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THE MAKING OF THE VIOLIN IN CREMONA IN THE TIME OF STRADIVARI
by Marcello Villa
The recordings of MV Cremona hopes to shed light on the musical scene in Cremona in the XVII and XVIII centuries, concentrating on composers of violin music who were contemporaries of the Stradivarius, using criteria from philology, original instruments and baroque techniques throughout.
The long life of Stradivarius (about 1644 -1737) covers a truly crucial period in the history of music : it stretches from the second half of the 17th century , a moment of the definitive triumph of the violin as principal instrument of baroque instrumental music, to the first part of the 18th century, a period of transition towards musical classicism. We maintain that it is important, therefore, to rediscover these musicians who are little known to the public of today, but who were quite well known and respected in the Cremona of their day.
They were perhaps great exchangers of concrete ideas and
advice with the great violin makers of the time. As it happens
today in modern violin
making workshops,
the exchange of ideas and advice between musicians and instrument
makers is the basis for the professional growth of both.
The finished instrument that emerged from his workshop in piazza S. Domenico was quite different from the modern instrument normally used nowadays.
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Baroque Violin Attr.Hieronimus Amati XVIII Sec.
It differed in some important details, for example the neck, which was shorter and the bridge which was shorter and designed differently. All this gave the instrument of that time a particular quick and mellow sound, certainly seductive and very charming, but without the power and strength of the modern instrument, which is designed specifically to be heard in theatres and concert halls
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Original neck of violin "Soil" 1714 Cremona, Museo Stradivariano (Cat.128)
These masterpieces, however, thanks to the clever construction designed and executed by Stradivarius , so that they would last, as well as the accuracy and skill of the restorers who have dealt with them, have shown themselves to be adaptable to the new acoustic demands, becoming true points of reference for musicians and violin makers for around two centuries.
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Antonio Stradivari Viola tenore "Medicea"1690
With the exception of very few survivors, all the instruments of 1600-1700, including those by Stradivarius, were altered to suit modern demands from 1830 onwards, so changing the concept of acoustic perfection and ideal sound followed by the maestro.
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| - Violino Anonimo Italiano XVII secolo - |  |
| - Violoncello Anonimo scuola milanese XVII secolo - |  |
