75:. In the 1770s, just as Storioni emerged, the guilds that had governed the skilled crafts since the Middle Ages were abolished by the conquering Austrians. The Jesuit fathers, whose educational institutions were major patrons of the violin makers, were suppressed by the Pope; and the lay corporations, who conducted commerce on behalf of Cremona's religious orders, were abolished. The church and nobility—primary patrons of the violin makers—lost power and money as the French and Austrians taxed and requisitioned treasure out of Italy to pay for the wars."
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67:, and between 1775 and 1795 manufactured a massive number of high-quality stringed instruments in a conventional manner. However, Storioni made some bold adjustments with his extreme creativeness. He changed the position of the F-hole, selected unusual materials (such as local wild maple), and decorated his instruments with a wide and rugged fringe, giving them strong but elegant looks as well as excellent sound.
101:"If rough work and poor wood characterized the Storioni-Rota-Ceruti school, they still find favor with musicians. “They were not the tidy boys, but they’re all acoustically rock solid,” says Boston violin maker Marilyn Wallin, who enjoys working on them for this reason. “As a group, they didn’t have the best wood, but they did know what to do with it.”
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He used a spirit varnish which sometimes appears to have saturated the wood. His choice of wood was not always the best, but that is due to the times in which he was living. From the 1750s to the end of the century Italy endured many wars, and instrument makers at times had much difficulty in finding
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Rostropovich bought his cello by the renowned
Cremonese instrument-maker Lorenzo Storioni (1751–1801) from an orchestral cellist in Kiev in the late 1950s. It is the cello on which he made most of his recordings.
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materials. Decades of war, reforms, and repeated conquests by the French and
Austrians dismantled the social and economic structure of Cremona - as Duane Rosengard explains in a 1991 paper published in the
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Many of
Storioni's instruments are of broad grain in the upper table. He enjoyed working with the
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The auction record for this maker is $ 664,821 in March 2017, for a violin.
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He was influenced by makers of the previous generations such as
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The Late
Cremonese - by Erin Shrader STRINGS magazine
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The Late
Cremonese - by Erin Shrader STRINGS magazine
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The Late
Cremonese - by Erin Shrader STRINGS magazine
22:(1744 — 1816) is considered one of the last of the
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240:Universal Dictionary of Violin & Bow Makers
152:Mstislav Rostropovich: Cellist, Teacher, Legend
82:model. He is known to have made magnificent
222:Dictionnaire Universel del Luthiers (vol.3)
110:A bass that has been attributed to him is
216:The Late Cremonese Makers - Dmitry Gindin
73:Journal of the Violin Society of America
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224:. Bruxelles: Les Amis de la musique.
262:Meister Italienischer Geigenbaukunst
107:owned and played a Storioni cello.
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149:Wilson, Elizabeth (5 May 2011).
26:Cremonese master violin makers/
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16:Italian luthier (1744 - 1816)
243:. Brighton; England: Amati.
96:Giovanni Francesco Pressenda
61:Giovanni Battista Guadagnini
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187:"Maker Profile - Tarisio"
237:William, Henley (1969).
88:Giovanni Battista Ceruti
86:. His followers include
54:Giovanni Battista Ceruti
40:Born a generation after
264:, Wilhelmshaven 1993,
220:Vannes, Rene (1985) .
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295:Luthiers from Cremona
155:. Faber & Faber.
105:Mstislav Rostropovich
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30:of the 18th century.
65:Tommaso Balestrieri
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80:Joseph Guarnerius
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42:Stradivarius
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290:1802 deaths
285:1744 births
279:Categories
196:2021-04-16
119:References
46:Guarnerius
230:53749830
28:luthiers
191:Tarisio
24:classic
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168:23 May
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266:ISBN
245:ISBN
226:OCLC
170:2024
157:ISBN
94:and
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