Violin tone and violin makers

by Hidalgo Moya; Towry Piper

FISCHER.—Upwards of thirty German and Austrian makers of the name are enumerated.

FLORENO.—Bologna; eighteenth century. There appear to have been at least two makers who adopted the common practice of placing the surname first in their tickets. The Christian name, Guidantus, has therefore appeared as the surname in various books. Writer has seen a few specimens bearing the label, with brilliant varnish. High built, and outline of Amati character.

FONCLAUZE.—Paris. Died 1864. A most skilful bow maker. He worked for several others, including Vuillaume.

FORSTER.—A well-known English family, who came from Brampton in Cumberland. Three were named William, the second of whom died in 1808, and is best known as “Old Forster.” Very good work of Stainer or Stainer-Amati pattern. Oil varnish of a durable but not very clear texture. His violoncellos are more valued than the violins, though the work in the latter is often excellent. He employed various assistants, was patronised by Royalty, and his instruments commanded good prices in his own day. His grandson, Simon Andrew Forster (died 1870), was joint author with Sandys of a well-known history of the violin. A very readable, but not conspicuously accurate compilation, which has been humorously dubbed “the history of the Forster family.” He was himself a maker, and some of his work is of considerable merit.

FOURRIER, François Nicolas (known as “Nicolas of Paris”).—Paris. Born in 1758; died 1816. He was a first-rate maker, but is little known amongst English dealers and players, who are apt to confound him with “didier Nicolas,” a Mirecourt workman, and latterly a manufacturer on a large scale. Fourrier’s work is handsome, well finished, and he was evidently well acquainted with the characteristics of the classic Italian makers. Writer has met with violins, pattern rather large; excellent varnish of red or red-brown colour on a fine yellow ground. Sides sometimes rather shallow. Boldly cut scrolls. He was “luthier to the chapel of the Emperor,” Napoleon I.

FURBER.—London; eighteenth and nineteenth centuries. A numerous family, most of whom worked chiefly for the trade. The best of them was John, who died somewhere about 1845. He worked largely for Betts, and was a good copyist of Amati.

GABRIELLI.—Florence; eighteenth century. There were several makers of the name. Giovanni Battista (about 1740 and later) is the best known. Handsome wood and good varnish of yellow or orange colour. There is a resemblance to German work (Stainer) in the form of some instruments. The finish is neat and careful, arching frequently high. He used both written and printed tickets, in some of which he calls himself “de Gabriellis.” He also branded some of his work with the initials G. B. G.

GAFFINO, Joseph.—Paris; circa 1740-60. Was of Italian origin. Worked with Castagnery, and afterwards on his own account.

GAGLIANO.—Naples; eighteenth and nineteenth centuries. A large and important family of makers, who have left a considerable number of valuable instruments. The founder was Alessandro, who died between 1720 and 1730, and is reputed, upon very doubtful evidence, to have worked with Stradivari. In this country his genuine instruments are scarce, though numbers of Neapolitan instruments of varying patterns have been assigned to him. Though nearly all the family appear to have worked on lines more or less akin to those of Stradivari the resemblance between Alessandro’s violins and those of that maker is by no means close. In a few seen by the writer the arching has been of the ridgy character associated with some Amati instruments, but he also made examples of flatter arching. Varnish varies. In some it is of fine quality and soft texture, and quite distinct from the ordinary Neapolitan type. The scrolls of this maker, and of others of the name, are usually of poor, cramped style and workmanship. He made some violoncellos of considerable beauty and very fine tone. He seems to have used a variety of labels, some in manuscript. Niccolò Gagliano I. was the eldest son of the foregoing, and judging by the number of works still extant, was probably the most prolific maker of the family. The dates assigned to him in most books are quite unreliable; he seems to have worked until late in the eighteenth century, and probably died about 1780. Though his productions are of unequal merit, he was undoubtedly a workman of much skill. Sometimes he employed a fine red varnish of much brilliance and soft quality; in many cases, however, he used the clear yellow preparation, characteristic of the Neapolitan school. Arching generally pretty full, and sometimes rather high. Wood frequently handsome, the backs of the instruments being generally divided. In the violins the scrolls are generally poor and of insignificant cut. In the violoncellos they are somewhat better. In the latter the back of the peg-box sometimes has an aperture cut in it, to facilitate stringing. Outline based on that of Stradivari; sound-holes very well cut, and frequently placed a shade high in instrument. They are generally set very upright in the bellies. He made a considerable number of examples inlaid with black ornamentation. Niccolò II. was a son of Giovanni Gagliano (Joannes), and was a maker of no particular account. He died about 1826. Gennaro (Jannarius), circa 1720-75, was the second son of Alessandro, and is now usually reckoned the best maker of the family. Instruments much rarer than those of Niccolò. In his best work the finish is excellent; and his varnish (orange-yellow or red) is almost uniformly of a superior kind. The pattern more or less after that of Stradivari. The scrolls well cut and of bolder character than those of the other Gagliani. Some of his fiddles and basses have contained Stradivari tickets and have passed as originals. The tone is round, equal, and free from the nasal character which is often observable in Neapolitan fiddles. Ferdinand, 1724-81. Was the eldest son of Niccolò I. A good workman. Pattern rather broad-looking. Arching moderate. Finish frequently somewhat careless. Joseph: worked until about 1795, and was the second son of Niccolò I. He was associated with a younger brother, Antonio, and the instruments of the firm bear their joint label. His instruments are somewhat similar in appearance to those of his father, but usually inferior in style and finish. Giovanni, died circa 1806; was a nephew of Gennaro, and worked with him. Some of his examples are of good pattern, and well made. He occasionally ornamented them after the manner of Niccolò. There were several other Gagliani: Gaetano, Raffaele, and Antonio, who worked together in the last century down to about 1857; and others.

GAILLARD, Charles.—Paris; 1850-81. An excellent workman of the Paris school, whose instruments are rising in value. He worked with Gand. Strad pattern; sound-holes very well cut; set rather upright, and look a little wide open.