Andrea Guarneri
Encyclopedia
Andrea Guarneri was an Italian luthier
and founder of the house of Guarneri
violin makers.
, Italy, very little is known about Andrea Guarneri's family of origin. There are records of a wood-carver by the name of Giovanni Battista Guerine, which may have been an alternative spelling of Guarneri, living near the residence of Nicolò Amati
in Cremona in 1632, and he may be supposed to be a relative. By 1641 the young Andrea was living with Nicolò Amati and being instructed in the art of violin making, probably working along side Francesco Ruggieri
and Antonio Stradivari
who were also an apprentices at the same time. In 1652, while still living in the Amati household, Andrea married Anna Maria Orcelli, daughter of Orazio Orcelli. The young Guarneri family finally left the of the Amati's house in 1654, and Andrea probably removing himself from Amati's workshop and patronage at that time. They moved to the house of Guarneri's father-in-law, the Casa Orcelli which eventually became the Casa Guarneri. Anna Maria soon bore a daughter, Angela Teresa, followed just over a year later by a son, Pietro Giovanni
, who was eventually to carry on his father's violin making. In 1655 we have the first proof that Andrea had definitively left Amati's workshop, in the form of a label in a violin dated 1655, which says "ex Allumnis Nicolai Amati". In all previous labels "Alumnus"" was written, spelled correctly and without the prefix "ex". However, it is thought that even quite some time after both Andrea Guarneri and Francesco Ruggieri
left Amati's workshop they occasionally made entire instruments for their former master, which bear the Amati label.
By the mid 1660s Andrea and Anna Maria had had two more sons, Eusebio Amati, born in 1658, and Giovanni Battista
in 1666. Despite their third son Eusebio's namesake, and probably his god-parent, he was the only son not to follow in his father's footsteps to the violin making trade. No further information on Eusebio is available. By evidence in the workmanship of his violins, it is thought that by 1670 or 1675 at least his eldest son Pietro Giovanni
(later known as Pietro of Mantua), was making his presence known in the Guarneri workshop. Some of the instruments become lighter, and show a Stradivarian influence. Eventually entire instruments appear to be made by Pietro Giovanni's hand, though they contain the original Andrea Guarneri label. But the cooperation between father and son was short-lived. In 1679, at the age of 24 Pietro's name appears for the last time in the census at his father's house. He soon moved to Mantua and became successful in his own right.
However, soon enough Andrea's youngest son joined his father at the workbench. Giuseppe Giovanni Battista is commonly known in the violin trade as Joseph Guarnerius, filius Andreæ. Probably between the first and third sons were other apprentices and assistants whose identities are lost, though their work is sometimes clearly distinguishable. Andrea himself clearly sought to distinguish between the work of him and his family from that of other workers in his workshop by inserting labels saying Sotto la disciplina (Under the discipline of...). Andrea Guarneri was the first master to make this distinction; the Amati
s never did this, though later Stradivari adopted this idea. Some known assistants who were registered in the Guarneri household and later became known luthiers include Giacomo Gennaro (1641-1646) and Paolo Grancino
.
The exact date of the beginning Giuseppe's apprenticeship is unknown, but evidence of his work begin to be recognizable in Guarneri instruments beginning in 1680, and his influence continued to increase towards the end of his father's career, surpassing that of his father by 1685. Instruments coming out of the Guarneri workshop also continue to show the inspiration of Andrea's eldest son, though he was living in Mantua. Probably the younger looked up to the elder and eagerly copied some of his ideas especially in the form of the outline and cut of the f-holes.
The workshop of Andrea Guarneri was one of those who profited from the demand for less expensive instruments that still had the prestigious "Cremonese" designation. Occasionally, however, specific patronage afforded him the opportunity to rise to a higher level, of which he was quite clearly capable. The surviving examples of the workshop only total about 250 instruments with only four violas and fourteen violincelli.
In his will Andrea Guarneri recorded for posterity the bitterness he felt toward his elder son Pietro for having left the family and moving to Mantua, and for his ingratitude to them even before that. For this he is punished by receiving a reduced inheritance and is called to account for various articles he had taken with him from the family home and workshop. He died on 7 December 1698 in Cremona and was buried in the family crypt of his mother in Basilica di San Domenico.
Later in his life the corners become shorter and blunter, and edges heavier. The concept of the arching did not change, though it became somewhat more irregularly formed and the fluting more exaggerated, especially at the corners. The f-holes tended to stand more upright, cut generously with slightly hollowed wings. The head, if anything, became surprisingly neater and the chamfer more defined, but not necessarily more finely finished.
Throughout his career Guarneri used a high quality oil varnish, the recipe of which was probably learned from his master Nicolò Amati
, though evidence of the use of dryers is sometimes apparent as it never was in Amati instruments. The color varies from chestnut brown to orange to brown-red..
Probably his most famous instrument is the 41.5 cm (16.3 in) Conte Vitale viola of 1676. It is one of the most copied viola patterns today, though few modern makers chose to copy its distinctively deep fluting. The modeling of the instrument incorporates much that he learned from the Amatis, yet exhibits a characteristic Guarneri robustness. There is a harmony between model, f-hole placement, head and arching that is rarely duplicated.
Guarneri also pioneered a smaller sized violoncello, which evolved over the course of his lifetime from the Amati form and style, though credit may also be due to his acquaintance and competitor, Francesco Ruggieri
who made many 'celli in the same period.
Luthier
A luthier is someone who makes or repairs lutes and other string instruments. In the United States, the term is used interchangeably with a term for the specialty of each maker, such as violinmaker, guitar maker, lute maker, etc...
and founder of the house of Guarneri
Guarneri
The Guarneri is the family name of a group of distinguished luthiers from Cremona in Italy in the 17th and 18th centuries, whose standing is considered comparable to those of the Amati and Stradivari families...
violin makers.
Biography
Thought to be born in 1626 to Bartolomo Guarneri in the parish of CremonaCremona
Cremona is a city and comune in northern Italy, situated in Lombardy, on the left bank of the Po River in the middle of the Pianura Padana . It is the capital of the province of Cremona and the seat of the local City and Province governments...
, Italy, very little is known about Andrea Guarneri's family of origin. There are records of a wood-carver by the name of Giovanni Battista Guerine, which may have been an alternative spelling of Guarneri, living near the residence of Nicolò Amati
Nicolò Amati
Niccolò Amati was an Italian luthier from Cremona.-Biography:Nicolò Amati was the fifth son of Girolamo Amati and the grandson of Andrea Amati, the founder of the Amati Family of violin makers. Of all the Amati Family violins, those of Nicolò are often considered most suitable for modern playing...
in Cremona in 1632, and he may be supposed to be a relative. By 1641 the young Andrea was living with Nicolò Amati and being instructed in the art of violin making, probably working along side Francesco Ruggieri
Francesco Ruggieri
Francesco Ruggieri was perhaps an apprentice of Nicolò Amati, another important luthier in Cremona Italy, although other sources call this association into question....
and Antonio Stradivari
Antonio Stradivari
Antonio Stradivari was an Italian luthier and a crafter of string instruments such as violins, cellos, guitars, violas, and harps. Stradivari is generally considered the most significant artisan in this field. The Latinized form of his surname, Stradivarius, as well as the colloquial, "Strad", is...
who were also an apprentices at the same time. In 1652, while still living in the Amati household, Andrea married Anna Maria Orcelli, daughter of Orazio Orcelli. The young Guarneri family finally left the of the Amati's house in 1654, and Andrea probably removing himself from Amati's workshop and patronage at that time. They moved to the house of Guarneri's father-in-law, the Casa Orcelli which eventually became the Casa Guarneri. Anna Maria soon bore a daughter, Angela Teresa, followed just over a year later by a son, Pietro Giovanni
Pietro Giovanni Guarneri
Pietro Giovanni Guarneri , also known as Pietro da Mantua or Peter Guarnerius of Mantua was a violin maker of the Guarneri family who also worked as a professional musician. Today his instruments are very highly regarded, though quite rare...
, who was eventually to carry on his father's violin making. In 1655 we have the first proof that Andrea had definitively left Amati's workshop, in the form of a label in a violin dated 1655, which says "ex Allumnis Nicolai Amati". In all previous labels "Alumnus"" was written, spelled correctly and without the prefix "ex". However, it is thought that even quite some time after both Andrea Guarneri and Francesco Ruggieri
Francesco Ruggieri
Francesco Ruggieri was perhaps an apprentice of Nicolò Amati, another important luthier in Cremona Italy, although other sources call this association into question....
left Amati's workshop they occasionally made entire instruments for their former master, which bear the Amati label.
By the mid 1660s Andrea and Anna Maria had had two more sons, Eusebio Amati, born in 1658, and Giovanni Battista
Giovanni Battista
Giovanni Battista, was a common Italian given name in the 16th-18th centuries, which in English means "John the Baptist". The French variation is "Jean-Baptiste". Common nicknames include Giambattista, Gianbattista or Giovambattista. The Genoese nickname was Baciccio, and a common shortening was...
in 1666. Despite their third son Eusebio's namesake, and probably his god-parent, he was the only son not to follow in his father's footsteps to the violin making trade. No further information on Eusebio is available. By evidence in the workmanship of his violins, it is thought that by 1670 or 1675 at least his eldest son Pietro Giovanni
Pietro Giovanni Guarneri
Pietro Giovanni Guarneri , also known as Pietro da Mantua or Peter Guarnerius of Mantua was a violin maker of the Guarneri family who also worked as a professional musician. Today his instruments are very highly regarded, though quite rare...
(later known as Pietro of Mantua), was making his presence known in the Guarneri workshop. Some of the instruments become lighter, and show a Stradivarian influence. Eventually entire instruments appear to be made by Pietro Giovanni's hand, though they contain the original Andrea Guarneri label. But the cooperation between father and son was short-lived. In 1679, at the age of 24 Pietro's name appears for the last time in the census at his father's house. He soon moved to Mantua and became successful in his own right.
However, soon enough Andrea's youngest son joined his father at the workbench. Giuseppe Giovanni Battista is commonly known in the violin trade as Joseph Guarnerius, filius Andreæ. Probably between the first and third sons were other apprentices and assistants whose identities are lost, though their work is sometimes clearly distinguishable. Andrea himself clearly sought to distinguish between the work of him and his family from that of other workers in his workshop by inserting labels saying Sotto la disciplina (Under the discipline of...). Andrea Guarneri was the first master to make this distinction; the Amati
Amati
Amati is the name of a family of Italian violin makers, who flourished at Cremona from about 1549 to 1740.-Andrea Amati:Andrea Amati was not the earliest maker of violins whose instruments still survive today...
s never did this, though later Stradivari adopted this idea. Some known assistants who were registered in the Guarneri household and later became known luthiers include Giacomo Gennaro (1641-1646) and Paolo Grancino
Paolo Grancino
Paolo Grancino is a 17th century violin maker of obscure origin and unverifiable existence. He is thought to have been a student of Andrea Guarneri. Instruments who appear to be made by him are of a recognizable "Grancino" style which also appears in the work of later Grancinos, yet they are of an...
.
The exact date of the beginning Giuseppe's apprenticeship is unknown, but evidence of his work begin to be recognizable in Guarneri instruments beginning in 1680, and his influence continued to increase towards the end of his father's career, surpassing that of his father by 1685. Instruments coming out of the Guarneri workshop also continue to show the inspiration of Andrea's eldest son, though he was living in Mantua. Probably the younger looked up to the elder and eagerly copied some of his ideas especially in the form of the outline and cut of the f-holes.
The workshop of Andrea Guarneri was one of those who profited from the demand for less expensive instruments that still had the prestigious "Cremonese" designation. Occasionally, however, specific patronage afforded him the opportunity to rise to a higher level, of which he was quite clearly capable. The surviving examples of the workshop only total about 250 instruments with only four violas and fourteen violincelli.
In his will Andrea Guarneri recorded for posterity the bitterness he felt toward his elder son Pietro for having left the family and moving to Mantua, and for his ingratitude to them even before that. For this he is punished by receiving a reduced inheritance and is called to account for various articles he had taken with him from the family home and workshop. He died on 7 December 1698 in Cremona and was buried in the family crypt of his mother in Basilica di San Domenico.
Instruments
The earliest Andrea Guarneri violins unsurprisingly closely resembled the Amati style with rounded 'bouts and slender corners whose looser curves end with a slight flat. It appears that he simply continued to use the same moulds that he had in his master's workshop. The arching height is moderate with graceful fluting and the f-holes are quite Amatian, though with the upper eyes tending to be slightly too close together. As the years went on more and more characteristic features of Guarneri's work distinguished themselves. His arching tends toward fullness, and the mitres of his purfling often turning rather abruptly at the corners. The scroll was generally relatively small, without clearly defined chamfers and with shallower volutes than was typical of his teacher. He left the back plate quite thick in the centre, thinning it towards the edges, and the table of consistent thickness, though there seems to be no desire to obtain perfect accuracy in the thicknessing. The maple used seems to be of local origin and often fairly plain figure.Later in his life the corners become shorter and blunter, and edges heavier. The concept of the arching did not change, though it became somewhat more irregularly formed and the fluting more exaggerated, especially at the corners. The f-holes tended to stand more upright, cut generously with slightly hollowed wings. The head, if anything, became surprisingly neater and the chamfer more defined, but not necessarily more finely finished.
Throughout his career Guarneri used a high quality oil varnish, the recipe of which was probably learned from his master Nicolò Amati
Nicolò Amati
Niccolò Amati was an Italian luthier from Cremona.-Biography:Nicolò Amati was the fifth son of Girolamo Amati and the grandson of Andrea Amati, the founder of the Amati Family of violin makers. Of all the Amati Family violins, those of Nicolò are often considered most suitable for modern playing...
, though evidence of the use of dryers is sometimes apparent as it never was in Amati instruments. The color varies from chestnut brown to orange to brown-red..
Probably his most famous instrument is the 41.5 cm (16.3 in) Conte Vitale viola of 1676. It is one of the most copied viola patterns today, though few modern makers chose to copy its distinctively deep fluting. The modeling of the instrument incorporates much that he learned from the Amatis, yet exhibits a characteristic Guarneri robustness. There is a harmony between model, f-hole placement, head and arching that is rarely duplicated.
Guarneri also pioneered a smaller sized violoncello, which evolved over the course of his lifetime from the Amati form and style, though credit may also be due to his acquaintance and competitor, Francesco Ruggieri
Francesco Ruggieri
Francesco Ruggieri was perhaps an apprentice of Nicolò Amati, another important luthier in Cremona Italy, although other sources call this association into question....
who made many 'celli in the same period.
Notable players and owners
- Kenneth RoseKenneth RoseKenneth Vivian Rose is a royal biographer in the United Kingdom.Rose is an award winning writer, having won the prestigious Whitbread Book Award in the biography category in 1983 for his book, King George V...
, and American violinist had a 1684 violin. - David LaurieDavid LaurieDavid Laurie - was a distinguished 19th century violin collector .Born in 1833 in Netherton, Kinross-shire Scotland, was an only son...
, well known British collector had 1661 violin. - Adelina PattiAdelina PattiAdelina Patti was a highly acclaimed 19th-century opera singer, earning huge fees at the height of her career in the music capitals of Europe and America. She first sang in public as a child in 1851 and gave her last performance before an audience in 1914...
, a prominent opera singer and Anton HegnerAnton HegnerAnton Hegner was a Danish composer.-External links:...
, a virtuoso cellist at different times both owned a 1679 cello. - Amit Peled, virtuoso cellist and professor at the Peabody InstitutePeabody InstituteThe Peabody Institute of the Johns Hopkins University is a renowned conservatory and preparatory school located in the Mount Vernon neighborhood of Baltimore, Maryland at the corner of Charles and Monument Streets at Mount Vernon Place.-History:...
, plays a 1689 cello.