Ep 18. Girolamo II Amati, the last of the Amati family of violin makers

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