|
|
|
Forum Newbie
Group:
Last Login: Tuesday, January 02, 0001 12:00 AM
Posts: 0,
Visits: 0
|
|
| How this violin can be called "Il Cannone", if: 1. Hills, in the book about The Guarneri family, have actually declared that despite the fact that, the violin original and is made circa 1739-1742, with an original label which has been pasted during more later time, but cannot be considered as the violin that Paganini bequeathed to the native city of Genue. Hills have assumed that this violin has been presented by Paganini general Domenico Pino. 2. During earlier time, in 1909, this conclusion that the given violin is Paganini's gift from Domenico Pino, has made and Angelo Boscassi, in the book: "Il violino di Niccolò Paganini conservato nel Palazzo Municipale di Genova". 3. On the back violin, in the centre, it is clearly visible the semierased inscription: DP 34 - D [omenico] P [ino] [17] 34. That is, the violin by Giuseppe Guarneri del Gesu, 1734, presented to Niccolo Paganini of general Domenico Pino. Since 1828, till 1839, this violin was stored at Carlo Carli in Milan, and only in April, 1839 has been received by Paganini in Marseilles. 4. How increased in on this violin the fingerboard, the violin-maker from Vienna, Carl Nicolaus Sawicki, if its length on 8 mm is less than standard. 5. That the Parisian violin-maker J.-B Vuillaume repaired on this violin, when Guarnerius Paganini has been broken in 1833, during concert round to England? 6. What the copy of Guarnerius violin has made J.-B. Vuillaume in 1734, if this copy not correspond the given violin, even outwardly?
|
|
|
|
|
Moderator
Group: Administrators
Last Login: Friday, July 23, 2010 8:22 PM
Posts: 446,
Visits: 14,030
|
|
| I'm by no means always a supporter of the status quo, but I think there's ample evidence that the instrument owned by the City of Genoa is the one Paganini favored throughout his life and hence deserves the name 'il Cannone'. To take your points one by one: 1. Hills, in the book about The Guarneri family, have actually declared that despite the fact that, the violin original and is made circa 1739-1742, with an original label which has been pasted during more later time, but cannot be considered as the violin that Paganini bequeathed to the native city of Genue. Hills have assumed that this violin has been presented by Paganini general Domenico Pino.
The Hills devote several pages describing the instrument at the Genoa musuem and at no time do they suggest that it's not 'the Cannon'. They write that gazing at this instrument made them "forcibly realizing why Paganini time and again rejected those new loves in the guise of fresh Stradivari and Guarneri which he acquired, all of which were set aside in favour of this instrument which, from the day of its possession remained throughout his career the one and faithful exponent of his art." The footnote explaining that he may have received the instrument from Domenico Pino, not Livron, is about the instrument's provenance. But here the Hills are very clear that they're not sure which provenance history is accurate. They write: We can express no definite opinion in connexion with the above statement, but here again it should not be overlooked diat Paganini owned various fine violins, and it is therefore quite conceivable that he may have been presented at some time with a second Guarneri del Gesu. M. Livron, a merchant, was in partnership with a compatriot M. Hamelin; both were living in Leghorn in 1800, and furnished the French army of occupation with supplies.
And they end the footnote with a clear statement that they believe that the instrument in Genoa was Paganini's favorite: We are indebted to the late Sir Charles Lawes'Wittewronge for the following anecdote: When travelling on the Continent, his "uncle, Andrew Fountaine of Narford Hall, the well-known amateur who possessed some very notable violins, called on Paganini, then, obviously, very ill, and was greeted by him with the words 'You come to buy my "Guarneri;" if only you had called three days ago, it should have been yours, now it is too late, for I have offered it to the City of Genoa.'
2. During earlier time, in 1909, this conclusion that the given violin is Paganini's gift from Domenico Pino, has made and Angelo Boscassi, in the book: "Il violino di Niccolò Paganini conservato nel Palazzo Municipale di Genova".
See above. There does seem to be some confusion about whether Paganini received his favorite instrument from Livron or General Pino, but that doesn't mean that the instrument at the Genoa museum is not the Canon. 3. On the back violin, in the centre, it is clearly visible the semierased inscription: DP 34 - D [omenico] P [ino] [17] 34. That is, the violin by Giuseppe Guarneri del Gesu, 1734, presented to Niccolo Paganini of general Domenico Pino. Since 1828, till 1839, this violin was stored at Carlo Carli in Milan, and only in April, 1839 has been received by Paganini in Marseilles.
Which instrument are you referring to now? The one at the Genoa Musuem has no such inscription as far as I know. I assume you're referring to #430 (http://www.cozio.com/Instrument.aspx?id=430). If the inscription is authentic, it would suggest that this is the instrument given to Paganini by Pino, but this still isn't conclusive evidence that it's 'the Cannon'. 4. How increased in on this violin the fingerboard, the violin-maker from Vienna, Carl Nicolaus Sawicki, if its length on 8 mm is less than standard.
Not sure what your point is. 5. That the Parisian violin-maker J.-B Vuillaume repaired on this violin, when Guarnerius Paganini has been broken in 1833, during concert round to England?
Again, what's your point? That Vuillaume never actually repaired Paganini's violin? 6. What the copy of Guarnerius violin has made J.-B. Vuillaume in 1734, if this copy not correspond the given violin, even outwardly?
There are numerous Vuillaume instruments said to be copies of the Cannon: http://www.cozio.com/Instrument.aspx?id=10374
http://www.cozio.com/Instrument.aspx?id=10467
http://www.cozio.com/Instrument.aspx?id=10553
http://www.cozio.com/Instrument.aspx?id=10503
http://www.cozio.com/Instrument.aspx?id=11022
http://www.cozio.com/Instrument.aspx?id=10532
http://www.cozio.com/Instrument.aspx?id=10679
http://www.cozio.com/Instrument.aspx?id=10598
http://www.cozio.com/Instrument.aspx?id=10529
http://www.cozio.com/Instrument.aspx?id=10542
http://www.cozio.com/Instrument.aspx?id=11039
I leave it to others with better eyes than me to say how much these copies resemble the instrument at the Genoa museum. In summary, I think there's some question about whether Paganini received the Cannon from Livron or Pino, but I don't think there's much question that the instrument he bequeathed to Genoa was his favorite. Certainly that was his intention.
- Phil Margolis
Cozio Publishing
|
|
|
|
|
Junior Member
Group: Forum Members
Last Login: Wednesday, July 21, 2010 4:06 PM
Posts: 18,
Visits: 310
|
|
This reply to Strannik was necessary. If my English would be a little better, I would have replied myself. Thanks, Phil Margolis!
wth
|
|
|
|
|
Junior Member
Group: Forum Members
Last Login: Wednesday, July 21, 2010 4:06 PM
Posts: 18,
Visits: 310
|
|
I want to add a little notice: On the occasion of the Guarneri Exhibition 1994 at the New York Metropolitan Museum of Art, in the Grace Rainey Rogers Auditorium took place a presentation of the instrument in question in comparison with a dozen of the finest Gesù violins, played by Leonidas Kavakos, Elmar Oliveira, Ruggiero Ricci, Aaron Rosand and Eugene Sarbu (in alphabetic order). If you were so lucky to attend this concert, you could understand why Paganini called his violin "il cannone".
wth
|
|
|
|
|
Forum Member
Group: Forum Members
Last Login: Tuesday, July 27, 2010 4:46 PM
Posts: 32,
Visits: 122
|
|
| Many questions about this instrument / presumed history / reparation by Signore Cesare Candi continually burn in my mind! Not wanting to stir controversy but to gain true knowledge, I do, with no small trepidation approach the bench with the following: 1. Are there any truly learned members on this forum who are willing to step forward to these questions? Waiting for your responses. Cheers era
|
|
|
|
|
Moderator
Group: Administrators
Last Login: Friday, July 23, 2010 8:22 PM
Posts: 446,
Visits: 14,030
|
|
Hmmn, maybe you should identify the individuals who you consider "truly learned" so that nobody else speaks out of turn.
- Phil Margolis
Cozio Publishing
|
|
|
|
|
Forum Member
Group: Forum Members
Last Login: Tuesday, July 27, 2010 4:46 PM
Posts: 32,
Visits: 122
|
|
| Funny you should say that, Cozio. The violin seems rather much too important to not have better images. Are there restrictions for posting personal photos taken of it?
|
|
|
|
|
Moderator
Group: Administrators
Last Login: Friday, July 23, 2010 8:22 PM
Posts: 446,
Visits: 14,030
|
|
The recent photos published in various books and magazines are all protected by copyright so we can't display those without permission from the owners. But if you or other private individuals have made photos of the Cannon (or any other instrument) and give Cozio permission to display them, we would be very happy to do so.
- Phil Margolis
Cozio Publishing
|
|
|
|
|
Forum Newbie
Group: Forum Members
Last Login: Tuesday, June 22, 2010 9:23 PM
Posts: 7,
Visits: 169
|
|
In a painting by Samuel Lover, 1831, Paganini was painted with his violin, this work is partially reproduced on the cover of this CD: 
From the book "Paganini's Violin" editions Diynamic 1995: "In Dublin, in 1831,he posed for the painter and violinist Samuel Lover: the portrait of small proportions and recently acquired by Genoese collectors,is unique becouse is reproduces Paganini's instrument with the meticulousness typical of the Flemish masters. It is thus almost photographic evidence that the violin painted by Lover is indeed the Guarnieri today kept in Genoa's town - hall" Unfortunately I can not publish a detailed picture of the painting for copyright reasons Juri
|
|
|
|
|
Forum Member
Group: Forum Members
Last Login: Tuesday, July 27, 2010 4:46 PM
Posts: 32,
Visits: 122
|
|
| Thanks for your input. Another Guarneri del Gesu that Paganini also owned was many years ago documented by means of 'technical' drawing made by a liutaro in Italy, I think. (Appaently the name of the person is not in evidence anywhere on the document, so there can be no certainty as to authorship.) Anyway the instrument was completely dis-assembled into the four main components; neck, rib garland, top plate, back plate. The outline of this violin seems to portray a different stylistic (larger and more rounded) element than "Il Cannone" presents. Perhaps that image can become another topic of discussion, in due time. One question I would now like to ask: Does anyone know how many nails remain in the original head block of Il Cannone? Or, if none were moved by Cesare Candi, how many original nails were put there by the maker? It has always proved fascinating to me that Guarneri del Gesu put 4 nails through the head block of the pochette of 1735. This seems counter productive (too many nails in too small of an area.) Any thoughts?
|
|
|
|