Summary of "M° CLAUDIO AMIGHETTI – 1600-1771: STORIA E RADICI DELLA LIUTERIA IN PIEMONTE"

Summary of the Video:

M° Claudio Amighetti – 1600-1771: History and Roots of Violin Making in Piedmont

This extensive lecture by Master Claudio Amighetti explores the origins, development, and characteristics of violin making (liuteria) in the Piedmont region of Italy from 1600 to 1771. It situates Piedmontese violin making within its historical, cultural, and political context, highlighting influences from other Italian schools, particularly Cremona and Brescia, as well as from German and French traditions. The talk also addresses the evolution of construction techniques, stylistic features of Piedmontese instruments, and the socio-political factors that shaped the craft.

Main Ideas and Concepts:

1. Historical Context and Development of Piedmontese Violin Making (1600-1771)

The period covered is from the early origins of Piedmontese violin making (~1600) to the arrival of Giovanni Battista Guadagnini in Turin in 1771, marking a significant turning point.
Piedmont’s violin making developed in a unique political and cultural environment shaped by the House of Savoy, wars, plagues, and the relocation of the capital to Turin.
The Savoy court embraced the violin earlier than other Italian courts, integrating it into court music and allowing violinists access to high society, which was innovative at the time.
The plague of 1630 severely impacted northern Italy but Piedmont was somewhat protected due to its geography.
The royal madams, particularly Maria Cristina and Maria Giovanni Battista, were strong patrons of music, encouraging the growth of musical activity and the violin making craft.
Turin established a violin band in 1672, modeled after the French “Banda de ris de violon de rouis,” which included 23 violins, indicating a high level of musical sophistication.

2. Influence of Cremonese Violin Making and Stradivari

In 1685, the court of Savoy commissioned an entire set of Stradivari instruments, which strongly influenced Piedmontese violin making.
Stradivari’s work is divided into five periods; the instruments arriving in Turin were from his “Amatizing” (second) period, showing strong Nicolò Amati influence.
This exposure to Cremonese instruments introduced new standards and inspired local luthiers.
The arrival of Cremonese instruments and musicians like Giovanni Battista Somis (a student of Corelli) and Gaetano Pugnani (a prominent violinist who toured Europe with a Guarneri del Gesù violin) raised the musical and technical level in Piedmont.

3. Characteristics of Early Piedmontese Violin Making

The first professional luthiers in Piedmont appeared around 1640 due to increased demand from musicians who needed maintenance and repairs.
Early Piedmontese violin making was influenced by German luthiers from Füssen, a town known for its violin and lute making, which was a major trading point between Germany and Italy.
The Piedmontese school initially had strong Germanic traits, but gradually incorporated Italian (especially Amati) influences.
Construction techniques evolved from building without a form (mold) to using a form around 1680 for better instrument strength to support thicker, higher-tension strings favored by Piedmontese musicians.
Typical features included narrow models inspired by Amati, large scrolls, specific purfling styles, and a particular way of carving the “f” holes and eyes (holes in the violin’s body).

4. Notable Luthiers and Their Contributions

Enrico Catenar (Casner): Considered the founder of Piedmontese violin making; started with Germanic influences and later adopted Amati models.
Francesco Giuseppe Catenar: Son of Enrico, a violinist and luthier with a prosperous life.
Fabrizio Senta: A younger contemporary of Catenar, known for mandolins and violins.
Spirit of Sorsana: Known for a distinctive style with large eyes on the scroll and strong purfling.
Giovanni Francesco Cognato: Influenced by Stradivari’s “wasp waist” model, showing a shift towards Cremonese styles.
Giovanni Battista Genova: An engraver turned luthier, influenced by Guadagnini’s style, marking the transition towards the later Piedmontese school.
Gaetano Guadagnini (arrived 1771): His arrival marks the end of the first Piedmontese school and the beginning of a new era influenced by French violin making.

5. Technical and Stylistic Details

Early instruments often had narrow bodies, straight “f” holes, and large scrolls with parallel walls.
The purfling (decorative inlay near the edges) was