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Rachel Podger makes lovely music with that instrument, and that makes it interesting, but it's hard to relate the tone she gets to the way it's built. The arching of the top, as far as I can tell, is along the lines of Stainer.

Recent thread (link)

The student of Stradivari idea is highly suspect, I wonder where that came from.

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This post is a little off the topic directly, but this thread made me think of a couple of issues related to classic Italian makers:

1. Alternate spellings: One of the most interesting is for the Rugeri family. The Hills spell Francesco's name "Ruger." (Could he have had a German connection?) Charles Beare uses "Rugeri," and Henley uses "Ruggieri."

2. Stradivari's assistants: I think I'm remembering a Roger Hargrave article correctly, in which Hargrave suggests that Stradivari had more assistants than just sons Francesco and Omobono. There was a burst of activity from the Stradivari shop after 1700, and, for practical purposes, the Stradivari shop was the only productive one in Cremona. The Amati and Guarneri shops were not especially productive. Yet there were plenty of makers in Cremona at the time. As I remember Hargrave's point, his question is: Were all those makers unemployed or were they put into service in the most productive shop in Cremona, the Stradivari shop.

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Rachel Podger plays a violin by Pesarini, made in Genoa in 1739. I cannot see him in Henley, Jarlovic or Hamma. Does anyone know anything?

Just curious.



There is an Antonio Pazarini (listed in Henley)- worked c.1720-1740 in Genoa.

From the note in my database:

Good maker - Worked with Bernardus Calcagni - large Brescian pattern - known only from a 1982 auction sale ($6230).

Label Text:

Antonius Pazarinius et Calcanius

Genaue 17--

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Hi all,

I think it's fair to assume, since both Henley and Jalovec use "Pazarini," that "Pesarini" is the alternate. It's not likely there are two different makers from Genoa with such similar names. I don't know if we can say the alternate has been in long use like all the variations of Ruggieri. It might be that Podger or her publicist, or someone else, just got it wrong, and it's going to keep causing confusion until someone gets them to change their spelling.

Incidentally, it could even be that an old certification accompanying the violin has a misspelling to "Pesarinius." Henley and Jalovec list latinized labels as "Pazarinius (et Calcanius). Pure conjecture on my part, but where else would Ms. Podger come up with such a spelling as Pesarinius. We know she couldn't have found it in Henley or Jalovec. :-)

BTW, skiingfiddler, your post is an interesting observation. The English seemed to anglicize foreign makers' names on occasion, when referring to them. I think, without looking up who, someone referred to Antonio as Anthony, for example. ( maybe Heron-Allen) Does "Pesarini" seem an anglicized version of Pazarini, or just a mistake?

Crazy to waste time on this, but I love a mystery.

Maybe someone could ask Ms Podger about it at a rehearsal or concert. Maybe someone could suggest she sell her violin and buy a Smith. It would make things easier for all of us! :-)


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FWIW In all the CD packages the violin is referred to as a 'Pesarinius'. I expect Ms. Podger is herself aware that the maker's name is Pazarini--she is quoted with that spelling in the April 2005 Strad magazine.

The 'Pesarini' spelling seems to come up in reviews, blurbs, and a Strings magazine interview, so who knows how it came about.

As often as journalists get Guarneri Del Gesu wrong, I think nothing should surprise us. ;)

Regarding different latinizations--maybe when Pazarini did his own labels he forgot how Calcagni had latinized his name? ;)

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  • 10 years later...

I wonder if the z was just another way to write an s. Pesarini or his family probably came from Pesaro. Small changes of spelling of names has been common at the time (Rogeri, Gatenari, Prandini, ...).  

I recall reading, that his instruments show influence from the Cremonese interpretation of the Stainer model.  This would suggest that he had been in close contact to Cremonese violin making before moving to Genoa. 


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