Francesco Rugeri (Cremona, b. c.1628; d. 28 October 1698), also known as Ruger, Rugier, Rugeri, Ruggeri, Ruggieri, Ruggerius, was the first of an important family of luthiers, the Casa Rugeri in Cremona, Italy. His instruments are masterfully constructed. His violins are inspired by Nicolò Amati's "Grand Amati" pattern. Francesco was the first Instrument playing and make became famous in 1948 after the second world war. The national company was named Cremona. Schonbach was a communist who played an instrumental role in helping the nationalization of violin making. After the nationalization of violin making, the other makers adopted the art, shifting the violin making dimension.
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The auction record for a violin by this maker is $269,360, set in 2010. Clearly Rocca is a highly desirable maker. A second violin bearing the same label was made by John Lott, perhaps the best of the English makers. Lott is famous for copies so like a master maker’s work that they have passed the scrutiny of very well-regarded experts The Violin Maker of Cremona: Directed by D.W. Griffith. With Herbert Prior, Mary Pickford, Owen Moore, David Miles. In the little Italian city of Cremona there dwelt Taddeo Ferrari, a violin maker and student of Andrea Amati, the most famous of the craft. He initially worked as a wood carver and engraver; he learned the art of violin making later on in life. He worked as a wood carver during the 1940s and continued in this role until the beginning of the 1950s. In the same period Bissolotti studied music and violin, and he became an excellent amateur violinist. In 1957 he enrolled in the Cremona
Guarneri is the name of a family of famous violin makers from Cremona in Italy in the 17th and 18th centuries. Together with the families Amati and Stradivari they made some of the best violins the world has known. Andrea Guarneri ( c. 1626 - 7 December 1698) was a pupil in the workshop of Nicolo Amati from 1641 to 1646 and returned to make
The stratospheric rise in popularity of the violin across Europe is witnessed from the 1650s onwards through the growth in violin making in a way that is perhaps more dramatic than is indicated through a musical history of composers and their works. In the preceding decades, Nicolo Amati was the only violin maker in Cremona of any note, but his
A violin is usually played using a bow consisting of a stick with a ribbon of horsehair strung between the tip and frog (or nut, or heel) at opposite ends. A typical violin bow may be 75 cm (30 in) overall, and weigh about 60 g (2.1 oz). Viola bows may be about 5 mm (0.20 in) shorter and 10 g (0.35 oz) heavier.
Nestling under the red terracotta rooftops of Cremona’s medieval centre are, at a recent count, 169 active workshops, “luthiers”, making violins, violas and cellos. Artisans still use time GUARNERI { gwar-nay'-ree} (Family) A family of violin makers in Cremona, Italy, in the 17th and 18th centuries, the Guarneris, along with the Amati and Stradivari families, brought the art of violin making to it's peak. While the Amatis and Stradivatis confined them selves to Cremona, the Guarneris established branches in Mantua and Venice. The Tononis’ presence as craftsmen in the city of Bologna from the late 17th century is well documented. The brothers Giovanni and Pietro Andrea are traditionally reported as violin makers, but the former is the one whose existence had never been questioned, perhaps because he was linked to the more famous Carlo Annibale (until quite recently there was confusion about their exact Matteo Goffriller, the first of the great Venetian violin makers, came to Venice from Brixen (known to Italian speakers as Bressanone) in the northern Trentino region. In Venice, he joined the shop of the Füssen-trained maker Martin Kaiser. Enricus Catenar brought violin making from Füssen to Turin, and influenced the very stylishly Italian
Italian violin makers are famous for their creativity and versatility. From the days of Andrea Amati they produced a mind-boggling array of variations on the same basic theme. This diversity is the fundamental hallmark of Italian violin making and, as a result, identifying the greatest old instruments is both fascinating and challenging.
