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Throughout the centuries, hundreds of violin makers have risen to prominence as masters of their art. The selection presented here pays tribute to some of the most famous names, yet represents but a fraction of distinguished luthiers who have left their mark on the history of violin-making. Brescian School Gasparo da
Salo (b. 1540 - d. 1609)
Giovanni Paolo Maggini (b. 1580 - d. 1632) Maggini was a pupil of Gasparo da Salo from age seven,
where he remained until early adulthood. His patterns are
rather large and broad in outline, but compact, Cremonese School The Cremonese school was founded by Andreas Amati (b. 1525 - d. 1611), who started out as a maker of rebecs and viols. Some authorities have suggested that Andreas started the manufacture of violins contemporaneously with Gasparo da Salo. Noted makers of the Amati school include Joseph Guarnerius, Francesco Ruggieri, Jean Batiste Grancino, Francisco Grancino, Andreas Guarnerius, and Sanctus Seraphino. Nicolaus Amati (b.1596 - d. 1684) Nicolaus, the grandson of Andreas Amati, was considered the greatest maker of this illustrious family. Numerous masters of the first part of the eighteenth century were his pupils. His most celebrated violins are those known as Grand Amati models. These were comparatively large instruments with long corners, bold scrolls and beautiful varnish, and although not powerful, werebrilliant in tone. Instruments made by Nicolaus Amati are also notable for their arching, which tends to be rather high at the center. Antonio Stradivari (b.1644 - d.1737) Purported to have been a pupil of Nicolaus Amati, Antonio Stradivari is considered by many to be the greatest violin-maker that ever lived. Stradivari served his apprenticeship with Amati, and stayed until 1670. During this period, he is not thought to have signed his work.
Circa 1668 - 1686 The instruments made during the first period are known as "Amatesé Stradivari", which resemble Amati's "Grand" model, but with modified corners, and flatter arching. The wood used during this period, although acoustically sound, tends to be less figured than his later instruments. It has also been said that Stradivari spent this time procuring what he thought to be the best wood. Circa 1686 - 1694 The second period is characterized by graceful, larger
instruments with even&endash;flatter arching, elegant
f-holes, and |
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Originally a maker of viols and
tenors, Gasparo da Salo's violins rose quickly to
prominence, surpassing all his contemporaries, and he soon
became the head of the Brescian school. Many of his
instruments were made of pearwood and sycamore, especially
his basses. The scroll particularly reflects the still
primitive state of the instrument.
with flattish arching sloping towards the
purfling. The scrolls are still somewhat unrefined. His
instruments are sometimes ornamented by elegant curls of
purfling, typically laid in a double line.
Independently wealthy as a
young man, Stradivari was free to pursue his quest and
passion for perfection. His work can be divided into three
periods:
beautiful golden or light red
varnish. Towards the end of this period, Stradivari made
instruments known as "Long Pattern", so-monikered forthe
narrowness between the f-holes, which gave the violins a
lanky appearance.