona)