FAMOUS VIOLIN MAKER.

New Zealand Herald, Volume LXVI, Issue 20235, 20 April 1929, Page 2 (Supplement)

FAMOUS VIOLIN MAKER.

STRADIVARI'S GREAT SKILL.

DISCOVERY OF DOCUMENTS.

MUCH NEW INFORMATION.

VARNISH SECRET UNREPEALED.

Very important manuscripts discovered by chance in December last at Bergamo, in Lombardy, cast new light on the life and work of Antonio Stradivari, the greatest of violin-makers. Hitherto tlio most painstaking research lias revealed but scanty information, exasperatingly dubious and vague. Even the familiar statement, confidently repeated in every reference book, that Stradivari was a pupil of Amati, rested on no more than tradition.

Antonio Stradivari was born on August 14, 1645, and by mere chance his birthplace was Cremona. His mother, Anna Maria Moroni, lived at Bergamo, and had gone to Cremona on a market-day, when she was suddenly and unexpectedly taken ill and gave birth to the boy in the Piazza San Agostino. This is related in a biography, forty-eight pages of manuscript, among the documents brought to light. It seems, according to an article by Mr. Anthony Clyne, published in the Newcastle Weekly Chronicle, that the papers in question were contained in an ancient chest belonging to a priest who had been an intimate friend of the Stradivari familv. The biography is by this Jesuit, Father Theodoro Bonaventura, who later moved from Cremona to Bergamo. Since his death the chest had lain unheeded in an attic. Covered with the dust of years, and thought to bo empty, it was sold for a trifle to a second-hand furniture dealer in Bergamo, who opened it ana found the documents. Ho sold them to Signor Landro Bisiach, a well-known violin-maker of Milan. In Italy such discoveries must by law be reported to the authorities. It was accordingly dono when tho purchase was complete, and examination by three experts has placed their authenticity beyond question. Priest and Friend.

How Father Bonaventura became acquainted with the artist he relates in a preface to his curious biography. Passing one day through the Via dei Cortellai or Street of the Cutlers in Cremona, he was attracted "by sounds as human as voices coming out of a, shop." He entered, met Stradivari, and"became his close friend. Antonio before his death confided to the priest his will. Not only does the biography bring assurances that Antonio was an apprentice of Niccolo Amati, most eminent of the famous family of violinmakers; the box contained also several of Amati's original designs, evidently given to the pupil. Antonio was still under Amati's instruction when, at 22, he began affixing his own label to his work For 70 years ho made violins, for there is one with the label dated "D'Anni 92," and yet another dated "D'Anni 93." but the handwriting of the second is that of his son Omobono. The old man's hand was probably tremulous, and he was afraid of spoiling the label. \'

Amati made violins mostly of a small patttern, and not so many cf what are called "Grand Amatis." At first Stradivari followed the smaller model, sttong rather than graceful and covered with thick golden varnish. About 1684 he adopted a wider model with the arch of the belly less abrupt, and a tinge of red appeared in the varnish. After 1690 Stradivari made a number of famous instruments cf the so-called "long" pattern, radically different from any previous model. Then, after returning to his former pattern for a /ew years, about 1700 he again made wider instruments, more beautiful also in other respects. His supreme masterpieces are geneiallv dated from 1710 to 1720. Later ones have not quite the same delicacy of tone or quality of varnish. Values of Genuine "Strads." There may .be something like 20 000 alleged "Strads" in the world, each bearing a facsimile of the master's label. At the very ontside he made a thousand, of which at least half have vanished. The rest are forgeries. But no one can counterfeit Antonio's work to deceive the real expeiL. At the beginning of the century Messrs. Hill, of Bond Street, London, the bestknown dealers in Cremona violins in the world, compiled a census of genuine "Strads," finding 540 existent, with 12 violas and 50 violoncellos—for some of these Antonio made as well and of superb quality. Authentic "Strads" are recorded with minute particularity—their dimensions to fractions of an inch, their condition in every respect, their most trifling defects, every mark or scratch, and, of course, every replacement or repair. Genuine "Strads" differ immensely in value, according to the extent of " tha repairs and alterations and the amount of the original top varnish remaining. Very few belong to the highest class, worth up to 10,000 guineas, which Mischa Elman paid for one a few years ago.

Even if they have escaped accidental injury during the centuries, many of the " Strads " have been altered. The bar down the middle, inside the arch for example, has been replaced by a stronger one, because the pitch has increased since Antonio's day and the tension of the strings increased. Or the neck and fin-ger-board has been lengthened for modern use. According to the initiated, there is only, one instrument in all'the world, one they spehik of with bated breath, which remains just as it left the masters hands, unaltered and unrepaired, having been played little and with the varnish a dark uniform red—the "Messiah," made in 1716. An Unrevealed Secret. The first section of the monograph deals with the wood, which was to be sought a certain district near Bergamo; the second with the varnish and tiie ulue; and the third with the shape and bodies of violins. But. alas! the manuscript leaves the secret of Stradivari unrevealed. What was Antonio's secret, apart from his craftsmanship? Some say the Italian makers obtained wood possessing exceptional acoustic properties from special local sources kept secret/ But undoubtedly his unique varnish, so silky soft in texture, shading from orange to red, was Antonio's most precious secret. The mystery of its composition has defied the research of centuries. In the ancient chest, among many letters from Antonio's pupils, was one complaining that the pupil could no longer make good violins, because he bad no more of the master's varnish, which—ho wrote —meant everything.

Aoccording to tradition Stradivari was tall and thin and looked worn with much thought and incessant industry. lie was never soon without a white cloth cap and his apron of white leather "Every day was to him like every other day. His mind was always,, riveted upon his one pursuit and ho sqjanied neither to know nor to desire the Rfcist change of occupation." Letter from King James 11. However that may be, it is certain that Stradivari was a very great artist of wide fame in his own day. Rich connoisseurs and puissant princes from the first prized his handiwork. In the chest was a letter of King James 11. of England, dated September 12, 1687, addressed in Italian to the "Grande del Violino, Signor Stradivari in Cremona," or to the "Great Man of the Violin." It was known that a complete set of four instruments by Stradivari, first violin, second violin, viola and violoncello, were presented to King James by Micbelo Monza, a banker of Venice, James wrote, to tlio maker that he had received them: "I never saw such beautiful works of art. Cremona must consider itself fortunate to Uayo you within iU walls.