1111Interpreti Veneziani: Concert-Event at San Vidal Sunday 25 September at 9 p.m.Interpreti Veneziani and Thys de Castella are pleased to invite you to a concert-event which will take place at the Church of San Vidal on Sunday 25 Semptember, 9 p.m.
On 25th September, following a conference at 7pm at the Museum of the Music, our musicians will play some other instruments of the collection: in "The Four Seasons" of Antonio Vivaldi Pietro Talamini (violin) will perform "The Spring" and "The Summer" with a Francesco Ruggeri, nicknamed "il Per"(Cremona" 1665); Giacobbe Stevanato (violin) will perform "The Autumn" and "The Winter" with a Francois Pique (Paris 1810) while Paolo Ciociola (violin) will perform "Dance of La Vida Breve" of Manuel Falla with an Evasio Guerra (Torino 1924).
Notes of the violins
Francois Pique was probably the best violin maker of his time in France with Lupot. Born in 1758 at Rrei, near Mirecourt, died in 1882 at Charenton-St.-Maurice, he was a pupil of Saunier. He makde some beautiful copies of Stradivari, the workmanship being of a very high order; the scrolls and sound holes are well cut and the wood is of excellent quality. Some instruments have the backs cut in one piece, and the proportions of the thickness are sometimes exaggerated; he used a dark oil varnish, rather opaque. In 1792 he applied to Nicolas Lupot, then still at Mirecourt, for a certain number of unvarnished violins which he then finished himself and sold with his own label. He was the first one of the French school to abandon the German more deep shape models being inspired by the classical cremonese school. On the back made of one piece, like most of his instruments of flamed maple, there is a fine oval with a miniature representing a scene from Italian "Commedia dell'arte", in Watteau's style. Perfect state, beautiful bright sound. His violins were highly praised by masters such as Louis Spohr (the German Paganini in his Methode de Violin 1850) and the famous soloist Ole Bull (the one Stradivari is named after) had one of his violins which he highly considered and used for a whole concert tour.
Initiallly a violinist, Evasio Emilio Guerra (1875-1956), showed early signs of his talent in violin making. Originally from Turin, he got his training from Oddone and Rinaldi, and soon followed a classical and tipycal stradivarian model highly influenced by makers such as Rocca and Guadagnini. Since he had a lot of talent but no business experience, he was forced to supply many white violins to great makers of the time, from his masters to names as big as Fagnola. Ouer violin, labelled and dated 1924, is a very fine example of the Rocca/Stradivari model, with the short points and wide lower bouts. Exceptionally beautiful, like in many violins of this period, is the wood quality, as in the back, in one piece of flamed maple. Varnish red orange, tipycal of the turinese school. The sound is tense and strong, yet capable of subtle colors, a true masterpiece.
Francesco Ruggeri detto il Per (Cremona 1628-1698), was one of the most important violin makers of the golden age of the cremonese school. Side by side with Stradivari with whom possibly he shared an apprenticeship with Nicola Amati. This could be the reason of the high influence of the Amati design present in his instruments, like the classic "large" violins, or the outline of the f's. Our violin is labeled and dated 1665, and is a true masterpiece. The character is typically cremonese, with precise cambers and high sides, that guarantee a prompt response, tense and direct sound. The back is one piece of flamed maple, which is a trademark of Ruggeri. The scroll is a perfect spiral, with deep design, a true sculpture. The varnish, is golden and red, deep and distinguished color, with a sort of venetian touch. Many soloist and violinists throgh the ages held Ruggeri instruments in high praise, among them Leopold Mozart (that had a 1680 one that he passed to his son), Johann Strauss Jr (king of the waltz) and Ludwig Spohr (the german Paganini). He had three sons that followed his steps as makers, the most important being Vincenzo, and his shapes were used as model by all Markneukirchen and Mittenwald makers in the XXth century before the blooming of the Stradivarian fashion.
Cello Richelme, Marseille 1870. Richelme is an interesting figure among French makers of the XIX century, his ideas on the shape of the instrument being influenced by the baroque origins of them and crossing with elements of the viol. All his knowledge is in the treatise he wrote: "Studies and observations on Ancient and Modern violin making" published in 1861. Hi theories were based on the observations of Savart and Chanot and led him to the modification of the upper and lower bouts. In this cello, infact, the shoulders are more curved and the corners sharper. The front is in spruce, the back, sides and head in sculpted flamed maple. On the back, made of two pieces, the name and trademark of the author, on the head, instead of the ususal scroll, a singing angel. Total length 126 cm.
We hope to count you numerous at this exceptional concert-event at San Vidal!
For more information and ticket booking please visit Interpreti Veneziani's website or call 041 2770561