The Violin Chronicles Podcast

Katerina Guarneri was the wife of Giuseppe Guarneri AKA Del Gesu and what a life she had! Come experience the whirlwind of a life she had before she was quite literally ripped from history. To listen to the full episode please join me on Patreon at Patreon.com/theviolinchronicles.

DEL GESU PART 6. These are the final and perhaps most interesting years of Giuseppe Guarneri Del Gesu from an instrument making point of view, he is almost the last man standing in Cremona and with Stradivari and his father gone he really lets loose. Add to this the unanswered question of his wife Katarina’s role in the workshop and things just get a bit more mysterious. Dga1FbltPIWiq9i5mCJT

DEL GESU PART 5. Lets take a look at the tumultuous 1730s in Cremona shall we? And how the following events were in some way the making of our hero. As armies clash in the War of the Polish Succession, Del Gesu returns to his father's workshop, heralding a period of profound transformation in his craft. Discover how this chaotic era influenced Del Gesu's violins, leading to a golden period of violin-making amidst the backdrop of war and occupation. Featuring insights from expert guests Jonathan Marolle, Joe Bein, Christopher Reuning, and John Dilworth, this episode charts the transition and innovation that marked Del Gesu's golden period. Transcript The year was 1733 and the world beyond Cremona buzzed with talk of kings and crowns far away in Poland, king Augustus II the Strong, had died leaving behind a throne without an heir. It seemed a distant affair to the people of this quiet Lombard city on the Po River. Famous for its violins. Its craftsmen, and its golden fields. Yet even as the bells of the cathedral of Cremona tolled across the piazza whispers began. “The French are coming”, someone murmured. “For Poland?” came the puzzled reply “no” said another “for us”. In Poland, the nobles had gathered to elect a new king, many favoured Stanisław Leszczyński once a Polish monarch himself, and now the father-in-law of King Louis the 14th of France, the Polish monarchs were elected, but the Emperor Charles, the 6th of Austria and Empress, Anne of Russia, refused to accept a French backed candidate. They championed Augustus iii, the son of the late king, two kings were proclaimed and here comes the war for France and Spain. The Polish question was an excuse to strike at Austria's power, for Cremona it was the beginning of another unwanted war. In a small shop near the Piazza Del Commune, a Violin maker, Giuseppe bent over his workbench, listening to the chatter outside his mind, going over the question. “They say, the emperor calls us his subjects, but now the French and the Spanish march this way, whose subjects will we be next month? It's the same everywhere. We make violins. They make widows” Outside Austrian soldiers marched through the square, their white coats bright against the grey stone. To the people of Cremona they were both protectors and occupiers. Foreign rulers who demanded loyalty, taxes and silence. But our hero, well, he'd married the daughter of one, perhaps he spoke a bit of German. She could at least make herself understood. By 1734, the storm had broken French and Spanish troops allied to defend Stanisław claim poured across the Alps into northern Italy. The Austrians already fighting on too many fronts, fell back towards Mantua and Parma. Soon the fertile fields between the Po and the Olgio rivers became the front lines of Europe's quarrel, the Battle of Parma thundered. Only a day's ride from Cremona cannon's roared from the distant hills and smoke rose like storm clouds. Weeks later came another clash, the battle of Guastala so close that the ground in Cremona trembled under foot. Well, I might be exaggerating. Refugees streamed through the city gates, fields lay trampled bread grew scarce. The sound of music was replaced by the crack of muskets. They fight for the Polish crown people were saying in the market, but they break Italian hearts to do it. By 1735 Prince Charles Bourbon, a young and fiery commander from Spain, had taken the lead in the southern campaigns. His victories in Naples and Sicily filled Europe with his name in Cremona. Rumours spread that he would soon March North again. When Spanish troops entered the city that spring, they came weary, but triumphant. The Austrians had retreated. The people watched from behind shuttered windows as new banners. Red and gold flooded over the Citadel. Is this victory? You think Katarina asked Giuseppe? No. He replied. Setting down his tools. This is another kind of silence. For months, Cremona was caught between armies, supplies were seized, workshops turned to barracks. Yet amid the fear, acts of kindness, glimmered, nuns tending the wounded families, sharing bread with strangers, children carrying water to soldiers on the streets, even in war, Cremona refused to lose its soul while the people of Lombardy suffered. Stanisław Leszczyński, the man for whom this war had begun was trapped in the city of Dansik, besieged by Russian and Saxon troops. He waited for French help that never truly came. The city fell and the Would-be king escaped in disguise, wandering through forests until he found refuge in Prussia. When the news reached Cremona, Katarina sighed, “all this, our field, our hunger for a king who has no crown”. Giuseppe Guarneri nodded. “That is the music of Europe, my dear. The tune is always played far away, but we danced to it here”. At last, in 1738, weary diplomats signed the Treaty of Vienna. The war that had begun for Poland's throne finally ended. The peace settled like dust after a storm, Augustus III was confirmed as

DEL GESU PART 4. The Violin Chronicles: Interview with Julian Thompson on His Antique Cello In this episode of the Violin Chronicles, we sit down with Julian Thompson, a distinguished cellist with the Australian Chamber Orchestra since 2006. Julian shares fascinating insights into the unique 1729 Giuseppe Guarneri cello he's been playing for the past eight years. We delve into the history, craftsmanship, and intricate details of this extraordinary instrument, including its complex provenance and distinctive features. Julian also discusses the quirks of playing such a historic cello, from its responsiveness to various climates to how its rich history impacts his playing style. Additionally, we touch upon the differences in construction techniques between Baroque and modern instruments, exploring how these methods influence their sound and playability. Join us for an in-depth look at one of the most remarkable cellos in existence and gain a deeper appreciation for the artistry involved in its creation and performance. Transcript Welcome back to the Violin Chronicles. In this episode, I'll be talking to Julian Thompson, cellist extraordinaire, who has been playing with the Australian Chamber Orchestra since 2006. Overly accomplished musician that he is. We are going to concentrate on his instrument in this interview. What is it? I hear you asking. Well, I will let him do the honours. Julian Thompson I'm Julian Thompson. I play cello with the Australian Chamber Orchestra for the last. 20 years. Linda Lespets Wow. And, and what, what instrument do you play? Julian Thompson So, I am lucky enough to have had in my hot hands for probably about the last eight years a beautiful 1729 Giuseppe Guari cello which I understand has a, possibly, has a slightly complicated providence. Linda Lespets Do you know when it sort of changed identity? Julian Thompson I, I don't know exactly when. I just know that there's been quite a lot of speculation that the hand of Jesu may have played a part in the, the, the table of the cello and maybe the scroll as well. So it's, it's that cello, I think it's really late. And there's another cello that certainly has a lot of Del Gesu a different form, apparently that one. This one's still in the, in the older form. The, the fathers, the Guarneri Filius Andrea, that's right. But the, the experts out there seem to say that yeah, because of some of the features, the specific features of, of the wood and the scroll and, and the, maybe the f holes as well. That they think that there's certainly the hand of Del Gesù in part of this cello, so that's pretty special. Linda Lespets Yeah. Yeah, because there's the other cello is the messias I think it's called. Mm-hmm. Where they say it's all Del Gesù Mm. So there's this sort of idea that he never made cello, but he has, he has indeed made a cello, a full one. And then why not? Bits of one? Well, I guess you can imagine if he, if he's around working in the workshop and Giuseppe's getting older, then you would imagine there would be, I guess an increasing amount of work done. Julian Thompson And there's also been talk about, and you, you probably know a lot more about this, about. Sort of illnesses at various points and whether that meant that Giuseppe Guarneri wasn't in the studio for a while and then, you know Del Gesù maybe had to take the reins there more, more solidly for a period. Linda Lespets Yeah. So what happened was Del Gesu, he moved out of home when in 1722, he left. And his brother Pietro of Venice had left in 1717 to go to Venice. That, so it was just him. His dad was kind of really bad with money and pretty much like very heavily indebted. So Del Gesù was like a young man. He was married and so he moved away. Because his, it was just a black hole basically working in his dad's workshop because he owed so much, so much money to so many different people. Yeah. So he moved away, but then in 1729, 1730, when your cello's made, he had, he was very ill. He went to hospital. And normally if you went to hospital, then it was like you were dying. Yeah. You didn't wanna hang around in a hospital. But then he sort of miraculously recovered. He comes home, but he was, he couldn't really do, he couldn't really make a full instrument again. Right. He could make scrolls, but that was it. And then Del Gesù sort of comes back to help his father because his parents are sort of in bit of dire straits at that point. Yeah. And so you can imagine that there was just this cello, it just needed the belly made and he finished it. And put the label in. And the other one, the other cello that is like a hundred percent Guarneri Del Gesù that they say it's a hundred percent Del Gesù The label is 1731. So that's two years later. Right. And that's the very last label of the father a Guarneri Filius Andrea. Okay. That we sort of know of. So maybe he was there and he was like, look, I'm just gonna make this cello. His dad, like dad's label him, and that, that's it, that'

DEL GESU PART 3. In this episode we look at the mysterious years following Del Gesu's departure from his fathers workshop and his early independent work. This is a period in his life when our hero is in his prime and the instruments are all his own. The army is back in town and Giuseppe is putting new labels in his violins that today have all but disappeared, what statement is he trying to make here? Transcript Welcome back to the Violin Chronicles podcast. A show dedicated to the stories of history's greatest violin makers. My name is Linda Lespets, and if you haven't already done so, I would encourage you to sign up to Patreon, that's Patreon.com/the violin chronicles, where you can get extra episodes and extra content and to support the podcast if you felt that it has been useful and that you've learned so It would be very much appreciated. But here in this third episode, we're gonna jump in and have a look at what our violin maker is up to. So picture this, it's the early 1730s in Cremona. Our hero, the young Giuseppe Guarneri, is standing before the altar in the Church of San Pantaleone By special decree with the usual bands of marriage conveniently skipped. He weds Katarina, a German woman from Vienna, right under the watchful eyes of the Church's Vicar General. The witnesses are nobles and neighbours and the ceremony formal and blessed. Yet beneath her there is a hint of scandal because this wasn't just any marriage. Giuseppe Guarneri had married a foreigner from among what many locals saw as the occupying forces, and as if that weren't enough to raise eyebrows in Cremonas narrow streets he wasn't about to settle down at the family home on Piazza San Domenico, no Guarneri Del Gesu and his new bride were leaving. His brother had written from Venice boasting of steady work and success making instruments. Meanwhile, back home, Del Gesu’s father, the elder, Giuseppe, was drowning in debt and dragging the family workshop down with him. The house was falling apart, the business barely alive, and Giuseppe Guarneri Del Gesu knew that if he stayed, he'd sink with it. So he packed up his tools, took his young wife, and vanished from Cremona for a while. Or at least vanished from records. Where did he go? Honestly, no one's quite sure. These are what I like to call the wilderness years. A time when the trail goes cold and speculation begins and yeah, I like to speculate. Now remember this was the same era as Antonio Stradivari's Golden Period when Stradivari's instruments were gracing the salons of princes and patrons across Europe. But while Stradivari's clients were wealthy and insulated from the region's economic troubles, the rest of Cremona was in deep depression. The market for fine instruments had shrunk, and the city's famed liutaio were competing for a handful of buyers. Del Gesu must have wondered, what's the point of making violins here when no one's buying? So he didn't stop entirely. He continued to make the occasional instrument, but this time he refused to put his father's label inside. He wanted no association with the elder Giuseppe Guarneri, whose reputation was well, less than spotless. The old man owed money to half the city. His health was failing and his name wasn't one to build a future on, Guarneri Del Gesu’s new labels read. Giuseppe Guarneri Andrea Nepos (Giuseppe Guarneri, grandson of Andrea). He deliberately skipped his father's name, linking himself instead to his grandfather, the revered student of the great Nicolo Amati. It was a bold move, a quiet act of rebellion, and a statement of identity. I'm my own maker and I belong to the legacy of excellence, not the shadow of debt. He probably knew people would talk that it wasn't proper to make violins under a new name while his father still lived. But Del Gesu wasn't one to bow to convention. He had a new life, a new wife, and he had plans even if that meant wandering into obscurity for a while. And so began the lost years of Giuseppe Guarneri Del Gesu. For the next six years, our violin maker drops off the radar. He and Katarina may have left Cremona to try their luck elsewhere as for his father, Giuseppe, well, not much is done in his workshop for the next few years. He's unwell his sons have left him, and it's hard these days to get any clients. I mean, he didn't stop completely. Things had just slowed down a lot. In 1724 alone in his workshop, Giuseppe Guarneri Filius Andrea made a violin. The wood for the belly was from the same tree that Stradivari was making some of his violins from. Of course, the wood merchant would've passed at Stradivari’s workshop first, so he could get the best pieces before leaving him what was left over typical. Or did Antonio Stradivari have pity on his ailing neighbour, abandoned by his sons, and, and give him some wood to make an instrument and pay off some outstanding debts? A few years later, our Liutaio Guarneri Del Gesu reappears in town archives, but this time as a property developer. In 1728, G

DEL GESU PART 2. Giuseppe gets married leaves home and a mystery ensues, what did Del Gesu do, and where did he go for those "lost years"? Find out in this second episode of the life of Giuseppe Guarneri "Del Gesu". With special guests Jonathan Marolle, Joe Bein and Christopher Reuning. Transcript Jonathan Marolle I'll say that there is a paradox when talking about Guarneri del gesu because I don't wanna shock anybody, but if you look at the work, you'd say that he's probably, well to me, he is probably, in terms of craftsmanship, the less talented maker of the family. But yet he's the most famous and one can see the prices of instruments by Guarneri del gesu that rich, like crazy, crazy amount of money. We have to try to explain that. And I guess that what makes Guarneri del gesu so amazing for musicians and also for makers and value makers and dealers and restorers, is that. There is some sort of a, he is a legendary maker. There's so many stories about him, more or less true. And there is some sort of, he was a crazy maker. If you look at the instruments that he has made, especially at the very end of his career, it's so crazy. It's so extravagant that I think this plays a part of this this myth of Guarneri del gesu. And also we have to mention the tone quality, because eventually that's a, that's a musical instrument. So these were made to perform music and the tone quality is is beyond question. It's these are great instruments. Strange figure of the crazy artists, you know, let his, ideas flowing and crafting crazy instruments while on the opposite you have Stradivari who is the, also the other top maker that was so careful, that was so clean, neat, and precise in his making. So you have to, yeah, it's like two sides of a coin, you know, or the ying and the yang the, the wisdom and the, and the craziness. And that was the lovely Jonathan Marolle of the workshop Vatelot-Rampal in Paris, and you'll be hearing more from him later. Thank you for joining me on the Violin Chronicles. My name is Linda Lepets and welcome back to this season and episode two of the Life of Giuseppe Guarneri, AKA del gesu. If you've enjoyed this journey through the world of the Guarneris, remember you can dive deeper and access bonus content by visiting patreon.com/the violin chronicles. In the last Patreon episode, we heard from Peter Biddulph tell his story of archival discovery and present the life of a lesser known Stradivari Hmm. Before we start, I would like to say a very big thank you to our sponsor for this episode, Libby Summers of Stamford Strings and the brazenose range of instruments she has created. You can check them out on the website, brazenose violins.co.uk. That's B-R-A-Z-E-N-O-S-E violins.co.uk. But for now, we are going to jump straight back into the story of our hero, Giuseppe Guarneri del gesu. There she was this exotic creature from a far off land with her accent in strange ways. And although she was not the nice local girl, his mother kept hinting at, she was the woman, Guarneri or Giuseppe was going to marry whether they liked it or not. And no, he was not going to leave for foreign parts with his bride like his brother. Don't worry, he assured his mother. He would stay in town for now, not that it would do him any good. The family home and finances were crumbling into disrepair and his lovely Catarina did not have an impressive dowry that would save the family coffers just yet. On October the third, 1722 in the Parish of San Pantaleone, Bartolomeo or Giuseppe married Katinarina Rotta, the daughter of an Austrian imperial soldier. She was German from the city of Vienna. “By special decree by the most reverend Vicar General, Banns having been omitted, as appears in the file, Guiseppe Guarneri of the Parish of San Matteo of this city of Cremona, the son of Guiseppe and Barbara Franchi, husband and wife, and Cate Caterina Rota, German formerly of the city of Vienna, were joined in matrimony by their vows before the church and blessed by me Ignazio Cavall, parish priest of the church of San Pantaleone, her unmarried status proven as appears in the file. The witnesses present were the noble Dominus Fabrizio Salerno Guarna, the son of Giovanni Battista of the parish of San Donato and Guiseppe Brocardo, the son of Francesco of the parish of San Pantaleone in the above mentioned city.” And now we are entering into what I would call the wilderness years. It's for our protagonist because not only was our young dashing Guarneri del gesu marrying a foreign girl of the occupying forces, but now the couple would not be living with the family on the Piazza San Dominica. No, indeed not. Anywhere but there. So my name is Jonathan Marolle I am a luthier, violin maker, restorer, and expert, as they say. I'm the co-owner of the Maison Vatelot-Rampal in Paris. A workshop that was established in, 1909 in fact,sSo I've been working in the shop since 2004 and since one year and a half. And I have the chance to own this beautifu

GUARNERI DEL GESU PART 1. In this episode, we dive into the mysterious and brilliant world of Giuseppe Guarneri “del Gesù”, one of history’s most revered violin makers. Often overshadowed by Stradivari, del Gesù was doing his own thing creating violins that have raw power, and emotional depth—qualities that still captivate players and collectors nearly three centuries later. We’ll explore his fascinating life in 18th-century Cremona, the distinctive features that set his instruments apart, and the myths that surround his work. Then, I sit down with Joe Bein of Bein and Company rare violins, one of the world’s leading experts and dealers in fine string instruments, to unpack what makes a Guarneri violin so extraordinary—and why musicians from Paganini to today’s great soloists remain spellbound by them. Whether you’re a violinist, a luthier, or simply a lover of classical music’s deep craftsmanship, this episode offers a rare look into the genius and mystery of Guarneri del Gesù. And for my amazing Patreon listeners Peter Biddulph tells his intriguing story of a very important archival discovery that rocked the violin making world and we discuss a Stradivari that perhaps you never knew existed! Listen now to discover the passion, artistry, and intrigue behind some of the most powerful violins ever made. Transcript Joe Bein You know, there is something, in my experience, I think there is something primal about players when they get around. Del Gesus. And of course, we're basically just talking about violinists, but there's an excitement and there's a, I don't know, it just feels like there's a, there's something, like Stradivari of course has this regal element to it, and it's like, it's so perfect and beautiful and usually more symmetrical. And then you get to a Del Gesu and it's just this like, I don't know, it's like, it's like the wild child or it's like the, the one you're, I don't know. You're not supposed to like, but you really do. And obviously like there's this dark. Powerful sound that I think is associated with his best instruments that is just like intoxicating. And that was the delight for Joe Bein of Bein and company rare violins in Chicago. We'll be having the pleasure of hearing more from this superbly loquacious individual later on. So don't fall off the edge of your seats just yet. He'll be back. Welcome to the Violin Chronicles, a show dedicated to the story of history's greatest violin makers. Now, this season, we are diving into the life of one of the most mysterious and fascinating figures in violin making history, really. And his name is Giuseppe Guarneri Del Gesu. Hello, I'm Linda Lespets, a violin maker based in Sydney, Australia. And together with my husband Antoine, we run a workshop where many remarkable instruments pass through our hands. And here I'll be sharing the stories behind the people who created these beautiful works of craftsmanship. It really is exciting to finally be talking about Bartoloemo Giuseppe Guarneri. Now, by this time, we've already looked at 200 years of violin making, starting with Andrea Amati. Now, Andrea Amati laid down the foundations of modern violin making, and yet just two doors down from the Amati home in which Gerolamo Amati the second was living. The Guarneri family continued to follow many of the same methods Andrea Amati had pioneered keeping the cremonese tradition alive with other violin makers around town of course. So in this series, I'll be joined by some incredible guests, the renowned expert, Peter Biddulph who will share a story of a landmark discovery connected to the Guarneris, or sort of thanks to the Guarneris. You'll hear it's a very cool story. And I also speak to the expert, Joe Bein, whose deep knowledge of Del Gesu's instruments offer rare insight into the maker's genius, if you will. This European summer, I happen to be in France and I spoke to Jonathan Marolle from the French maison Vatelot Rampal who will help us explore just how the French played an unexpected role in the cementing of Del Gesu’s fame. And it gets pretty philosophical if I do say so myself. But come with me. And together we will unravel the enigma of Giuseppe Guarneri Del Gesu. Can we separate the man from the myth? You know, in rumours sometimes there is a grain of truth. What are the truths that we can find in these rumours of Guarneri Del Gesu and what lies behind the legend? So stay tuned, and by the end it will all start making a little bit more sense. Trust me. And just quickly before we start, I would like to thank this episodes sponsor Florian Leonhard, fine Violins and in particular his new book coming out on Guarneri Del Gesu called The Archetypal Violins of Giuseppe Guarneri Del Gesu. In the year 1698, Andrea Guarneri is 75 years old and no longer a young man. His son, Giuseppe, is making most of the instruments in the workshop these days. And quite frankly, Andrea is tired. His wife died three years ago and things had never really been the same s

CREMONA VIOLIN AND VARNISH Charles Reade the dramatist and violin dealer wrote 4 letters to the Pall Mall Gazette in 1872 about Cremona violins, google says "This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it!" So listen on! I say. To understand what these letters are about here is an intro with Benjamin Hebbert.

This is the life and times of Pietro Guarneri of Mantua. Join me as I explore this lesser-known Guarneri his truly beautiful instruments and his unique working conditions. This is a condensed version of the previous series on Pietro of Mantua if you would like the more elaborate tale I invite you to listen to episodes 29-31.

GIUSEPPE GUARNERI PART 5. Just when you thought things couldn't get any worse... In this final episode on the life of Giuseppe Guarneri Filius Andrea. Join me as I delve into end of the tumultuous life of this maker who turns out to be much more important than I could have ever imagined to the Life, style, workmanship and just plain understanding of his son Guarneri Del Gesu and his violins.

GIUSEPPE GUARNERI PART 4. And it's Del Gesu who saves the day! Hello and welcome to the violin Chronicles this is the 4th episode on the life of Filius Andrea and we will see how and why his youngest son Giuseppe or Guarneri Del Gesu as we more commonly know him as will step up to start helping his father and I will also be talking to the expert Christopher Reuning about identifying the hand of both Del Gesu and Pietro of Venice in the works labelled Giuseppe Guarneri filius Andrea. To listen to this full episode join us over at Patreon and sign up to have access to this and many more episodes.

GIUSEPPE GUARNERI PART 3. Welcome to the violin Chronicles, in this episode we are going to explore Giuseppe’s challenges following the death of his parents, holding up against the giant working next door Antonio Stradivari, and the impact of the War of the Spanish Succession on Guarneris business and family. The city of Cremona becomes a battleground as French and Austrian troops vie for control, culminating in the Battle of Cremona in 1702. And Despite these difficulties, Giuseppe continues to craft instruments, experimenting with new models we will live through Cremona’s ups and downs, repeated flooding, and Guiseppes personal tragedies, including the loss of one of his children which will change the outlook of the Guarneri workshop form now on and lets see how he gets on with his remaining children. This is a Patreon only ep which means if you would like To listen come and join us on Patreon.com/theviolinchronicles where you will be able to listen to this show and a whole lot more exclusive patreon only content. When you are there why not listen to the episode on Shakespeare and the soundpost and the next time you are watching Romeo and Juliette you can pipe up with some violin trivia.

GIUSEPPE GUARNERI PART 2. Hello! In this second episode we will continue to delve into the life of violin maker Giuseppe Filius Andrea Guarneri. And I am Joined by Dr. Alan Maddox from the Sydney Conservatorium of Music, as we explore the musical landscape of the late 17th century, focusing on the trio sonata and its impact on violin making (because yes it does have an impact!). Come and join me as I take a look at Giuseppe's life, his growing family, and his inheritance complications after the death of his father, Andrea Guarneri. Discover with me why the development of printed music influenced so many musicians at the time of Giuseppe Guarneri Filius Andrea, and we take a sneak peak at the lifestyles of virtuoso performers, and the intricate connections between different musical styles in different parts of Europe at this time because it will ultimately help us to understand these violin makers so much more. And finally we unveil how these historical musicians and their innovations continue to affect our understanding of music and instrument making today. Now if you would like to join me for these episodes on Giuseppe Guarneri Filius Andrea pleas go to Patreon.com/thevioinchronicles where you will have access to these exclusive episodes and a whole bunch more, I hope to see you there.

GIUSEPPE GUARNERI PART 1. He was the father of Guarneri Del Gesu one of the most celebrated makers of today, but how did he ruin things so badly for his son? In this episode of 'The Violin Chronicles,' Linda Lespets takes listeners through the life of Giuseppe Guarneri, also known as Filius Andrea, a seminal violin maker from Cremona in the 17th century. The discussion begins with the significance of understanding Giuseppe to fully appreciate his more famous son, Guarneri del Gesù. Giuseppe's We look at his early life, his family dynamics, and the socio-economic environment of Cremona, while spotlighting the intricacies of his violin-making career. Through the lens of historical events and familial relationships, listeners learn about Giuseppe's craftsmanship, his rivalry with contemporary luthiers like Stradivari, and his contributions to cello design. This episode provides a comprehensive look at how his work and legacy intertwined with that of his distinguished family. Join Linda on Patreon.com/theviolinchronicles for exclusive content and insights into the lives of other great violin makers.

PIETRO GUARNERI OF MANTUA PART 4. Here we are! The final chapter in the life of Pietro Guarneri of Mantua, a distinguished violin maker, and his experiences during a turbulent period in history. Pietro's mother-in-law joins their household in 1700. Pietro's style of violin making has evolved substantially, reflecting the broader and bolder designs of his instruments. However, family tensions arise as his brother Giuseppe fails to pay Pietro his share of their father's inheritance, eventually resolving the dispute after several years. Meanwhile, historical events significantly impact Pietro’s life. The death of the King of Spain in 1700 sparks the War of Spanish Succession, embroiling Mantua in conflict as the French and Austrians vie for control over northern Italian territories. This period sees devastating consequences for Pietro's family, including the death of his daughter Eleonora and the chronic instability caused by shifting political powers. Despite these challenges, Pietro continues his craft, even as the Austrians eventually claim Mantua what will happen to our violin maker Pietro Guarneri? Personal tragedies persist with the death of more children, but Pietro forges on, making exquisite instruments until his death in 1720. Mantua is transforming how will the art of the violin makers survive this upheaval?

PIETRO GUARNERI OF MANTUA PART 3. Welcome back to the complex and eventful life of Pietro Guarneri of Mantua. This episode explores Pietro's struggle of managing six children alone, the influence of Jacob Steiner on his instruments, and the familial conflicts over inheritance. We look at Pietro's work for the court of Mantua, including his decorated instruments with the fleur de lis patterns, why did he do this? Find out all! The episode also touches on the personal hardships Pietro faced, such as the death of his wife Caterina and subsequent remarriage to Lucia Birani. Financial challenges, especially related to dowries and house payments, are prominent, alongside Pietro's continuous dedication to his craft and the musical court despite political instability. Andrea Guarneri's death left a few curved balls for his sons to sort out, let see how the brothers (Pietro of Mantua and Giuseppe Filius Andrea) manage.

PIETRO GUARNERI OF MANTUA PART 2. In this episode of The Violin Chronicles, the life of Pietro Guarneri, Andrea Guarneri's eldest son, continues as he and his wife Caterina move to Mantua, a culturally rich yet politically tumultuous city. This episode opens a window onto Pietro's daily life, his tasks for the imprudent Duke Ferdinando Carlo, and the socio-political environment of 17th-century Mantua. This episode also explores the impact of European power struggles, particularly the War of the Spanish Succession, on the Guarneri family and Mantuan society. Pietro's craftsmanship, family dynamics, and interactions with the declining ducal court stand at the forefront, offering a rich historical tapestry in which our violin maker despite tough times was making a go of it.

PIETRO GUARNERI OF MANTUA PART 1. Never get your Pietro Guarneri's mixed up again! Pietro Guarneri of Mantua was Andrea Guarneri's eldest son, both a talented maker and musician, so why did he leave his home town to go work for a narcissistic socialite down the road? Find out as we take a look at this often forgotten Guarneri at the opulent and downright turbulent court of the Gonzaga's. Pietro Guarneri of Mantua, a fascinating yet often overlooked figure in violin making history. This episode covers Pietro's colourful life, beginning with his birth in Cremona in 1655, his early years working alongside his father Andrea Guarneri, and his move to Mantua. Pietro's journey is marked by personal tragedies, including the loss of his first child, and professional aspirations driven by his exceptional talent both as a craftsman and a musician. The episode also delves into the political complexities of Mantua, its court life, and the intrigues surrounding its rulers. Pietro's move to Mantua to work under the Gonzaga court, his successful establishment as both a musician and an instrument maker, and the legacy he left behind form the crux of this engaging historical account.

ANDREA GUARNERI PART 2. Continue listening to the life of Andrea Guarneri, student of Nicolo Amati and father of 2 very important violin makers. To listen to this episode I invite you to sign up to Patreon, you can do this at Patreon/thevioinchronicles.com

ANDREA GUARNERI PART 1. Andrea Guarneri was the first in the line of Guarneri violin makers and he is the link with the Amati family, having been apprenticed to Nicolo Amati, but as you will see this family will soon break away from the Amati tradition and start creating their own unique style. the Guarneri family of violin makers. Take a look with me at Andrea's early life amidst war, famine, and the plague, and his apprenticeship under the esteemed Niccolo Amati, who had lost many family members to the plague. Andrea becomes a trusted apprentice and eventually moves out of the Amati household to get married to Anna Maria Orcelli. How will Andrea evolve in his work and business success working just around the corner from the great Nicolo Amati?

G.B ROGERI PART 2. In this second episode on Giovanni Battista Rogeri we look at his family and children. Living in Brescia also meant that Rogeri was in the heart of an Opera loving people close to Venice and an exciting time musically and instrumentally. Transcript Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting, violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband, Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect. But here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine and war, but also of love, artistic genius, revolutionary craftsmanship, determination, cunning and bravery that all have their part to play in the history of the violin. Welcome back to part two of The Life of Giovanni Battista Rogeri. In the last episode of the Violin Chronicles, we looked at Rogeri's early life. His apprenticeship with the master Niccolo Amati himself in Cremona. He's moved to Brescia seeking out greener pastures. And now he is in Brescia where we will see his style really come into its own and take a look at this thing Opera, that was really changing the musical landscape for musicians and instrument makers alike. So stay with me as we take a dive into the life and career of Giovanni Battista Ruggieri. Not Ruggeri, Rogeri. Before we move on, I would like to say that I am an independent podcaster and really appreciate the support people have been showing in helping this show happen. If you would like to be one of those people helping me make more content for you to enjoy, consider going to patreon.com forward slash the violin chronicles, where you can have access to extra episode and help make things happen. We now find ourselves in the home of Laura and Giovanni Rugeri. The year after this young couple married in 1665, they had their first child called Pietro Giacomo and would go on to have at least six more children. Two years after Pietro's birth, they had another son called Gio Paolo. These two sons would be the only surviving boys of the Rogeri's five sons and would go on to become violin makers as well. In these early years, there is not much we know about Giovanni Battista Rogeri's work, but five years on, into the 1670s, we see an active workshop Giovanni definitely had his own style. When working for Niccolò Amati, his hand can be seen in that cremonese workshop as his instruments differed to those of Niccolò. His bolder style even influenced the young Girolamo II Amati in the development of his own characteristic instruments. Now, if you can cast your minds back to the first few episodes of the Violin Chronicles, where we spoke about the city of Brescia, we looked at its close connection with Venice. And now that Venice is embracing this exciting new art form called opera, it's no surprise that Brescia is not far behind. And the year before Rogeri married, in 1664, Brescia opened its very own commercial opera house. And this first theatre was called the Teatro degli Erranti. Cremona would never embrace opera to the extent that the Venetian state did. And here we find Giovanni Battista Rogeri setting up his workshop in the midst of this exciting time for the city of Brescia. Here I talk to Stephen Mould about how opera was so different to anything people had ever seen how it was pulling on human emotion and the impact music would have had on people at this time in this part of Italy. Linda Lespets And, and also I've, the, with the history of opera, we're sort of going from this Renaissance style. And we sort of move through to the Baroque, which is more, so we're going from the, you know, the Pythagorean theory of music was sort of God's omnipotence and to music being this source of bringing out human emotion. It's sort of the, the idea of music and the sort of thinking behind music was changing during this time of opera developing as well. Yeah. And can we see that in the operas? Stephen Mould Look, what you're talking about is absolutely valid. I tend to think of all of those kinds of ideas, they were sort of in the air. Linda Lespets Yeah. In the same way that Yeah, because I feel like opera really was, it's all about drama. It is. And human emotion. Like love and jealousy and revenge. Stephen Mould Yes. And so the interesting thing is how those things are expressed on the stage, how those things are played out. Again, I

G.B ROGERI PART 1. Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri. This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini. Transcript Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery. As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter. The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal. It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side. Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws. As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast. Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases. This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio. Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to re

FRANCESCO RUGERI PART 5. Francesco Rugeri had 4 sons, lets take a look at who they were and their contribution to Cremona in its golden period. In this episode we concludes the story of Francesco Ruggeri, a lesser-known but fascinating violin maker from Cremona, Italy. Discover his life, his move to different parishes, and the roles his children played in carrying on the craft. This episode looks at the history of Cremona as a bustling city for artisans, the family dynamics and movements of the Ruggeri family, and their contributions to violin making, especially in producing smaller cellos. Discover Vincenzo Ruggeri, Francesco's well-known son, his marriage, and his life in Cremona. Then again there is the mysterious death of Francesco's youngest son, Carlo.... Join me as I talk to guests Duane Rosengard, Jason Price, and Emily Brayshaw on topics like the influence of military fashion on civilian dress, the characteristics of Ruggeri instruments, and the historical contexts of the Ruggeri family's work.

FRANCESCO RUGERI PART 4. In this episode we will be looking at Francesco’s most productive period of making instruments with a busy workshop and 4 sons helping him out. Jason Price from Tarisio fine violins and bows talks to us about Rugeris distinctive making style and his prolific production at this time in his life but things do not run as smoothly as Rugeri would like as he finds himself in hot water with court cases and grumpy children. Thankyou to the Australian Chamber Orchestra for permission to play their music. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine and war, but also of love, artistic genius, revolutionary craftsmanship, determination, cunning and bravery that all have their part to play in the history of the violin. This show is sponsored by Tarisio Fine Instruments and Bows. And right now, I would like to talk about a formidable database you can access today, if you wish, called the COSIO Archive. For people who listen to this podcast, something that you might be thinking when you're listening to me telling the stories of violin makers is you would really love to see pictures of the instruments that they make. And for that, you have the perfect resource. Here is Jason Price, Director of Tarisio, to tell you about it. Jason Price Yes, the Cosio Archive. We now own it, maintain it, and are continually adding to it. Over a hundred thousand instruments in the database, over four thousand makers, which we are following and tracking, two hundred thousand auction prices. It's really quite cool. If I pull up the stats for, you know, a maker like Ruggeri, I get 336 instruments by Francesco Ruggieri. It's a unique resource and we hope it's really useful. Linda Lespets And so what I love is that often in some databases, you just get one, photo per maker, but in the Cosio archive, for example, for Ruggeri, you're able to look at the maker's whole career in photos and you see influences from other makers. You can see the dates where his sons are working for him and you can see examples of that work and the style. They're similar. For example, you can look up Vincenzo Ruggeri and see how his style is similar to his father. Yeah. Yeah. There's a violin in your archive, uh, 1680 called the Milanolo, which is really beautiful. Yeah. Which is a small violin. So that would be an example of his work when he's working with his sons in when the workshop was very successful. And then there's a violin from 1650, which was his earlier work. I think maybe my favorite name for an instrument is the Admiral Buckle. Admiral Buckle. That's wonderful. His life and his, it kind of reads like something out of a Jane Austen, book. Wonderful. And then, uh, there's a 1673 cello, which is really beautiful, and the, the quality of the photo is amazing. You can zoom right in and see the texture of the varnish. You can see the purfling. You can tell that the purfling's been tinted. Yep. There are examples of from 1692, so his later work, and 1695, right to the, the end of his making career, which is extraordinary. Jason Price Yeah, good. I'm really, really happy that you find it useful. Linda Lespets To have access to all these photos, what's the process to subscribe? Jason Price The annual subscription is $100 And allows you unlimited access to as many makers and as many instruments as you want to look at. Linda Lespets Yeah. And I find the auction results quite helpful as well as a violin maker, because we're often having to research different prices and you have to look at a lot of different resources to get an idea of a market value of an instrument. And so that's just one of our, Tools that we use in that process. Yes. And so you have your auctions, the photos, the auction results, and there's also the Cartegio. We get the emails every, every week. Jason Price Good. The Cartegio, I love the Cartegio project. It's, it's something I really, I really enjoy. We try to make it long form discussions on things that are interesting, interesting corners of our world. And we invite some of the, uh, some really distinguished people who write for it and have frankly, very, uh, I think, inspi

FRANCESCO RUGERI PART 3. Join me as we continue to look at the life of this innovative violin maker who was literally living outside the box. His workshop has been successfully set up, he has a young family and work is pouring in. Francesco now has to take on apprentices but who could they be? Keep listening to find out. Transcript Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting, violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mirecourt. As well as being a luthier I've always been intrigued with the history of instruments I work with and in particular the lives of those who made them. So often when we look back at history I know that I have a tendency to look at just one aspect. But here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, feminine war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning, and bravery that all have their part to play in the history of the violin. This week's show is sponsored by Tarizio Fine Instruments and Bows, and I just happen to have bumped into Mr.Jason Price. Hello, I'm Jason Price. I'm the founder and director of Tarizio, Tarizio was started 25 years ago in New York City, and now we have offices in London and also Berlin. We do auctions, we do private sales, and we also are the maintainers and curators of this thing called the Cozio Archive. I just wanted to say from personal experience as a violin maker, over the years we've bought instruments from different auction houses and you guys have been very straightforward to work with and I'm happy to hear that. And I'm not going to say that everything is perfect for everyone, but us personally, of course, of course, of course, We have never had a problem with you guys. And we're happy to hear it. So it's just been a pleasure working with you. You know, we work really hard to make sure that our attributions are correct, that our condition reports are 100 percent accurate, and that what we're selling is reliable. Say I'm a musician and I'm looking for an instrument and I come to you, how does that process work? Well, Our brick and mortar offices are in New York, London, and Berlin, and we put together three auctions a year in each of those locations, so that's nine auctions total, and we invite the public in for a full month before each auction. And we encourage you to bring your friend, your teacher, your standmate, your grandmother, anybody who can help you make a good decision, and we want you to spend as long as you can getting to know these instruments. For people who listen to this podcast, something that you might be thinking when you're, when you're listening to me telling the stories of violin makers is you would really love to see pictures of the instruments that they make. And for that, you have the perfect resource. The Cosio Archive. We now own it, maintain it, and are continually adding to it. It's an incredible amount of instruments. Over 100, 000 instruments in the database. Over 4, 000 makers, which we are following and tracking. 200, 000 auction prices. An incredible number of photographs. It's really quite cool to have access to all these photos. What's the process to subscribe? The annual subscription is a hundred dollars and allows you unlimited access to as many makers and as many instruments as you want. So there you have it. If you would like to subscribe to the Cosio Archive, read a Cartegio article or browse the auction catalogue, go to Tarizio.com. And now back to the show. Welcome back to this series on Francesco Ruggeri. We find ourselves in Cremona, a city in Northern Italy on the Lombard plains. Yet this relatively small centre had a far reaching reputation for the production of fine instruments in many European cities. Over in England, the country just could not keep a monarch on the throne for very long, and this had been going on for quite a while. Whereas France, another superpower, had a lot of stability with their sun king, Louis XIV. Lully was in full force and ballet and opera and ballet operas were all the thing at Versailles. Well, now it's all about the cello and it's this little guy's time to shine. Rugeri's workshop may have been on the outskirts of Cremona, but it was an industrious hub of activity with instrument after instrument being produced. He was beginning to get a reputation for his fine sounding cellos that he made to a smaller and more manageable size. Their rich sound meant orders kept coming in. His workshop would have been attached to his house where you could

KATHLEEN PARLOW PART 2. Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings Transcript Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories. My name is Linda Lespets and my co host is Eric Wan. This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out. So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909. Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents. Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin. Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship. She's an astounding player. And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it’s quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the Halling Dance. And the Halling Dance is danced, it's danced by men at weddings or parties, and there's really no other way to describe it than breakdancing and it's like the ancestor of breakdancing. So what happens is the men, they show off their prowess to the ladies by doing this really cool sort of these acrobatics and the music for this hailing dance itself is quite tricky and you have to play it with like a rhythm to get the crowd moving and to give the dancer like the impetus to do his tricks and the men, they wear these like traditional costumes of like high waisted breeches and red waistcoats with long puffy sleeves and this little black hat. It's a bit like Mr. Darcy meets Run DMC. You've got this man in this traditional dress doing this breakdancing, basically. And then they do they do backflips. They do that thing where you hold your foot and you jump through it with your other foot. They do like the caterpillar move. Even like spitting around on their heads. And what happens is they'll

KATHLEEN PARLOW PART 1. Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings TRANSCRIPT Kathleen Parlow Part 1 Welcome to this very first episode of the Historical Strings Recording Podcast. A show that gives you a chance to hear rare and early recordings of great masters and their stories. Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles’, a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past. I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world’ on par with Mischa Elman, or the ‘greatest lady violinist in the world’, and ‘the girl with the golden bow’. She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow. And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890. Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco. Very soon, still aged six, she gave her first recital in San Francisco. So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest. So where would we be without the chin rest, really? He's attributed with inventing it. Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition. of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? L

FRANCESCO RUGERI PART 2. Come and discover in this episode why your cello is the size it is! We continue looking at the life of Francesco Rugeri and how his career intersected with other well known masters such as Guarneri and Stradivari. The advent of wound strings will also play a part in piecing together the puzzle of how Francesco Rugeri was able to make smaller cellos 50 years before Stradivari even tried. Transcript Okay, so I'm here with my husband Antoine, who is also a violin maker. Hello and , this little segment is we're gonna give you a, the secret how to remember the difference between Francesco Rugeri and Giovanni Baptista Rogeri Antoine Lespets can you talk about your memo technique? I fun for remembering the difference between Rogeri and Rugeri Yeah. I say memo technique, technique? or just a memo technique? Oh, I thought, no, it's a memo technique because it's for memory, right? It's to remember. So memo technique. Yeah. All right. So my memo technique to remember the difference between Rugeri and Rogeri. It's a very simple one. Um, I just think Rugeri with the U is rude because he stays in Cremona. So he's, that's his, um, Rugeri is in Cremona and Rogeri, goes rogue with a O to, so he goes to Brescia, he leaves Cremona and he goes to Breescia. So Rogeri in Bresecia because he goes rogue and Rugeri in Cremona because, because he's, he's so rude. He never wants to leave Cremona. Yes. Yeah. So it's not necessarily true, but the whole idea of a memo technique is just to remember. Yeah. Don't worry if you're in Cremona, I've got nothing against you and you don't have to write there. And you can stay in Cremona like all you like. You might not be rude. Yeah. You don't have to. It's just a technique to remember. Rugeri or Rogeri. Thank you Antoine. You're welcome. Rogeri in Brescia, Rugeri in Cremona. Hello and welcome to the Violin Chronicles. A podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting, violin makers of history. I'm a violin maker and restorer. I graduated from the French violin making school some years ago now and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Lutherie in Mirecourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often, when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love, artistic genius, Revolutionary craftsmanship, determination, cunning, and bravery that all have their part to play in the history of the violin. Welcome to this episode on the life of Francesco Ruggeri. In previous episodes, we have looked at various families living in Cremona, in particular, the Amati family and their incredible craftsmanship, innovation, and influence on all things violin. So many of the great makers were influenced by this family, and Ruggeri included. In this show, we will be looking at the life of this maker, Francesco Ruggeri, where he learnt to make instruments, how he fits into the story, and I will talk about something quite innovative Francesco did that today almost everyone will give the credit to Antonio Stradivari for. Francesco returned to his workshop in San Bernardo after his wedding, and over the years, with his wife, they would have a large family. The very next year, 1653, their first son, Giovanni Battista, was born. The couple would go on to have at least six more children. In these same years, Nicola Amati, newly married, would also have children, and the two families would have known each other well, along with the Guarneri kids and the Gennaro children, all living in the same neighbourhood. Niccolo Amati was even the godfather to one of Francesco's son, Giacinto. But in the following years after the weddings of Francesco Ruggeri and Andrea Guarneri, the Amati household has no record of any apprentices living with them, and yet the workshop was producing many instruments. Could Niccolo have had other makers such as Ruggeri and Guarneri working for him still during these years, even though they were no longer living with him? E. Hill and Sons note. And I quote, “The unmistakable handiwork of Francesco Ruggeri can be found in certain of Niccolo Amati's works”. End quote. Francesco Ruggeri, working in his place in San Bernardo, could have been working for Niccolo, but also was building up his own clientele. His instruments definitely went at a cheaper rate to those of the Amatis, and his workmanship was less precise than that of his competitor. But he was able to run a successful business and he found himself experimenting with models and in par

FRANCESCO RUGERI PART 1. Francesco Rugeri; this Cremonese violin maker often mistaken for Giovanni Battista Rogeri, another Cremonese trained violin maker living at the same time, made many fine instruments and is especially well known for his cellos and his innovation of the instrument. Join me as I delve into the life of violin makers in Cremona after the Amati's and before the Guarneri families, this is the age of the Rugeris'. This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini. Transcript Far, far away in a place called Silene, in what is now modern-day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery. As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter. The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal. It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side. Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws. As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast. Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases. This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio. Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that

Want to hear about the worlds most expensive ballet performance, murderous royals and Cremonese violins? Well listen on to see what happened to Andrea Amati's instruments once they arrived in the French court. To have access to this episode sign into Patreon, just go to Patreon/theviolinchronicles.com to listen.

GIROLAMO AMATI II. Girolamo II Amati was the last of the Amati family of violin makers in Cremona. He worked along side Antonio Stradivari and the Guarneri family in an intense moment of violin making and musical discovery at the time. Listen to how he fits into the story of the violin and turns out to be more that what he is (or not) remembered for. Transcript Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with. And in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius, revolutionary craftsmanship, determination, cunning, and bravery that all have their part to play in the history of the violin. Welcome to the Amati workshop where over the last 150 years generations of instrument makers have lived and worked and the fourth generation is about to start his apprenticeship with his father who is perhaps the most famous of the family due to his beautiful craftsmanship and innovation of design. I'm talking about Niccolo Amati. In 1660, a young 11 year old Girolamo, Nicolo's son, Amati is taken into the workshop. Up until now, he would have been going to the local parish school, learning to read and write. At home, he would be doing odd jobs in the workshop, helping out his father. But now he was going to start working with him and the other apprentices and workers in the shop for real. Who would not have been proud to work in the famous Amati workshop that attracted the attention of nobles, royals, and also some of the other local boys in town. Especially one who was five years older than Giolamo Amati, named Antonio Stradivari. Nicolo Amatis son would be spending his days with his father and his assistants. At the moment, his father's employees included Bartolomeo Pasta and Giovanni Battista Rogeri. Around the corner lived and worked close family friends, the Guarneri's. Already they had five children and it looked like more were on the way. Girolamo II, as he is known, would have spent a lot of time with his father's senior assistant, Giovanni Battista Rogeri, whose style was bolder than Nicolo's and his influence can be seen in the work of Girolamo Amati II, who would become the last violin maker of the Amati family. As far as business went, the demands for violins were still strong from home and abroad. Whilst Nicolo Amati’s career was in full swing. North of Italy, a Dutch scientist had just invented the first pendulum clock, and this would forever have an impact on music, as it would lead to equal temperament. Simplified, that really just means that everyone agreed on the speed of the music being played, more or less. Music was being written about and innovations were being adapted to help musicians and the musical environment. There was the printing press that was making it possible for music to travel, opening up exciting new horizons for musicians. And in the eye of this musical storm, slowly but surely, our violin makers, cutting, scraping, plaining and gouging away, were making instruments for this new market. Music was on the road to becoming standardized. Equal temperament and a printed score. You could play a piece of music in London, Paris or Florence and it would be more or less the same, hopefully. While Italy and France were often at odds, the dance and music loving King Louis XIV could only have helped the industry of instrument making with his famed 24 violins in his royal court. Benjamin Hebert, expert and dealer in Oxford. 1661 is when Lully comes to the French court, and he creates the Petit Band, where he gathers around for the first time since the Valois dynasty, Italian musicians playing, playing French music informed by the new Italian ways of thinking, and there is one of these French court Amatis, where we can absolutely say that the new front, the restoration, is right on the nail for Lully taking these things out of the cupboard and saying, hey, we've already got some great instruments to do this with. By which time, you know, the smoke has cleared. It's history that these have got Valois connections, and it's not as offensive as it would have been to the Huguenot king and his court of people who'd been, you know, routinely assassinated and murdered and gen

For a quick revision of your makers with tips and clues to look out for so you too can recognise their work. If you would like to hear more so that you too can become more confident in your knowledge of instruments and sound like a pro go to www.patreon.com/TheViolinChronicles

NICOLO AMATI PART 4. Nicolo finds love, the workshop is full steam ahead and this violin maker has to find creative ways to get family members out of his house so his future bride doesn’t freak out! This is one busy luthier. Follow Nicolo Amati as his family grows and his influence as a violin maker branches throughout Italy and Europe. In this episode you will also meet a very important family in the story of the violin, the Guarneris, see how their lives overlap with the Amatis as we start to see the beginning of the end of the “house of Amati” Transcript Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Lutherie, in Mirecourt. Welcome back to the story of Nicolò Amati, the third in this generation of violin makers. We now find him in his mid 40s. He has survived the bubonic plague in which he lost many of his family members. He lives in the house his grandfather, Andrea Amati, bought and passed on to his sons. And now Nicolo finds himself with an odd crew of orphaned cousins, nephews, nieces, and siblings to look after post pandemic. The world in which Nicolo lived was changing dramatically. These were the years that Europeans were arriving in the Americas. There were the Spanish and Portuguese in the south. Up north were the English, Dutch, French, and the Swedes. In 1644, when Nicolo Amati was entering his late 40s, the young Antonio Stradivari was born. Most likely in Cremona and not far from the Amati home. The question, looking at Nicolo Amati this week is, was he just an artisan at the beck and call of musicians and wealthy patrons, looking to have a collection of instruments for musicians coming to their house or court? Socially speaking, where did Nicolo Amati sit in the greater scheme of things? And why was it that Luthiers from Cremona had this reputation of producing excellent instruments? Why were they better than any other city in that part of Italy at the time? Rome, Naples and Venice were all important cultural centres then, so what made this relatively small city stand out? Well, in the last episode of the Violin Chronicles, we saw Nicolo Amati surviving the plague and getting on with his life. He gives up depending on family members to help him in the workshop and starts to employ apprentices who come and live and work with him, notably two teenagers. Andrea Guarneri and Giacomo Gennaro. He also starts to make his grand pattern violin. It is surprising that by making something a few millimetres bigger and slightly changing the outline and archings of the violin, he really does change the potential of this instrument and lay the groundwork for the very well known violin makers to come after him. Niccolò Amati's clients were often noble families and the church, much like his father and grandfather had. And he would even sell instruments that were not his, such as a local priest and musician, Don Alessandro Lodi, whose family turned to him when he died to sell his collection. Here we see Nicolò Amati’s instruments fetching a good price, where others were selling their instruments for 5 ducati Nicolò's violins were going for 15 ducati and 22 for a viola. The double bass he sold from the priest's collection that was not his. It could have been a Brescian instrument, was only 13 Ducati. From the high prices Nicolo Amati demanded for his instruments, we can clearly see that he was not a lowly craftsman, but was an educated and literate member of his community, having gone to school before learning his trade with his father. It would have been important for him, in dealing with his noble clientele, to have a certain level of learning and a knowledge of business, mathematics, and accounting, as would many of his artisan colleagues. At this time in Cremona, schools were attended mainly by children of merchants and nobles, but not only. At school, they would learn. In addition to the traditional subjects of Geometry, Arithmetic, and even Astrology, subjects such as Geography, Architecture, Algebra, and Mechanics, both theoretical and applied. Carlo Chiesa, violin maker, expert, researcher, and author from Milan. It is also worth noting that the Amatis at that point, they were wealthy enough people. This is very important because It means they, the kids had an education. They were able to go to school, to be trained properly, not just in the workshop. And they were artisans of a high level anyway. So the daughters of Andrea who got married, they usually got married with good doweries with the people who were from the same social status, and that is also worth noting important because t

NICOLO AMATI PART 3. Welcome to another episode of “The Violin Chronicles” podcast that delves into the lives and legacies of the world's most renowned artisans and craftsmen. In today's episode, we journey back in time to explore the extraordinary craftsmanship of Nicolo Amati, a name synonymous with the art of violin making. In this Episode we look at a major turning point in this history of Cremonese violin making that you simply cannot miss. After the great plague of 1630 Nicolo is picking up the pieces of his life and moving on. Tracing the footsteps of this master luthier we will uncover the secrets behind Nicolo Amati's enduring legacy, a legacy marked by precision, passion, and innovation. From his early years in Cremona, Italy, to the workshop where he meticulously crafted some of the most exquisite violins in history. We'll also explore his influence on subsequent generations of violin makers, including the revered Stradivari and Guarneri families and how they were so greatly influenced by this master luthier. Through interviews with experts in the field and insights from contemporary violin makers inspired by Amati's genius, this episode offers a deep dive into the world of stringed instrument craftsmanship. Whether you're a seasoned musician, a lover of fine arts, or simply curious about the magic behind the music, Nicolo Amati's story is sure to captivate your imagination. So, tune in as we unravel the enchanting tale of Nicolo Amati, the craftsman who transformed wood and strings into timeless works of art that continue to resonate with the world's most discerning musicians and collectors. Get ready for an enriching and harmonious journey through the life and work of this true master of the craft. Transcript In the last episode of the Violin Chronicles, something kind of crazy happened. The bubonic plague that swept through northern Italy basically killed every violin maker. Except one, Nicolo Amati, which made him, I suppose, the best violin maker in Italy, right? But all that aside, he was still a very talented craftsman, thankfully. So just imagine about half the people you know and don't know in your life dying in a very short space of time. There's war, famine, crazy inflation, and pandemic ever looming on the horizon. This is Nicolo's life right now. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with. And in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales, not only of fame, famine, and war, but also of love, artistic genius, Revolutionary craftsmanship, determination, cunning, and bravery that all have their part to play in the history of the violin. Before I start the show today, I would like to say a really big thank you to some Patreon members, Joe F.,Charlotte F., and Nicoree K. Thank you for keeping the show happening. And if you'd like to join them, head over to patreon.com. So far in this series on the Amatis, we have seen Andrea Amati, the first big name to come from Cremona, making his mark by crafting a stunning set of instruments for the French court of Charles IX. Then the Amarti brothers, who were Andrea's two sons, carry on the family workshop amidst tumultuous times. They have a fight and split the workshop. The older brother, Antonio, moves down the street and the younger brother, Girolamo, stayed on in the family workshop. His son, Niccolo, managed to survive the plague and now here we are in the 1630s at the third generation of the family. This week, we find Nicolo Amati in his workshop making, making, making violins, and then he starts to change what he is doing, and the decisions Nicolo makes will start to transform the landscape of the violin forever. So stay with me as we work out what these changes were and how they rocked the violin world. I speak to Benjamin Hebbert, expert dealer and author in Oxford. Normally when we talk about Amati, often people are actually referring to Nicolo Amati. Why do you think he's so important and why, and how is he different from the others? Well, I think the amazing thing about all of the Amatis is how things change. And you would have thought that once, once you've sort of set upon something like this, at least, you know, decade to decade, you'd have, you know, very, ver

NICOLO AMATI PART 2. In this episode of “the Violin Chronicles”, we delve into the life of Nicolo Amati, a name synonymous with the exquisite craftsmanship of violins. Beyond his unparalleled contributions to the world of music, Nicolo Amati's life was marked by profound tragedy during the devastating 1630 bubonic plague that swept through Europe. Join us as we unravel the remarkable tale of a man who not only mastered the art of violin-making but also found strength in the face of unbearable loss. Nicolo Amati hailed from a renowned family of luthiers, and his violins are celebrated for their delicate craftsmanship and unparalleled tonal quality. Yet, amidst the acclaim and admiration, lies a harrowing chapter of his life that shaped his artistry and resilience. In this episode, we explore the remarkable transformation of Nicolo Amati, who channeled his grief into creating some of the most exquisite violins the world has ever seen. We delve into the technical brilliance that characterized his work, as well as the emotional depth and resonance of the instruments he crafted during this tumultuous period. Through the lens of history and musicology, we uncover how Nicolo Amati's journey through tragedy not only preserved the art of violin-making but also enriched it, leaving behind a legacy that continues to inspire musicians and craftsmen to this day. Join us as we pay tribute to the indomitable spirit of Nicolo Amati, a master craftsman who found hope and redemption amidst the shadows of a devastating pandemic, leaving us with a priceless musical inheritance that transcends time and tragedy. Tune in to “The Violin Chronicles” for an insightful exploration of Nicolo Amati's life, artistry, and resilience during the 1630 bubonic plague, a story of triumph over adversity that resonates through the ages. Transcript Have you ever heard someone say, this is an Amati Violin? And you've thought, Ooh, wow, that must be old. And then they say, it's a Girolamo Amati or a Nicolo Amati or an Andrea Amati. But by this time, if you're anything like me, you're lost and your mind is wondering, and you can't remember which one of those Amatis it's supposed to be. Is it the grandfather or one of the brothers? Is this the Amati that's supposed to be worth more than the others? And if so, is it the right period in his making? And it is. In the end, you just settle for, it's an Amati and the rest will stay in the murky swamp of information you can't quite remember. Well, no more, because hopefully by now, if you've been following these episodes in order, because they are in chronological order, you will know that we are now at Nicolo Amati, Andreas grandchild, Girolamo's son, the golden boy. So stick around and we'll see together how a devastating pandemic pushed one to transform the world of violin making. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French violin making school some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius, revolutionary craftsmanship, determination, cunning, and bravery that all have their part to play in the history of the violin. Welcome back to another episode in which we will be looking at perhaps the most famous maker of the Amati family, Nicolo. So far I have spoken about the grandfather, Andrea, and his father and uncle, Girolamo Amati and Antonio Amati, the brothers. And now Nicolo Amati continues on with the family tradition by making fine instruments and waiting for middle age to get married and have a family. Except in Nicolo's case, things are quite a bit more dramatic for himself and his family, as you will see in this episode. They were at it again, the Spanish, the French, the Germans, and the Piedmontese, fighting over who got what in yet another war, except this time, soldiers managed to spread the Black Death, and in 1628, Cremona was badly hit. Troops passing through, as they always did. to cross the Po River, were carrying and all too willing to spread the disease. This time it was the French and German troops that brought the illness with them and the effects were devastating. The plague was so deadly in this part of Italy in the years surrounding 1630 that it would have ver

G.P MAGGINI PART 2. In the history of violin making Maggini is a must. I speak to two violin experts Florian Leonhard and Benjamin Hebbert about Giovannin Paolo Maggini. Maggini's Brescian style of making violins was very distinctive and an incredible amount of copies of this luthiers work has been copied in the intervening 400 years, the two violin makers I am talking to will shed light on why and how this came about and we will give you some tips on how to recognise a Maggini instrument and make one yourself....perhaps. Transcript Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie, Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often, when we look back at history, I know that I have a tendency to look at just one aspect. But here, my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery that all have their part to play in the history of the violin. Welcome back to the story of Giovanni Paolo Maggini. In the first episode about this maker, I have briefly covered his life story. We don't know all that much about this maker during his lifetime, but his influence and style is definitely long lived. And the sheer number of copies of his instruments that have been made in the intervening 400 years is simply staggering. And so in this episode, I will be talking to two experts about why and how Maggini instruments were and are such hot stuff. To begin with, In these conversations, the mention of the Hills book comes up quite a lot. Let me quickly explain why. W. E. Hills and Sons, if you don't know, was one of the great English violin workshops in London, only to be rivalled by J& A Beares. A bit like what Batman is to Superman. Big players. Did you, did you know, by the way, that Bruce Wayne, Batman's alter ego, is actually the owner of the Daily Planet newspaper, who employs Clark Kent, making Batman technically Superman's boss. I find this fascinating because this is kind of what happens in the story of the Beares and Hills companies, but I digress. The Hills Workshop was founded by William Ebsworth Hill, 1871 to 1895. He was the son, grandson, and great grandson of violin makers. But when he founded W. E. Hills and Sons, he really took things to the next level. The man's energy was boundless. Under William's direction was the company's workshop, of course, that was producing new instruments and bow makers making bows. They would also deal in older instruments and were well known for their quality restorations. They had a line of accessories as the workshop continued to be run by his sons, and these included rosins, cleaning polish, chin rests, shoulder rests, bridges, instrument cases, strings, little tuning pipes, peg paste, if your pegs got stuck, the pegs themselves, music stands, and the list goes on. Whatever product pertaining to the violin you could possibly think of, the Hills made sure there was a Hills version of it. If this sounds like a handful, then hold on to your seats, because not only was W. E. Hill a violin maker and musician, he was also interested in photography and astronomy. And let's not forget his family, because it is Hill and Sons, so he obviously had children. Nine, in fact, somewhere along the line. But to really prove oneself as an authority in the field, what better way to do it than to write a book? And to make a splash, the first one was on the wonderful Brescian maker, Gio Paolo Maggini, published in 1892. And this is the book that we often refer to as the Hill's book in our discussions about Maggini. To make this book, research was made from archives and really to date, this book still stands as one of the only works documenting exclusively the life and work of this maker. Even though research has continued over the years, this is still a book makers keep coming back to. And so now you know a bit about the Hill's book, or more precisely, it's called The Life and Work of Giovanni Paolo Maggini, the author of which is a woman named Margaret Higgins, who is fascinating in her own right. I spoke to Florian Leonhardt, who is a London based violin maker, dealer, restorer, expert, and owner of Florian Leonhardt Fine Violins. We spoke about Brescia, the city Maggini lived and worked in. Brescia was a, was a city that, had a very rich music

G.P MAGGINI PART 1. This is the captivating journey through the life and craftsmanship of Gio Paolo Maggini, a renowned violin maker hailing from Brescia, Italy. Join us as we unravel the legacy of this extraordinary luthier whose instruments continue to mesmerize musicians and collectors worldwide. Delving into the fascinating world of Gio Paolo Maggini, exploring his innovative techniques, distinctive designs, and the enduring influence he had on the art of violin making. Not much is known about this enigmatic maker but the tragedies and hardships of his life have not deterred from the allure of his violins, celebrated for their robust tonal quality, remarkable projection, and distinctive stylistic workmanship. Christopher Moore principal Viola of the Melbourn Symphony Orchestra talks to us about his relationship with his Maggini Viola made in Brescia, and the journey he has been on with his four stringed friend. TRANSCRIPT Long, long ago in the realm of ancient Italy, a great strapping hero strode upon the earth. His name was Hercules, a mighty warrior favoured by the gods. One day, after crushing grapes in his rock-hard biceps and shaving his chiselled jawline, Hercules embarked for his legendary quest for the Golden Fleece. His path led him eventually to a region near the powerful Po River. In this land, a proud and formidable king named Eurytus ruled with an iron fist. His beautiful daughter, Calliho, possessed a grace and radiance that could rival the sun. When Hercules laid his eyes upon her, his heart was captivated, and he yearned to make her his bride. Yet King Eurytus, blinded by his own ambition, refused the hero's request. He scorned Hercules and cast him away, denying him the hand of his beloved daughter. This act of defiance set in motion a clash of titanic proportions. Determined to prove his worthiness, Hercules faced King Eurytus in a series of gruelling challenges. With each feat, the hero showcased his immense strength remember the grape crushing biceps and indomitable spirit. But it was a test of unparalleled magnitude that would forever mark the destiny of Brescia. Hercules set his sights on the Mela River. A waterway that flowed through the land. Its currents were wild and untamed, often causing havoc and destruction. Undeterred, the hero summoned his god given might and diverted the course of the river. With Herculean force, Hercules carved a new path for the Mela River, leading it through a marshy and forsaken terrain. The once desolate and waterlogged land now bloomed with life and fertility. It was a transformation of remarkable proportions. King Eurytus witnessed this incredible feat. Finally understood the true strength and valour of Hercules, and he saw the hero's unwavering determination and boundless love for Calliho. Overwhelmed by the hero's prowess and the sincerity of his heart, the king relented. Being able to challenge the course of a river and chiselled features were obviously great husband material, it seems. But moving on. In a great celebration of their union, Hercules laid the foundations of a magnificent city. He named it Brixia. The Latin form for Brescia. It was a testament to his strength and the indelible mark he left upon the land. The city grew and flourished, becoming a beacon of culture, art, and prosperity. And this is the legend of how the city of Brescia was founded. The mighty Maggini In this episode, we will be looking at the oh so influential Gio Paolo Maggini. If you haven't already listened to the first episodes on Brescian makers, stop and do that now because to truly understand this maker, you'll need to know where he and his city came from. Episodes 1, are about his master Gasparo Da Salo and the Brescian school. In the previous episodes of the Violin Chronicles, I have been looking at the Amati family, but it would be greatly remiss of me to bypass this Brescian maker. Living and working at the same time as the Amati brothers and Niccolo Amati, a mere 60 kilometers away. Now, remember the city of Cremona was still under Spanish rule and Brescia was part of the Venetian state, which made them quite different. And this is also seen in the production of their instruments, as we will soon see. So I'm taking a break from Cremona just now to travel up the highway to the land of guns and violins. Hello, and welcome to the Violin Chronicles. A podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French violin making school some years ago now, and I currently live and work in Sydney with my husband Antoine Lespets, who is also a violin maker and graduate of the French school, l'Ecole Nationale de lutherie, Mirecourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often wh

In which we look into the young life of Nicolo Amati. NICOLO AMATI PART 1. I talk to Timo-Veikko Valve principal cellist in the Australian Chamber Orchestra who plays on an Amati Cello with a fascinating past. Tracing the extraordinary life and career of Nicolo Amati, one of the most influential violin makers in history. Join us as we delve into the early years of this legendary craftsman, uncovering the formative experiences and remarkable craftsmanship that laid the foundation for his illustrious career. Looking into Nicolo Amati's life, exploring the influences, techniques, and artistic vision that shaped his path as a violin maker. From his apprenticeship under his father, Girolamo Amati, to his explorations of innovative designs and meticulous craftsmanship, we unravel the milestones that propelled Nicolo Amati to prominence. Join us as we uncover the triumphs and challenges Nicolo Amati faced throughout his career, the collaborations with renowned musicians of his time, and the legacy he left for generations of violin makers to come. Explore the craftsmanship, precision, and artistic finesse that made Nicolo Amati a true master of his craft. Transcript The man known by many in the streets of Cremona, or the poor houses, went by the name of Omobono, or Good Man. As he crossed the Piazza del Commune, he stopped to give a coin to a beggar, huddled in a corner, and continued on to his destination. He was visiting a family that had fallen on hard times and were in dire need of help, help that he could give them. Omobono Tucenghi was a tailor and fabric merchant who lived in Cremona in the 12th century. His whole life he had felt compassion for those less fortunate, and a need to make a difference in the world in which he found himself. More days than not, you could find Omobono distributing alms from his seemingly bottomless purse to the poor and needy of Cremona, helping all those who crossed his path. Over time, Omobono's need to help others did not diminish, quite the opposite in fact, and in his 50s, he decided to stop his trade altogether to dedicate himself to good works. The only fly in the ointment appears to have been his family. His wife and children were not too keen on their father and husband giving away the family fortune to apparently random strangers he found on the street. But this did not deter him as he continued on helping those in need, giving money from his purse that was always full of coins and never emptied by divine providence, and attending Mass every evening. One of these evenings, in the church of St. Giles, On a cool November night, he sang Gloria for the last time, crossed his arms over his chest and fell to the ground. At first, no one noticed the devout Omobono, but when the time came for him to read the Gospels and he did not come forward, his fellow churchgoers approached to find him dead. The citizens of Cremona immediately venerated him as a saint and Sicardo, Bishop of Cremona, personally went to Rome to represent the cause and canonization of Omobono. He wrote in his article “At that time, a simple, very faithful and devoted man lived in Cremona, who was called Omobono. In his death, and with his intercession, God performed many miracles”. Pope Innocent III, satisfied with the official investigation into his life and miracles, canonized Omobonos just after two years, in 1199. That's pretty quick if you were wondering. And this is the story of the life of Sant Omobono, who is not only the patron saint of Cremona, but also the patron saint of merchants, textile workers, tailors, business people, and entrepreneurs. Some might say that the real miracle here is that Omobono was an honest businessman. But he is also remarkable in that he was the first person canonized despite being both a layman, not in religious orders, and a father of a family. He was neither a martyr nor a king. And speaking of Omobono, there is a podcast for violin makers or violin enthusiasts, if you would like to discover it, called simply Omo. You really should check it out. That podcast is named after one of Antonio Stradivari's sons, Omobono, who was probably named after this Omobono. But now on with the podcast. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School of Mirecourt some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de lutherie in Mirecourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often, when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle

THE AMATI BROTHERS PART 3. The Amati Brothers were working and living in a time of musical innovation and discovery. Join me as I discover what influences Monteverdi, music and even fashion had on the instruments the brothers were making. intertwines the stories of the illustrious Amati brothers, renowned violin makers, with the musical genius of Claudio Monteverdi, one of the greatest composers of the Baroque era. Join us on a captivating journey as we explore the parallel worlds of instrument craftsmanship and musical composition during this remarkable period. Musicians and Luthiers of the renaissance such as the Amati Brothers had to continue their craft amidst famine, plague and war making these instruments musicians play today objects even more remarkable than we could have previously imagined. We continue to look at the life of Girolamo Amati the father of the very talented Luthier Nicolo Amati who would in turn change the course of violin making in Italy for ever. In this episode I speak to Dr Emily Brayshaw fashion historian and Benjamin Hebbert Oxford based Violin expert. Transcript Once upon a time on the northern plains of Italy, there roamed a hero who went by the name of Romulus. You may have heard of him as the legendary founder of Rome, perhaps? But what's a strapping god like young man to do once he's founded one of the world's greatest cities? One day, as he was travelling through the Po Valley, Romulus came upon a group of people who were struggling to defend their village from the fierce Gaelic tribes roaming the region. The people were in need of a strong leader, and Romulus knew just the man for the job, himself. He gathered the people together and said, “I will help you defend your village from these invaders, but we must build a great fortress to protect ourselves”. The people thought this was such a great idea that they set to work building a mighty fortress immediately on the banks of the Po River. The people began to dream of a great city that could rival the power and glory of Rome itself. Romulus, who had been a beloved leader of the people, heard their dreams and knew that he could help them achieve their goal. He said to them, If we are to build a great city, we must first establish a strong foundation. We must build our city upon the principles of justice, wisdom, and strength. And so the people of the village began to build their city. They laid the foundation stones with great care and constructed a wall around the city to protect it from invaders. Romulus oversaw the construction and he ensured that the city was built to the highest standards possible. As the city grew, Romulus knew that it needed a name. He looked out over the fertile fields of the Po Valley and saw the bright flames of the forges that dotted the landscape. He turned to the people and said, We shall call this city Cremona, which means to burn, for it is the fires of our forges that will light the way to our greatness. And so the city of Cremona was born. It grew to become a powerful centre of trade and culture in northern Italy and was revered by many as a shining example of the principles of justice, wisdom, and strength that Romulus had taught them. And this is the legend of how Romulus founded the city of Cremona. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine Lespets, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie au Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, But here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love, artistic genius, revolutionary craftsmanship, determination, cunning, and bravery, that all have their part to play in the history of the violin. Welcome back to the story of Andrea Amati's two boys, the Amati brothers, Girolamo Amati and Antonio Amati. In the last episode, we left them after they split the workshop and Antonio Amati went off to set up on his own, leaving Girolamo Amati with the house and shop to continue alone. The Amati brothers stopped working together in 1588, but if you remember the episodes on Gasparo Da Salo over in Brescia, you would realize that their Brescian competition was still working away, and in 1580, eight years earlier, a future employee of Da Salo's was born. His name was Gio Paolo Maggini, and he would go on to become a roaring succ

THE AMATI BROTHERS PART 2. Continue listening to the tale of the Amati brothers to help understand who made which instruments from now on. Is the violin making center of Italy the most boring city in the world? Well, we will see what 16th century tourists think in this episode continuing the story of the master violin makers that are the Amati Brothers. Violin maker and expert Carlo Chiesa talks to us about the Amati Brothers and why they had such a big falling out as does Oxford based violin expert Benjamin Hebbert. We hear from Ilya Isakovich violinist in the Australian Chamber Orchestra who plays on an Amati Brothers violin and the history of that particular violin. Transcript In the autumn of 1441, in the city of Cremona, a great wedding was taking place between two powerful families. The bride, 16 year old Bianca Maria Visconti, was the daughter of the Duke of Milan, and the groom, 40 year old Francesco Sforza, was a brave warrior and trusted advisor to the Duke. As the wedding feast was being prepared, disaster struck. A great drought had struck the land, and the city of Cremona was left without the necessary ingredients to create a grand dessert for the occasion. The cooks and chefs frantically searched for a solution, but to no avail. Desperate, one of the chefs had a brilliant idea. He decided to take what little sugar and almonds they had left and mix them together with some honey. He cooked the mixture until it became a soft, chewy confection that could be cut into small pieces. He then shaped the nougat, or torrone, into the form of the city's famous Torazzo bell tower. When the wedding guests were served the nougat, they were amazed at the sweet, nutty flavour and chewy texture of the new dessert. They exclaimed that it was the most delicious treat that they had ever tasted, and they begged the chef to reveal the secret of its creation. From that day on, the recipe for the nougat was passed down from generation to generation, becoming a beloved part of Italian culinary tradition. The nougat was said to have been a symbol of the ingenuity and creativity of Italian chefs, who could turn even the most meagre ingredients into something truly magical. This is the legend of Cremona's Nougat, and to this day you can buy Nougat shaped as the Torazzo Tower. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School of Mirecourt some years ago now, and I currently live and work in Sydney with my husband Antoine Lespets, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthier, in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. Welcome back to the story of the Amati brothers. In the last episode, we left them in the midst of a busy and productive period in their lives. Girolamo Amati, the youngest brother, is now a widower after his wife Lucrenzia died shortly after the birth of their daughter Elizabeth. The brother's father, Antonio Amati, has passed away and Cremona, being Cremona, was insanely busy with its influx of merchants and soldiers passing through, and never far from drama and disaster, as we will see. Because of continual war and armies marching through the town, the walls were in a sorry state, but life ploughed on as usual, and no matter how bad things got, people still wanted music, and musicians still needed instruments. Towards the end of the 16th century, 1583, Cremona was described as a city filled with sumptuous buildings, both private and public. There were an abundance of temples and monasteries, wide and spacious streets. The walls of the city have almost completely fallen to the ground due to the numerous wars in the region, and the villages around the walls were ruined. One traveller to Cremona at the time was a little bit nonplussed by the place. This is an excerpt from a 16th century tourist writing what appears to be a type of lonely planet guide. His name is Maximilian Mission and his book is ‘A New Voyage to Italy Together with Useful Instructions for Those Who Shall Travel Hither’. We followed the course of the Po at some distance. Until we came over against Cremona, where we crossed over the river in a ferry boat. There are no bridges on the Po below Turin. Cremona is seated on the left bank of the river in the Duchy of Milan. It is a pretty large city, but even poorer and less populous than Piacenza. There is nothing at all to be seen in it, though its tower and castle are very much extolled

THE AMATI BROTHERS PART 1. The sons of Andrea , "The Amati Brothers" took violas, violins and cellos to new heights with their incredible skill and innovation. Meet Antonio and Girolamo before things get complicated in this first episode. This is the story of the Amati brothers, Antonio, and Girolamo. Join me as we explore the remarkable craftsmanship, profound influence, and indelible mark left by these legendary violin makers. Discover the distinctive characteristics of their creations, renowned for their elegance, exquisite sound, and unparalleled craftsmanship. Delve into the secrets of the Amati brothers' workshop, uncovering their innovative techniques, meticulous attention to detail, and the artistry that made their instruments treasures coveted by musicians and collectors worldwide. In this episode I speak to Cellist James Beck and Violin maker and Expert Carlo Chiesa. Transcript of Episode Welcome back to Cremona, a city where you can find almost anything your everyday Renaissance citizen could desire. Located on a bend of the impressively long Po River, bursting with artisans and commerce, we find ourselves in the mid-1500s, and more precisely in the home of Girolamo Amati and Antonio Amati, otherwise known as the Amati brothers or the brothers Amati. In these episodes, I'll be talking about Andrea Amati’s two sons, Antonio Amati and Girolamo Amati. Sometimes Girolamo Amati is also referred to as Hieronymus, the Latin version of his name. Because I'm doing these podcasts chronologically, we heard about the early childhood of the brothers, in the Andrea Amati episodes. As we heard in the previous episode, Antonio Amati, the elder brother, by quite some years, perhaps even 14 years older than Girolamo Amati, inherited his father's workshop with his little bro when their father died. They grew up in Cremona during the mid-1500s, in a time that was relatively more peaceful than their father's childhood and would have attended the local school. The local school was attended mainly by children of merchants and nobles. They would learn, in addition to the traditional subjects of geometry, arithmetic, and even astrology, subjects such as geography, architecture, algebra, and mechanics, both theoretical and applied. This created quite a well-educated middle class that the brothers would have been part of. Like their father, they would go on to be quite successful in their business, adapting their products to the demands of the time. The brothers were growing up in post Reformation Cremona, and the instrumental music was bounding forward. Renaissance composers were fitting words and music together in an increasingly dramatic fashion. Humanists were studying the ancient Greek treaties on music and the relationships between music and poetry and how it could. This was displayed in Madrigals and later in opera and all the while the Amati workshop along with other instrument makers of course were toiling away making instruments so that all this could happen. Now the eldest brother Antonio Amati never appears to marry or have a family but the younger brother Girolamo Amati apparently a ladies man, does and as you would have heard in the previous episodes, when he was 23, he married Lucrencia Cronetti, a local girl, and she comes to live in the Amati house, handing over her dowry to her new husband (Girolamo Amati) and father in law (Andrea Amati). A few years later, Girolamo Amati’s father saved up enough money to buy the family home so that when he passes away in 1576. Girolamo Amati is in his mid-twenties and his older brother (Antonio Amati) is probably around his late thirties. They inherited a wealthy business, a house, and a workshop. So here we find the Amati brothers living and working together in the house and workshop in San Faustino (Cremona). Antonio Amati, the head of the household and Girolamo Amati with his young bride. Business is looking good, and life looks promising. Antonio and Girolamo may have been some of the only violin makers in Cremona, but they were by far not lone artisans in the city. They were surrounded by merchants and tradespeople busy in industry. There were belt makers, embroiderers, blacksmiths, carpenters, boat builders, masons, terracotta artisans, weavers, textile merchants, and printers, just to name a few of the 400 trades listed in the city at this period. Business was going well for our violin makers. There was a boom in the city. Many noble houses were being built amongst which the grand residences of merchants stood out, sanctioning their social ascent. Charitable houses, monasteries and convents were popping up like mushrooms around town. Ever since the Counter Reformation, the local impetus to help the poor and unfortunate had flourished. Wondering what the Counter Reformation is? Then go back and listen to episode two of the Andrea Amati series. Where we talk about what the Reformation was, what the Counter Reformation was, and what its effects were on artisans in C

ANDREA AMATI PART 5. Andreas life is coming to an end, war is raging in France and fashion is dictating how you can hold your violin! Check it all out in this new episode. As the violin making workshop of the Amatis in Cremona was in full swing, different members of the French royal family were trying not to get murdered as Henry of Navarre soon to be King Henry IV of France married Catherine de Medici’s daughter. In the City of Cremona already renowned for its violin makers we take a look at the different musicians and composers coming out of the cathedral school, Monteverdi being one of them, who would go to work at the famed Mantuan court, and the Amati Brothers taking on a pivotal role in the family violin workshop as Andrea enters old age continuing the family tradition. Transcript It is said that many years ago, the king Agilulf destroyed the city of Cremona, and that for the longest time it remained a pile of ruins, destined to be forgotten with the memory of its people crumbling to dust. But then one spring morning, a war weary Gaelic prince, encamped on the banks of the Po, with his army, near a pile of crumbling stone buildings. And it was there, as he was resting, that he saw an extraordinary sight. A lion, but this was no ordinary lion. It was limping and appeared to be in pain, unable to walk on one of its paws. The gallant and fearless prince approached the animal, and the beast, upon remarking the prince, showed him his injured paw, cut and bleeding, with a thorn sticking out of the wound. The young man, showing not an inkling of fear, removed the thorn and healed the lion's soft paw. Just imagine the prince's surprise when a few hours later, the lion reappeared with a deer in his jaws. Padding forward, he offered his gift to the young man, laying his catch at the prince's feet as a gift. The mysterious prince left with his army the very next morning, but as they were setting off, who should appear but the faithful lion, who would go on and follow him wherever he would go. When they reached Rome, the prince realized that the ruined city where he had encamped and met his beloved lion was the city of Cremona. And so, as he made his way once again through the countryside, he headed for the ruins of this city. But tragically, on the way, his trusty lion died. And so, upon reaching the city, the Gaelic prince decided to rebuild Cremona. Firstly, he buried the lion, and on that spot, he built an incredibly tall tower, called the Torazzo. This is the bell tower of the cathedral in Cremona. And on top of this tower, for a very long time, was a majestic bronze statue of a lion in the act of raising his paw towards the prince. A few centuries after the lion was placed on the tower, the bronze animal was melted down and fashioned into a large bell that was placed in the tower. And as the bell rings, the memory of the faithful lion lives on. Today, there are at least 13 lions dotted along the facade of the baptistery, and more in front of the cathedral. Perhaps one of these fierce felines was the prince's faithful friend. And this is the legend of the Lion of Cremona. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French violin making school of Mirecourt some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker. In the last episode of the Violin Chronicles, we looked at Andrea Amati perfecting the outline of the modern day violin and the French court under King Charles IX, Catherine de Medici's heavy influence as regent on her young son, and the significance of the images painted on the instruments ordered for the king, who was indeed a music loving monarch. And finally, the Amatis working methods that led in part to their success as instrument makers. Almost five years after the royal tour, Andrea Amati is now 65. His place as a master instrument maker is undisputed. He has received orders from the King of France, no less. His production would have been different to that of violin makers today, in that he would have had to have been more flexible, making different sized and shaped instruments of the Renaissance era. He would have simply been following the fashion and client demand of the time. I talked to fashion historian Dr. Emily Brayshaw about what people would have looked like back then and what musicians in particular would have worn. So you've got farthingale sleeves on the men even, but and what it would do though is if you sort of look at these portraits of musicians and portraits of them playing instruments too, you can sort of get an idea of how they moved with that. So, you know, if you've got a massive ruff which is, you know, your 1580s fashion, you're not going to be sticking your instrument under your chin. Yo

ANDREA AMATI PART 4. We look at how the French Monarchs used music as a political tool and the symbols on the instruments Andrea Amati made were not just a pretty decorations but part of court intrigue and a declaration of war. If you're captivated by the allure of Renaissance courts, the artistry of violin making, and the power of music as a symbol of prestige, the musical court of Catherine de Medici is a good place to start. The French wars of religion between Catholics and Protestants were in full swing, this is even witnessed in the choice of instruments made by Italian violin makers and the symbols painted on them by renaissance artisans, in this episode we let these historical instruments tell their story. In this episode I speak to Expert Benjamin Hebbert, Violin maker Carlo Chiesa, Historian Dr Susan Broomhall, Fashion Historian Dr Emily Brayshaw and Historian Dr John Gagne. The Music you have heard in this podcast is as follows. Café Chianti – Jonny Boyle Bloom – Roo Walker The retirement of major Edward – Jacob Taylor Armerding Ambush – Brandon Hopkins Unfamiliar faces – All good Folks Harpsichord Fugue – No Copyright music A Peasant’s Sonnet – Jonny Easton Banquet of Squires – Jonny Easton ACO Home to Home - Liisa Palallandi and Timo-Veikko Valve Transcript During the Middle Ages, Cremona was under the dominion of the Holy Roman Empire. At that time, the people of the city were forced to pay an oppressive tax of three kilograms of gold every year to the emperor, which for convenience was melted into a sphere. One day, fed up with paying this tax, the people of Cremona decided it was time to break away from imperial rule. And so the Mayor Giovanni Baldessio was challenged by the Emperor King Henry IV to a duel in order to settle the tax dispute. Mayor Baldessio was able to knock the king from his horse, thus sparing Cremona from its annual three kilogram golden ball tax, which was instead issued to the Mayor's fiancee for her dowry. Back in the city, Giovanni began to be called Zaden de la Bala by all, and he married Berta de Zori, a beautiful girl of noble origins, who brought him many landed properties as a dowry and a big ball of gold. In another version, which is probably more plausible for a civil servant, is that the duel that took place between Cremona's mayor and the emperor was not a sparring match, but a tournament of bowls, or bocce, and Giovanni came out the victor. In memory of that heroic enterprise, an arm with a ball in hand was added to the city coat of arms with the inscription meaning “my strength is in the arm”. And this is why the Cremonese coat of arms has a hand holding a ball of gold. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting, violin makers of history. I'm a violin maker and restorer. I graduated from the French violin making school some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Lutherie in Mirecourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love, artistic genius, revolutionary craftsmanship. Determination, cunning and bravery that all have their part to play in the history of the violin. Welcome back to Cremona, a city you can find in Northern Italy on one of the bends of the impressively long Po River. Bursting with artisans and commerce in the mid-1500s, we return to our story of instrument maker Andrea Amati and his workshop. Andrea Amati was not a lone artisan in this city, he was surrounded by merchants and trades people, busy in industry. There were belt makers, embroiderers, blacksmiths, carpenters, boat builders, masons, terracotta artisans, weavers, textile merchants, and printers. Just to name a few of the 400 trades listed in the city at this period. I speak to Benjamin Hebbert, Oxford based expert, dealer, and author about Andrea Amati's making methods. It's really difficult to know. I mean, so Andrea Amati, you've spoken about Brescia before and, what I imagine your listeners will have heard of is that Gasparo Da Salo is very much the established figure in Brescia. Before, they're kind of the same age, but Gasparo Da Salo actually comes out of a tradition which goes back centuries, and Andrea Amati turns up out of absolutely nowhere, and it's Andrea Amati who makes the violin as we know it. It's the thing that we're familiar with, it's the, it's a design which repeats itself throughout his family in Stra

ANDREA AMATI PART 3. Artificial Dolphins, heavenly spheres and Catherine de Medici taking her tween King son on a royal tour of the land to the sounds of Amati violins, this episode has it all. Step into the opulent world of 16th-century France as we uncover the captivating story of the court of Catherine de Medici and a set of royal violins commissioned for her son, Charles IX by the violin maker Andrea Amati. In this podcast, we embark on a journey through the rich cultural tapestry of the Medici dynasty and their influence on the arts. Delve into the fascinating intersection of music, power, and intrigue within the court, where the resplendent sounds of violins played a pivotal role in shaping the Renaissance era. Music heard in this podcast is as follows. Aco home casts - Timo-Veikko Valve Bloom – Roo Walker Make believe – Giulio Fazio Banquet of Squires – Jonny Easton ACO Home the Home – Liisa Pallandi and Timo- Viekko Valve Sonata representative Unfamiliar faces – All good folks Industrial music box – Kevin Macleod Transcript After the demigod Hercules had accomplished his eleventh labour, giving himself a five-finger discount to Zeus golden apples, he stopped to rest on the banks of the Po River. In those times, however, the area was overridden with thieving giants who plundered the small villages in the surrounding countryside. Learning of the hero's mini break in the area, the elders of the villages approached Hercules and implored him to help rid them of the giants. When they said help, they really meant, you know, if he could do it. Ever ready for a bout of fisticuffs, in no time at all, our demigod was able to kill all the offending giants and free the region from their reign of terror. The overjoyed inhabitants wanted to reward Hercules by giving him their most precious possessions. However, Hercules decided that what these people needed was a place where they could protect themselves in case new brigands arrived. He couldn't stick around, he had heroing to do. So he founded a fortified city and gave it the name of his mother, El Camino, which later turned into Cremona, meaning mighty. And this is the Renaissance take on why the city is called Cremona. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting, violin makers of history In the previous episodes of the Violin Chronicles, we saw Andrea Amati setting up his workshop, the life of the city, how it was run, and the movement of humanism, its effects on education, and finally the reformation, the influence the church had on people's lives, especially those of the artisan class. Andrea Amati's workshop had been up and running for about 10 years when news came that the Holy Roman Emperor, Charles V, would be visiting the city in August. It was all anyone could talk about. They were going to erect a triumphal arch, there would be celebrations, feasting, and of course, music. Everyone wanted to catch a glimpse of the ruler. The excitement was palpable. Andrea Amati, his wife, and their son, the little five year old Antonio Amati, would have been in the crowd that came out to catch a glimpse of the emperor passing through Cremona. But now Andrea is fulfilling a royal order. The violin is having a coming-of-age moment and starting to be fashionable to the point that the trend setting French royal court is making orders for Cremonese violins. And so it begins. What violin maker out there is unfamiliar with the phrase I'm looking for a cremonese instrument. Join me as we look at the fashionistas who set the ball rolling. Every city wants to look their best if the Holy Roman Emperor passes through. They were still working on containing heretics, and questions still abounded on how the church would approach things such as music. Groups of thinkers or academies were popping up all over Renaissance Italy and ideas about the nature of music, its purpose and power were being discussed. So I was, there was sort of like scientific things happening, right? You had Galileo and everything. And, and my, my thought processes, the music, I felt like they. There were like music texts where they say, you know, it's, it kind of moves your soul. It has this physical impact. And I was thinking, it's not so strange that they would approach music in the scientific way, but in the same way as like, Oh, well, you've got gravity, you've got the stars and music. We can feel, we can actually physically feel something when we hear music. So we may as well treat it almost like a science. It's, they're doing all these sciences, like why not music? And it's overlapped into the religious sphere as well because it had to do with your, your soul and your inner being sort of thing. I'm John Gagné. I'm a senior lecturer in history at the university of Sydney and I work mostly on European history from the 13th to the 18th centuries. So I suppose

ANDREA AMATI PART 2. Explore the captivating story of Andrea Amati, the pioneering violin maker whose artistry revolutionized the world of music. Discover his iconic designs, unrivalled craftsmanship, and enduring influence on violin making. Join us on this enchanting journey through history and immerse yourself in the legacy of Andrea Amati. Subscribe now to "The Violin Chronicles" and delve into the extraordinary world of violin making. In this second episode we look at Andrea Amati's life in Cremona and how church music and the reformation influenced the world of the artisans in this city. The music you have heard in this podcast is as follows. Bloom – Roo Walker Mafioso – Theo Gerard Casuarinas – Dan Barracuda Danny Yeadon Gamba Industrial music box – Kevin MacLeod Budapest - Christian Larssen Music of Cathedrals and forgotten temples Kevin MacLeod – Brandenburg Concerto No 4 Josquin des Pres – Missa l’homme Arme – Tallis Scholars Palestrina – Missa Papae Marcelli – Tallis Scholars Spem in Alium – Tallis Scholars ACO – Live in the studio Boccherini Transcript Hello and welcome to the Violin Chronicle. A podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history Welcome back to Cremona, city of industry and war like inhabitants. In the last episode about Andrea Amati, we looked at the city and its population top heavy with artisans. and a booming textile industry. We also saw Andrea Amati growing up in a world disrupted by war, but also uplifted with the artists, thinkers, and musicians of the Renaissance. When Andrea Amati was in his 30s, the city of Cremona becomes part of the Spanish Empire, heralding in a more peaceful, or at least less deadly, age for the people of Lombardy. But as people were taking a short break from invading northern Italy, the printing presses were ramping up. And an altogether new revolution was about to take place. The Spanish monarchy took over from the Sforza in 1535 and would retain power that would last for the next 200 years or thereabouts. This same period of Spanish occupation would coincide with a golden period of violin making in Cremona and would englobe the lives of the four next generations of our Amati family. And so it was into this bubble of peace and prosperity that the now married Andrea Amati welcomed his first son into the world. They called their son Antonio Amati and as time went on, and with the help of all that new Spanish silver, Italians would invest their money in art and beautiful objects of every kind, including instruments. These would be handed down in women's dowries or inherited by family members. Today, where we might invest in property, in a peaceful, non war ridden country, and economy, it seems a sure bet, but if you lived in a town that was regularly trampled by the passing armies, it may be more prudent to spend your money on mobile objects. Among the artisans, and artists, who profited by this spending were the instrument makers, and Andrea Amati was one of those. Andrea Amati was good at what he did, and thanks to the savings he had been making over the years, was almost ready to head out and set up his own workshop. But what was it like for a violin maker living in Spanish Lombardy? The Spanish presence was fairly light. The pre-existing magistrates were mostly maintained, as was the process of electing them. There was a Castilian, appointed by the king, with a handful of men. The council around which the city politics revolved had about 150 members, and they would meet in the ancient town hall. It was a mixture of local and, at the top end, Spanish representatives, and was responsible for public order, supplies, the budget, customs duties, and heritage. They had a sort of parliament where for two or three times a month, topics were addressed and debates and voting took place. It was one guy's job to provide arguments contrary to every proposal put forward. I spoke to Dr. John Gagne about how the city of Cremona functioned under Spanish rule. Yes, so, in a nutshell, the entire duchy of Milan is ruled by, well, a governor. In the Spanish period, there's a Spanish governor who sits in Milan and basically rules the entire duchy. The body that works for the governor is the Senate. Which is appointed for life, mostly elite men, 15 20 men. Are they Cremonese? No, they're all Milanese or they're actually, they're representative of the Duchy. So the Milanese Senate is, you know, often aristocrats from around the duchy in some cases some Spaniards, but it's mostly Italians. Oh, yeah, so you're talking about Milan Oh, yeah, which I'm setting up the so that's the kind of state right but then at the local level you've got two main administrators there's the Podesta Which is a magistrate that's existed since the middle ages and that was kind of often a foreigner, even in the middle ages, from another city, even if he's Italian, brought

ANDREA AMATI PART 1. The Amati family; in this Series we explore the life and legacy of Andrea Amati, the masterful craftsman behind some of the world's most revered violins. In these episodes we delve into the fascinating history of Amati's life, his revolutionary techniques, innovations, and the enduring impact of his work on the world of music. Through interviews with experts in the field of history, instrument-making, and performance, we uncover the secrets of Amati's unique approach to violin-making, from his choice of materials to the meticulous attention to detail that went into each instrument. We also explore the rich cultural and historical context that shaped Amati's work, and the role that his violins played in shaping the sound of the Renaissance and beyond. Transcript Andrea Amati Part I A traveller passing through northern Italy's Lombardy in the 16th century would be struck by its beautiful plains, fertile meadows and abundance of grains and livestock. Large fields planted with wheat, alternated with meadows crossed with an intelligent system of irrigation ditches, and long rows of trees growing around the edges of the fields gave it that typical Po Valley plantation look. In the distance, on the northern bank of Italy's longest river, the Po, lay the bustling city of Cremona. East of Milan, on the flat Padana plains, it was described as being “rich in men and traffic”, an important commercial hub, and here you would find a strategic river crossing. In this city lived a handful of noble Cremonese families, owners of almost all the land in the surrounding countryside’s, cultivated by peasants still living under a feudal system. The crops they grew, of flax, wheat, millet, rye, and rice, would be transported into the city to feed its citizens. After Milan, Cremona was the largest and most important city in the state, bursting with tradespeople and merchants. Almost 50 percent of its inhabitants are artisans, and the wealth of the city is substantial. In the Duchy of Milan, Cremona contributes as many taxes to the Duke's coffers as the rest of the provinces combined, making it a noteworthy place indeed. This was an era in which transport via water was 20 times cheaper than overland. Goods and people were frequently passing through the city on barges, often coming from Venice, then on to the markets of all of Europe with their wares. It was a transient place, an inland port even, where many people would pass through, stop and stay a while, then move on. But for those who stayed there, life was never dull. In the year 1505, a Cremonese artisan called Gottardo Amati and his wife welcomed a little baby boy into the world. They named him Andrea Amati. As was often the custom, their son would one day learn a trade similar to that of his father. Of this his parents were fairly certain. What they couldn't have known was that this child would grow up to be the first in a great dynasty of violin makers, whose instruments would grace the salons of royalty and become proud acquisitions of noble families across Europe, influencing every violin maker that would come after him. Whether they realized it or not. The Amatis. You may or may not have heard of this violin maker. But hopefully by the end of this series you will be like, Amati, yeah sure. Which one? The father, the son, the brothers, the grandfather? Because yes, there were a bunch, five to be precise, spanning four generations and they all lived in the northern Italian city of Cremona. In these episodes I'll be looking at the Amati family of Violin Makers, their extraordinary story that spans almost 200 years and the world changing events that moved their lives. I started by talking to someone who knows a whole lot about this family. Violin maker, expert, author, and researcher in Milan, Carlo Chiesa. Carlo Chiesa I'm a violin maker and a restorer and the researcher on the history of violin making. To find the Amati workshop, first we must go to the city of Cremona. The Amatis are all connected and if you look at the history of the Amati family of violin makers, that's the history of the Cremonese making for about two centuries because the Amati workshop was the only serious workshop in Cremona for about 200 years. When you speak of Cremonese making, of course you must start with the Amati workshop. Linda Lespets In the 1500s, Cremona was a city full of life, its streets filled with the sounds of clanging hammers and the buzz of conversation. It was home to a thriving community of artisans, each with their own unique skills and talents. Half the population found themselves in trade, but the other half worked and survived by supplying manual labour for the domestic market. There were servants, shopkeepers, coachmen, navigators, bankers, blacksmiths, carpenters, woodsellers, farriers, instrument makers, the list goes on. I spoke to Benjamin Hebbert, Oxford based expert, dealer, author, and international man of mystery. Benjamin Hebbert So, Cremona's a

GASPART DA SALO PART 3. Stay with our maker as we look at the ups and downs of life and hear from Maxime Bibeau about his instrument and what it is like to share his career with a da Salo. Maxime Bibeau double bassist in the Australian Chamber Orchestra celebrated for his exceptional talent and profound connection to the historical instrument he plays on made by the famed violin maker Gasparo Da Salo chats to us, in this intimate interview, we gain insights into the unique challenges and joys he encounters while performing on this extraordinary Brescian double bass. Discover the allure of this instrument, crafted centuries ago in the heart of Brescia, Italy, as we explore its rich tonal character, exquisite craftsmanship, and the historical significance it holds in the world of music. Maxime Bibeau takes us on a sonic voyage, sharing the intricacies of his relationship with this rare double bass and the emotional depth it adds to his performances. Music you have heard in this episode is by Unfamiliar faces – All good folks, Budapest – Christian Larssen, Bloom - Roo Walker, Brandenburg Concerto No 4 – Kevin Macleod, Frost waltz- Kevin Macleod, Getting to the bottom of it – Fernweh Goldfish, Telemann Sonata in D maj for viola da gamba – Daniel Yeadon, Crooked old shrew – Fernweh Goldfish Transcript Welcome back to the Violin Chronicles and part 3 about the world of Gasparo Da Salo, instrument maker, businessman, and collector of needy nephews and nieces. In the last two episodes, we've seen how Gasparo Da Salo has led a successful career as a violin maker, or a luthier is perhaps a better word, as he didn't just make violins, but a variety of instruments, in Brescia. After humble beginnings moving to Brescia as a young man, he has made a name for himself, and he seems to have taken his family responsibilities quite seriously. In this episode, we will continue to look at Gasparo Da Salo’s life, and Maxime Bibeau, double bassist in the Australian Chamber Orchestra, will be talking to us about the wonderful Gasparo Da Salo instrument he plays on, and its story. Gasparo Da Salo came from humble origins, son of a musician, or instrument maker, who died too early, leaving his family to pick up the pieces and move to the city to try their luck in business. Entering his workshop now, there is a profusion of activity. His son and assistant are working at benches finishing instruments that will be sent to France. When there is an overflow of work, he ropes in his other children to help out. Business continues to flourish. Gasparo Da Salo and Isabella are able to buy their own house and workshop. Family responsibility was something that weighed strongly on Gasparo's shoulders. When his sister and his in laws died in the recent plague, Gasparo felt he had to take responsibility for his nephews and nieces. He knew better than anyone what it was like to lose parents. And with his connections to the other artisans, there was always opportunities to find work and apprenticeships. And help out he would. One less thing to worry about was Ludovica. He was able to breathe a sigh of relief. It was done. Ouf Now he just had to sort out her dowry. The match with the fur merchant was a good one. Ludovica had a good grasp of business matters. At the age of 22, she was ready to move out and have a family of her own, but not too far away, still in Brescia. She knew she could always come and ask her favourite brother for help if she needed to. There's An interesting story of Gasparo Da Salo’s little sister who was 12 when she started living with them. So he'd, at this point, when he was in his late twenties, he had two young sons and his 12-year-old sister Ludovica comes and lives with them, and then she grows up and when she's about 22, she gets engaged to a furrier. What were furriers doing? Was it just collars? Dr Emily Brayshaw is an honorary research fellow at the University of Technology, Sydney School of Design. Oh no, no, no, it was everything. So you know, we actually have collars definitely, but also gloves, muffs trims on hats. We know that people wore doublets. And these are a style of jacket that came together at the middle. These are menswear. So it's a snug fitting jacket that's shaped and fitted to the man's body. The doublet gave a fashionable shape and padding to the body. And it also supported the hose, like the pants by providing ties so you could tie your hose to the doublet and it also gave warmth to the doublet but richer men would slash it and show the lining underneath and sometimes we have images of this being fur so you'd have like fur trim poking out you'd have fur collars you know you could wear Fur coats, as much fur as you want to. And when we talk about fur also from the era, it's really interesting. Like, they're all different types of fur that was worn. So Brescia, there are portraits of one of the young noblemen from the era wearing a gigantic collar made of lynx. Yeah, but people also wore otter. What

GASPARO DA SALO PART 2. Join me as I delve into the world of Gasparo Da Salo once again and discover what guns, Monetverdi and a war in France have to do with his business. I speak to Violin maker and expert John Dilworth, fashion historian Emily Brayshaw about the influence clothes and style on players of Violins, Violas and cellos and finally Fillipo Fasser a contemporary violin maker in Brescia, explains the importance of the master Luthiers of his city. Music you have heard in this episode is by Bach Violin partita No 2, Telemann Sonata in D maj for viola da gamba – Daniel Yeadon, Unfamiliar faces – All good folks, Budapest – Christian Larssen, Bloom by Roo Walker, Brandenburg Concerto No 4 – Kevin Macleod, Frost waltz- Kevin Macleod, Getting to the bottom of it – Fernweh Goldfish Transcript Hello and welcome to the Violin Chronicles, a podcast in which I will attempt to bring to life the stories surrounding the famous, infamous, or just not very well known, but interesting, violin makers of history. My name is Linda Lespets. I am a violin maker and restorer. I graduated from the French Violin Making School some years ago now. Welcome back for part two of the life and times of Gasparo de Salo, instrument maker, musician, and man on his way up. In episode one, we looked at what it would have been like to live in Renaissance Brescia in the 1500s. The destruction and subsequent rebuilding of the city after its sacking in 1512. This led to a flurry of activity amongst artisans and artists. And the role that this played in the rebirthing of the city of Brescia. In this episode, we will look more in depth at instrument making in the city, and how Gasparo Da Salo started to make a name for himself. The 1560s heralded in the golden age of piracy in the Caribbean. But closer to home, and an event that is more important to the history of the violin, but that I will only come to in a future episode, the then 10-year-old Charles IX of France becomes king after his brother Francis dies of an ear infection! Not to worry. Catherine de Medici, Charles's mother, is more than happy to act as regent for her son. But what is important to note here is that an Italian born queen, with her love of the arts and music, is wielding her power in the trend setting capital of Paris. But back in Italy, as Gasparro Da Salo grew up, he became an organ builder's apprentice. And then, in his early twenties, disaster struck the family. When his father Francesco died, the decision was made, they would move to Brescia. If Gasparo Da Salo was to become successful in both his musical career and instrument making, Violin making and lutherie, Brescia was the place to be. But how important was Brescia in the role of instrument production at this time? John Gagne. I'm John Gagne, I'm a senior lecturer in history at the University of Sydney and I work mostly on European history from the 13th to the 18th centuries. There's a guy named Ugo Ravasio, who wrote a lot of books about Brescian violin making in the 1990s. And he claims in one of his like seminal articles that the word violino first appears in Brescian documents on the 17th of April, 1530. There are other words before then for sort of other instruments like viola da braccio or lira da braccio, but the actual word like violino is apparently a 1530, you know, invention and he also tells us that the first document to record a maker of violini is the 11th of December, 1558. That's very precise. Yeah, exactly. It's kind of interesting. And this is the beauty of experts. I mean, this shows us that there's like, I mean, that's, it's more about language, I suppose, because as I, just said, like in the 15th century, there are people in Brescia making instruments of all kinds, but the word violino and the actual identity of the maker of violini seems to be like 1530s to 1560, basically is when they're like, agglomerating as a self-named kind of group of people. That's what Ugo Ravasio claims, that basically the word violino, yeah, is, is actually Brescian, of Brescian origin. The period in which Gasparo Da Salo moved from Salo to Brescia to set up his workshop coincided with the end of the Italian wars. These were the series of conflicts we spoke about in the first episode where the city of Brescia was violently sacked by the French army. But now in this time of peace, trade was able to flourish. The feelings the Brescians had towards the French a few years earlier were quite strong. One inhabitant of the city described the French as “The enemies of God and of humanity. Bloodsuckers and people without laws. Of faith not worthy to be called Christian”. But now these bloodsucking heathens were paying a good price for instruments coming from Italy. It was a rare moment of relative peace in this part of the world. So commerce prevailed. Actually, there's a good story that you probably know that relates to Galileo, where Galileo, the scientist, was because he came from a musical family, obviously, his fa

GASPARO DA SALO PART 1. Why is Gasparo Bertolotti considered to be the first violin maker? Join me as I explore the life and craftsmanship of Gasparo da Salò, a master luthier whose contributions shaped the course of violin making history. From his early beginnings in Brescia, Italy, we uncover the secrets behind his distinctive style and celebrated instruments. Discover the allure of Gasparo da Salò's double basses, renowned for their robust tone and striking aesthetics. In this episode I speak to Violin maker and expert John Dilworth as we delve into the techniques and innovations that set his instruments apart, captivating the ears and hearts of musicians across generations. Through expert insights and captivating anecdotes, we unravel the legacy of Gasparo da Salò and the profound impact his creations have had on the violin-making tradition. Explore the stories behind his violins, viola and cellos in The Violin Chronicles Podcast. Music you have heard in this episode is by Bloom - Roo Walker, Szeptuchy part 2 - Maciej Sadowski , Brandenburg Concerto No 4 – Kevin Macleod, The penny drops – Ben McElroy, Frost waltz- Kevin Macleod, The waltz from beyond – Albert Behar, Wandering Knight – Giulio Fazio, Telemann Sonata in D maj for viola da gamba – Daniel Yeadon, Budapest – Christian Larssen, Unfamiliar faces – All good folks. Transcript Hello and welcome to the Violin Chronicles, a podcast in which I will attempt to bring to life the story surrounding the famous. infamous or just not very well known, but interesting violin makers of history. My name is Linda Lespe. I'm a violin maker and restorer. I graduated from the French violin making school some years ago now. In this episode we will be looking at one of the very first violin makers known to us. His name is Gasparo Da Salo. Gasparo Bertolotti is confusingly known as Da Salo because of the town he came from, called Salo. He is perhaps best well known for his basses. I'm Maxime Bibaud, I'm the principal bass of the Australian Chamber Orchestra. I have the pleasure of playing a bass by Gasparo Da Salo for the last eight years. Gasparo Da Salo, maker of the double bass that I get to play every day, was born in the mid 1500s, past early 1600s. He is known to be the first maker of double basses, if not the first. Very close to being the first. We believe there are no more than ten of his instruments surviving these days. And I’m one of the lucky ones that gets to play one of those. I should also say about Salo that, and please correct me if I'm wrong, but he was known to have created the modern violin. Ooh, it's a touchy subject. Okay, I will stay out of it. To answer some of my questions about Gasparo de Salo, I had a chat with John Dilworth, a violin maker and restorer in England. He is one of the people who literally wrote the book on Brescian violin makers called Lutai in Brescia. Here he is. Well, there's two people at the beginning of the violin, Gaspar de Salo and Andrea Amati in Cremona. And it's still very moot which of them made the first violin. Nobody really knows. Gaspar, in all the old literature they all say, without any doubt, that Gaspar invented the violin. But, you know, subsequent research finds that Amati and Gaspar were virtually, they were working at the same date, and the big problem is that, uh, in Brescia, the whole...All the violin makers in Brescia, they never put a date on their label, which is really annoying. So we don't actually know when any of them were made, whereas in Cremona, right from the get go, Andrea Amati was always very careful to sign and date his labels, so we know where we are with those. The jury is still out as to the birthplace of the violin.Was it Brescia? Or a small town 40 kilometers south, in Cremona? We don't quite know, and as John Dilworth explained, the fact that the Brescian makers didn't date their instruments also adds to the confusion, or creates it. You see, most, but not all, violins have a label on the inside, glued to the back. In Cremona, for example, Andrea Amati would have on his label made by Andrea Amati of Cremona in the year 1560, for example. But in Brescia, these labels would have “Gaspar Da Salo in Brescia” with no date. A lot of these labels were printed and the date filled in by hand. You see the printing press came at about more or less the same time as the violin, and I imagine that it would've been terribly modern of them. And a question of pride to have a printed label. So herein lies the conundrum. One group dated their instruments and the others didn't. But then again, why would you? Artists at that time didn't necessarily date their paintings. And perhaps Gasparo de Salo identified more with the painters in his city than anyone else. Who knows? The year is 1585 in the northern Italian region of Lombardy. At the feet of the Alps lies the ancient city of Brescia. The city is a hive of activity, full of wealthy merchants and tradesmen. The Brescians are renowned for their lavis