User:Focus/Antonio Stradivari

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Biography[edit]

Family background and early life[edit]

Panorama of Cremona, with the Torrazzo di Cremona visible

Stradivari's ancestry consisted of notable citizens of Cremona, going back to at least the 12th or 13th century. The earliest mention of the family name, or a variation upon it, is in a land grant dating from 1188.[1] The origin of the name itself has several possible explanations: some sources say it is the plural of Stradivare, essentaily meaning 'toll-man' in a Lombard variety of Italian, while others say that the form 'de Strataverta' derives from 'Strada averta', which, in a Cremonese dialect of Italian, means 'open road'.[2]

Antonio's parents were Alessandro Stradivari, son of Giulio Cesare Stradivari, and Anna Moroni, daughter of Leonardo Moroni. They married on August 30, 1622, and had at least 3 children between 1623 and 1628: Giuseppe Giulio Cesare, Carlo Felice, and Giovanni Battista. The baptismal records of the Parish of S. Prospero then stop, and it is unknown whether they had any children from 1628 to 1644.[3] This blank in the records may be due to the family leaving Cremona in response to war, famine, and plague in the city from 1628 to 1630,[4] or the records may have been lost due to clerical reforms imposed by Joseph II of Austria in 1788.[5] The latter explanation is supported by the word Cremonesis (of Cremona) on many of Stradivari's labels, which suggests that he was born in the city instead of merely moving back there to work.[6] Antonio was born in 1644, a fact deducible from later violins.[7] However, there are no records or information available on his early childhood, and the first evidence of his presence in Cremona is the label of his oldest surviving violin from 1666.[8]

Stradivari likely began an apprenticeship with Nicolò Amati between the ages of 12 and 14,[9] although a minor debate surrounds this fact. One of the only pieces of evidence supporting this is the label of his 1666 violin, which reads, "Alumnus Nicolai Amati, faciebat anno 1666".[10] However, Stradivari did not repeatedly put Amati's name on his labels, unlike many of his other students.[11] Stradivari's early violins actually bear less of a resemblance to those of Amati than his later instruments do.[7] M. Chanot-Chardon, a well-known French luthier, asserted that his father had a label of Stradivari's stating, "Made at the age of thirteen, in the workship of Nicolò Amati". This label has never been found or confirmed.[10] Amati would also have been a logical choice for Antonio's parents, as he represented an old family of violin makers in Cremona, and was far superior to most other luthiers in Italy.[9]

An alternate theory is that Stradivarius started out as a woodworker: the house he lived in from 1667 to 1680 was owned by Francesco Pescaroli, a woodcarver and inlayer. Stradivari may even have been employed to decorate some of Amati's instruments, without being a true apprentice. This theory is supported by some of Stradivari's later violins, which have elaborate decorations and purfling.[12]

Assuming that Stradivari was a student of Amati, he would have begun his apprenticeship in 1656–58 and produced his first decent instruments in 1660, at the age of 16. His first labels were printed from 1660 to 1665, which indicates that his work had reached a quality sufficiently high enough for him to offer it directly to his patrons. However, he probably stayed in Amati's workshop until about 1684, as to use his master's reputation as a launching point for his career.[13]

Marriage and early carrer[edit]

Antonio Stradivari's second house, the No. 2 Piazza San Domenico

Stradivari married his first wife, Francesca Feraboschi, on July 4, 1667.[14] Francesca was the young widow of the burgher Giacomo Capra, who she had two children with, and who had been shot by Francesca's brother on the Piazza Garibaldi (formerly the Piazza Santa Agata).[15] After their marriage, Stradivari moved into a house known as the Casa del Pescatore, or the Casa Nuziale, in his wife's parish. The couple had a daughter, Giulia Maria, three to four months later.[16] They remained in this house until 1680, during which time they had four more children: Catterina, Francesco, Alessandro, and Omobono, as well as an infant son who only lived for a week.[17]

Stradivari did not "flash forth as a brilliant genius" as is often said, but more likely developed his own style slowly. His violins often used slightly smaller dimensions, and he obviously doubted whether the "Grand Amati" patterns actually led to a greater tone. A notable exception to this is the 1697 Hellier violin, which was had much larger proportions.[18] Stradivari's early (pre-1684) violins contrasted with Amati's contemporary instruments by a stronger, more masculine build, less rounded curves, and purfling set farther in.[19][20]

By 1680 Stradivari had acquired at least a small, yet growing, reputation. In 1682, a Venetian banker ordered a complete set of instruments, to be presented to King James II of England.[21] The fate of these instruments is unknown. Cosimo de' Medici bought another five years later.[22] Amati died in 1684, an event which was followed by a noticeable increase in Stradivari's production.[21] The years 1684 and 1685 also marked an important development in his style — the dimensions he used generally increased, and his instruments were more in the style of Amati's 1640–50 work.[23] Stradivari's instruments underwent no major change in the next five years,[24] although in 1688 he began cutting a more distinct bevel and began outlining the heads of instruments in black, a quite original improvement.[25]

Stradivari's early career is marked by wide experimentation, and his instruments during this period are generally considered of a lesser quality than his later work.[26] However, the precision with which he carved the heads and inserted the purfling quickly marked him as one of the most dexterous craftsmen in the world, a prime example of this being the 1690 "Tuscan" violin.[27] Pre-1690 instruments are sometimes termed "Amatisé" but this is not completely accurate; it is largely because Stradivari created many more instruments later on that people try to connect his early work with Amati's style.[28]

Stradivari moved out of the Casa Nuziale by 1680, and purchased a house now known as No. 1 Piazza Roma (formally No. 2 Piazza San Domenico).[16] The house was just doors away from several other violin making families of Cremona, including the Amatis and Guarneris.[29] Stradivari probably worked in the loft and attic, and he stayed in this house for the rest of his life.[30] Stradivari's wife Francesca died on May 20, 1698, and received an elaborate funeral five days later. [31]

"Golden" period and later years[edit]

In the early 1690s Stradivari began to make violins with a pattern larger than before, which is sometimes dubbed the "long Strad". He continued to use this patter until 1698, with few exceptions. In 1690 he also switched to using a darker, richer varnish, as opposed to a yellower varnish similar to that used by Amati.[32] From the 1700s until Stradivari's death is often termed the "golden period" of his life,[33] and instruments made during this time are usually considered of a higher quality than his earlier instruments.

Stradivari married his second wife, Zambelli Costa, on August 24, 1699. They had five children from 1700 to 1708: Francesca Maria, Giovanni Battista Giuseppe, Giovanni Battista Martino, Giuseppe Antonio, and Paolo.[31]

Style and technique[edit]

Influence[edit]

References[edit]

  1. ^ Hill et al (1963), p. 3
  2. ^ Fuller-Maitland et al (1922), p. 707
  3. ^ Hill et al (1963), p. 4
  4. ^ Hill et al (1963), p. 6
  5. ^ Pollens (2010), p. 11
  6. ^ Pollens (2010), p. 12
  7. ^ a b Faber (2006), p. 26
  8. ^ Faber (2006) p. 25
  9. ^ a b Hill et al (1963), p. 27
  10. ^ a b Hill et al (1963), p. 26
  11. ^ Hill et al (1963), p. 25
  12. ^ Faber (2006), p. 27
  13. ^ Hill et al (1963), p. 28
  14. ^ Hill et al (1963), p. 8
  15. ^ Faber (2006), p. 28
  16. ^ a b Hill et al (1963), p. 10
  17. ^ Fuller-Maitland et al (1922), p. 708
  18. ^ Hill et al (1963), p. 33
  19. ^ Hill et al (1963), p. 34
  20. ^ Pollens (2010), p. 16
  21. ^ a b Hill et al (1963) pp. 36–37
  22. ^ Faber (2006), p. 41
  23. ^ Hill et al (1963), pp. 37–38
  24. ^ Hill et al (1963), p. 39
  25. ^ Hill et al (1963), p. 40
  26. ^ Faber (2006), pp. 29–30
  27. ^ Hill et al (1963), p. 41
  28. ^ Petherick (1900), p. 13
  29. ^ Pollens (2010), p. 22
  30. ^ Hill et al (1963), p. 12
  31. ^ a b Pollens (2010), p. 26
  32. ^ Hill et al (1963), p. 45
  33. ^ Hart (1875), p. 131

Sources[edit]

  • Faber, Toby (2006). Stradivari's Genius: Five Violins, One Cello, and Three Centuries of Enduring Perfection. New York: Random House. ISBN 0375760857.
  • Fuller-Maitland, John Alexander; Grove, George; Pratt, Waldo Selden (1922). "Stradivari, Antonio". Grove's dictionary of music and musicians. Vol. 4. Philadelphia: Theodore Presser Company. pp. 707–712. Retrieved 27 November 2010.
  • Hart, George (1875). The violin: its famous makers and their imitators. London: Dulau.
  • Henly, W (1961). Antonio Stradivari: Master Luthier. Brighton: Amati Publishing.
  • Hill, W. Henry; Hill, Arthur F; Hill, Alfred E (1963). Antonio Stradivari: His Life & Work. New York: Dover Publications. ISBN 0486204251.
  • Petherick, Horace (1900). Antonio Stradivari. New York: Scribner.
  • Pollens, Stewart (2010). Stradivari. Cambridge: Cambridge University Press. ISBN 9780521873048.


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