Giovanni Battista Guadagnini
|Died||18 September 1786 (aged 75)|
|Residence||Piacenza, Milan, Parma and Turin|
|Elected||Court luthier of Duchy of Parma|
Giovanni Battista Guadagnini (often shortened to G. B. Guadagnini; 23 June 1711 - 18 September 1786) was an Italian luthier, regarded as one of the finest craftsmen of string instruments in history. He is widely considered the third greatest maker after Antonio Stradivari and Giuseppe Guarneri "del Gesù". The Guadagnini family was known for their violins, guitars and mandolins.
Giovanni Battista Guadagnini (Latinized as Johannes Baptista Guadagnini) was born while both Stradivari and Guarneri were at the zenith of their production years, roughly 30 km away from the City of Cremona on 23 June 1711 at Bilegno in Val Tidone of Piacenza.
Recent research has shed light as to the influence of both Casa Stradivari and Casa Guarneri of Cremona on the lines of symmetry of instruments by Guadagnini, hence J.B. Guadagnini was still a youth while his father Lorenzo, both in Bilegno and Piacenza, was a contributing maker of instruments for Stradivari's workshop, the leading violin shop in the first half of the 18th century.
It was the normative use of trade in 18th-century Italy for a young person to start as an apprentice in a master's workshop around age 12, to be allowed to practice a given trade afterward. Guild shops, either in consortium or under one roof, were headed by a master who provided journeymen papers for successful apprentices. Trade guilds, providing career opportunities for skilled tradesmen including musical instrument makers, were a mercantile arrangement in Europe since medieval times, including in Italy. Guilds were a pre-capitalist industrial organization under ducal oversight which regulated trade practice, quality of articles produced, and pricing policies.
J.B. Guadagnini died in Turin in 1786.
His work is divided into four main periods corresponding to, and named after, Piacenza, Milan, Parma and Turin, the four cities in Italy where he lived and worked. Each period has its own style and characteristic. The Guadagnini's Milan style are more popular in Europe while the Turin style is more sought-after in the United States. Because of different arching built for each style, the Milan models make soft and colorful sound, whereas the Turin models sound are flatter and more powerful.
Appreciation by both connoisseurs and musicians alike attest to the fact that J.B. Guadagnini may possibly be considered the last of the great master violin makers in the second half of the so-called "golden age", while Italy was under Bourbon rule.
|Violinist||Date & place of manufacture||Sobriquet||Comments||Reference|
|Riccardo Brengola||1747, Piacenza||Contessa Crespi|||
|Adolf Brodsky||1751, Milan||ex-Brodsky|||
|Zakhar Bron||1757, Milan|||
|Amaury Coeytaux||1773||[permanent dead link]|
|Andrew Dawes||1770, Parma|||
|Richard Deakin||English chamber musician and soloist, currently teaching at RAM in London, was using one in 1980s and likely still is |
|Carl Flesch||ex-Henri Vieuxtemps|||
|David Garrett||1772||In December 2007, Garrett fell after a performance and smashed his Guadagnini, which he had purchased four years earlier for US$1 million. He now uses it for mainly his outdoor crossover performances.|
|David Greed||1757||Owned by the Yorkshire Guadagini 1757 Syndicate.|||
|Jascha Heifetz||1741, Piacenza||ex-Heifetz||Provenance - by Rembert Wurlitzer in 1946 and Dario D'Attili in 1991|||
|Peter Herresthal||1753, Milan|||
|Joseph Joachim||1767, Parma||ex-Joachim|||
|David Kim||1757||on loan from The Philadelphia Orchestra|||
|Goran Kon?ar||1753, Milan|||
|Pekka Kuusisto||1752||on loan from the Finnish Cultural Foundation|||
|Manfred Leverkus||1752||ex-Kneisel||stolen in 2006|
|Wayne Lin||1779, Turin|||
|Tasmin Little||1757, Milan|||
|Mauro Lopes Ferreira|||
|Haldon Martinson||1750||Being used in the Boston Symphony Orchestra|||
|Stefan Milenkovich||1780, Turin|||
|Ginette Neveu||Purchased early spring, 1949. Involved in a plane crash later that year, in which Neveu died. Scroll later apparently appeared in Paris, having changed hands several times.|||
|Simone Porter||1745||on loan from The Mandell Collection of Southern California|||
|William E. Pynchon||1779, Turin||Purchased March 26, 1957. Played in San Francisco Opera until 1998|
|Linda Rosenthal||1772, Turin|||
|Mari Silje Samuelsen||1773, Turin||On loan from ASAF (Anders Sveeas Charitable Foundation, Oslo).|||
|Mayumi Seiler||1740, Piacenza|
|Ittai Shapira||1745, Piacenza|||
|Sini-Maaria Simonen||1760||on loan from the Finnish Cultural Foundation|||
|Roman Simovic||1752||on loan from Jonathan Moulds|||
|Lara St. John||1779||Salabue||called "the Resurrection" by St. John|||
|Lyndon Johnston Taylor||1777|||
|Henri Temianka||1752||Built based on the Petro Guarnerius model. Certificate of Joseph Vedral, violinmaker, Holland, 28 September 1929|
|Pavel Vernikov||1747, Piacenza||ex-Contessa Crespi, ex-Brengola||on loan from Fondazione Pro Canale. Worth $1.5 million in 2016. Stolen in December 2016.|
|Henri Vieuxtemps||ex-Henri Vieuxtemps|||
|Bob Wills||1784||Described as 157 years old when bought in 1941 for $3,000, Wills later claimed in an interview that he gave it away "to a friend of mine in Tayxas" and bought another for $5,000.|||
|Eugène Ysaÿe||1774||ex-Eugène Ysaÿe|||
|Li Chuan Yun||1784||on loan from the Stradivari Society|||
Giovanni Battista Guadagnini (1711-1786), who was to dominate the city's violin trade...Guadagnini brothers continued to ply their craft, making guitars and mandolins and the very occasional violin
|url=(help) (Vol. 122). October 2011. pp. 36-44.