Giovanni Battista Guadagnini (original) (raw)

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Italian luthier

Giovanni Battista Guadagnini
Born (1711-06-23)23 June 1711Bilegno in Val Tidone, Italy
Died 18 September 1786(1786-09-18) (aged 75)Turin, Italy
Nationality Italian
Known for Luthierpedagogue
Notable work Baron Knoop (1744, Piacenza)Ex-Lorenzo (c.1745, Piacenza)Baron Köhner (1752, Milan)Campoli,Grumiaux (1773, Turin)Salabue (1774, Turin)Bryant (1775, Turin)
Style Guadagnini style Piacenza periodMilan periodParma periodTurin period Stradivarius style
Movement Guadagnini school[2]
Elected Court luthier of Duchy of Parma[1]
Patron(s) Duke of ParmaCount Cozio di Salabue
Website www.guadagnini.org

Guadagnini family tree

Giovanni Battista Guadagnini (often shortened to G. B. Guadagnini; 23 June 1711 – 18 September 1786) was an Italian luthier, regarded as one of the finest craftsmen of string instruments in history.[3] He is widely considered the third greatest maker after Antonio Stradivari and Giuseppe Guarneri "del Gesù". The Guadagnini family was known for their violins, guitars and mandolins.[2]

Giovanni Battista Guadagnini was born on June 23, 1711, in the hamlet of Bilegno, in what is now the Province of Piacenza in Northern Italy. Both his life and his career can be divided into four distinct periods, which correspond to the four cities in which he would live and work, Piacenza, Milan, Parma, and Turin.

Almost nothing is known about his early years until he moved to the nearby city of Piacenza in 1738.[4] In 1742, his first violins start to appear. It is unclear from whom or where he learned his trade. Since he joined the woodworking guild, it is likely that he underwent an apprenticeship with a local woodworker; however, there is no evidence of any local instrument makers in Piacenza at the time.[5]

In 1749 Guadagnini moved to Milan, where he continued to make instruments. The reason for his move is unknown, but was perhaps economically motivated as Milan was a much larger city with a larger and more active music scene. During this time a few of his instruments bear labels implying a relationship to Cremona—the home of the renowned violin makers Amati, Stradivari, and Guarneri—however no evidence exists that Guadagnini ever lived in Cremona.[5]

In 1758 Guadagnini moved again, this time to Parma. He may have been drawn to the city by the recent appointment of Carlo Ferarri, a close musician friend from his time in Piacenza, to a position with the Ducal Court.[6] During his time in Parma Guadagnini was also closely connected to the court, and in particular to the musical patronage of the Prime Minister Guillaume du Tillot. In his later years in Parma Guadagnini even received a direct salary from the court. In 1771, with the Court's financial fortunes in decline, Guadagnini asked to be allowed to leave.[5]

He next moved to Turin. Two years later, in 1773, he began his historically important relationship with notable violin collector Count Cozio. Cozio purchased most, if not all, of Guadagnini's output during this time, and also supplied him with most of his wood and other materials. His business partnership with Cozio ended in 1777, though they continued to have dealings with each other.[5] The Count is likely responsible for Guadagnini's marked shift to a more Stradivari-like style during this time, both by pressuring Guadagnini to more closely copy Stradivari and by providing Guadagnini with access to examples of Stradivari's work.[7]

Giovanni Battista Guadagnini passed away in Turin on September 18, 1786.[1]

Guadagnini's work is divided into four distinct periods, which correspond to the four cities in which he worked over the span of his career, Piacenza, Milan, Parma, and Turin. His work in each new city changed in response to the availability of materials, the needs of the local musicians, and finally in Turin, his relationship with Count Cozio. Stylistically Guadagnini's work is generally less refined and polished than that of makers such as the Amatis or Stradivari, however with the same focus on tonal success.[7] He is generally considered to be the last of the great historical makers, ranking just behind Stradivari and Guarneri.[8] He is also possibly the last of historical makers to have used a varnish similar to what was used by classical Cremonese makers.[7]

His instruments have sold for over $2,000,000 at auction.[9]

Performers with Guadagnini instruments

[edit]

Violinists

Violinist Date & place of manufacture Sobriquet Comments Reference
Felix Ayo 1744 [10]
Veriko Tchumburidze 1756, Milan loaned by Deutsche Stiftung Musikleben[11] [12]
Riccardo Brengola 1747, Piacenza Contessa Crespi [13]
Adolf Brodsky 1751, Milan ex-Brodsky [14]
Zakhar Bron 1757, Milan [15]
Amaury Coeytaux 1773 [16]
Andrew Dawes 1770, Parma Dawes, de Long Tearse [17][18]
Richard Deakin English chamber musician and soloist, currently teaching at RAM in London, was using one in 1980s and likely still is.[19]
Julia Fischer 1742 [20]
Carl Flesch 1750s ex-Henri Vieuxtemps [21]
David Garrett 1772 In December 2007, Garrett fell after a performance and smashed his Guadagnini, which he had purchased four years earlier for US$1 million.[22] He now uses it for mainly his outdoor crossover performances.[23]
David Greed 1757 Owned by the Yorkshire Guadagini 1757 Syndicate. [24]
Arthur Grumiaux 1752 ex-Grumiaux [25]
David Halen 1753 [26]
Jascha Heifetz 1741, Piacenza ex-Heifetz Provenance – by Rembert Wurlitzer in 1946 and Dario D'Attili in 1991 [27]
Marlene Hemmer 1764 [28]
Chloe Chua 1753 On Loan from the Rin Collection [1] [2]
Peter Herresthal 1753, Milan [29]
Willy Hess 1740s [30]
Joseph Joachim 1767, Parma ex-Joachim [31]
Ida Kavafian 1751 [32]
David Kim 1757 On loan from The Philadelphia Orchestra [33]
Min-Jeong Koh 1767 [34]
Goran Končar 1753, Milan [35]
Mikhail Kopelman 1773 [36]
Michał Kowalkowski 1753 Gucio
Jan Kubelik 1750 ex-Kubelik [37]
Pekka Kuusisto 1752 On loan from the Finnish Cultural Foundation [38]
Manfred Leverkus 1752 ex-Kneisel
Jack Liebeck 1785 ex-Wilhelmj [39]
Wayne Lin 1779, Turin [40]
Tasmin Little 1757, Milan [29][41]
Mauro Lopes Ferreira [42]
Haldon Martinson 1750 Being used in the Boston Symphony Orchestra [43]
Stefan Milenkovich 1780, Turin [44]
Viktoria Mullova 1750 [45]
Ludwig Müller 1746
Ginette Neveu Purchased early spring, 1949. Involved in an air crash later that year, in which Neveu died. Scroll later apparently appeared in Paris, having changed hands several times. [46]
David Plantier 1766 [47]
Simone Porter 1745 On loan from The Mandell Collection of Southern California [48]
William E. Pynchon 1779, Turin Purchased March 26, 1957. Played in San Francisco Opera until 1998
Linda Rosenthal 1772, Turin [49]
Leon Sametini 1751 ex-Sametini [50]
Mari Samuelsen 1773, Turin On loan from ASAF (Anders Sveeas Charitable Foundation, Oslo). [51][52]
Stephanie Sant’Ambrogio 1757 [53]
Mayumi Seiler 1740, Piacenza
Ittai Shapira 1745, Piacenza [54]
Sini-Maaria Simonen 1760 On loan from the Finnish Cultural Foundation [55]
Roman Simovic 1752 On loan from Jonathan Moulds [56]
Yvonne Smeulers 1785 [57]
Lara St. John 1779 Salabue Called "The Resurrection" by St. John [58]
Lyndon Johnston Taylor 1777 [59]
Henri Temianka 1752 Built based on the Petro Guarnerius model. Certificate of Joseph Vedral, violinmaker, Holland, 28 September 1929
Vanessa-Mae 1761 Gizmo [60]
Pablo Valetti 1758 [61]
Pavel Vernikov 1747, Piacenza ex-Contessa Crespi, ex-Brengola On loan from Fondazione Pro Canale. Worth $1.5 million in 2016. Stolen in December 2016.[62]
Henri Vieuxtemps 1750s ex-Henri Vieuxtemps [21]
Henryk Wieniawski 1750 ex-Wieniawski [63]
Bob Wills 1784 Described as 157 years old when bought in 1941 for 3,000,Willslaterclaimedinaninterviewthathegaveitaway"toafriendofmineinTayxas"andboughtanotherfor3,000, Wills later claimed in an interview that he gave it away "to a friend of mine in Tayxas" and bought another for 3,000,Willslaterclaimedinaninterviewthathegaveitaway"toafriendofmineinTayxas"andboughtanotherfor5,000. [64]
Eugène Ysaÿe 1774 ex-Eugène Ysaÿe [65]
Bomsori Kim 1774, Turin
Li Chuan Yun 1784 On loan from the Stradivari Society [66]
Kai Gleusteen 1781 the tiger [67]
Audrey Wright 1753 ex-Alsop On loan from the Alsop Trust. Previously played by Madeline Adkins[68] [69]
Madeline Adkins 1782 ex-Chardon On loan from Gabrielle Israelievitch, previously played by Jacques Israelievitch [70]
Bartu Elci-Ozsoy 1760 ex-Vidas Loaned by Conservatoire de Paris. The violin, made by Giovanni Battista Guadagnini, was previously owned by Romanian-born violinist Raoul Georges Vidas (1901–1978) and was donated to the Conservatoire de Paris by the late virtuoso’s mother Anna Vidas. [71][72]

Violists

Cellists

Groups

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