Lorenzo Storioni is usually accustomed with extenuative the rapidly crumbling violin authoritative attitude in Cremona at the end of the eighteenth century. He absolutely managed to re-establish the ability as a applicable business there, but although his plan is awful sought-after, it cannot be said that he absolutely recovered the abundance of the classical era. His accomplishment is by no agency to be underestimated however. Recent analysis by Duane Rosengard has accustomed his claimed and able activity greater definition, and solid facts are starting to alter beforehand speculation.
Storioni was built-in in 1744, the year of Guarneri’s death, seven years afterwards Antonio Stradivari died, and alone three years afore Carlo Bergonzi, the endure maker of the classical period, anesthetized away. The alone alive luthiers during his adolescence were the ambiguous Zosimo Bergonzi, adolescent son of Carlo, accepted alone by a mandolin and a quarter-size violin, and the endure of the Rugeri family, Francesco II and Carlo. Carlo Rugeri was in actuality Storioni’s adolescence neighbour. The violin business was in a abysmal abasement then, but about by the backward 1760s, Lorenzo had amorphous to accomplish instruments, thereby catastrophe a arid aeon alien in Cremona’s history for at atomic two hundred years. Storioni had abounding befalling to abstraction Stradivari’s accoutrement and patterns, as able-bodied as a ample banal of instruments which were still in the control of his youngest son Paolo, but no absolutely competent maker was still practicing at this time, and Storioni was to a assertive amount self-taught. The awakening of Cremonese lutherie during his lifetime was absolutely his responsibility, and by the end of the aeon Nicola Bergonzi and his son Carlo II, as able-bodied as Storioni’s adherent Carlo Rota and Giovanni Battista Ceruti all bearing violins in a anew active trade.
Rota was Storioni’s alone accepted assistant, abutting him in about 1782. Shortly afterwards 1800 Storioni larboard Cremona for affidavit that are not clear, but violins abide dating from the aboriginal decade of the century, which may accept been fabricated in Trieste. By 1811 Storioni had alternate to Cremona, but he fabricated no added instruments and died in 1816, like so abounding of his calling, abrogation a abundant acceptability but in accepted poverty. His business had already been usurped during his absence by Giovanni Battista Ceruti, who was already anticipation to accept been a pupil. Rosengard has befuddled able agnosticism on this theory; although their plan has able similarities, there is no absolute affiliation amid Ceruti and Storioni, as there is amid Ceruti and Nicola and Carlo II Bergonzi.
As to his output, Storioni now enjoys a top acceptability for sound, still articular carefully with the absolute Cremonese accent authentic by Stradivari and Guarneri. His success in this is apparently in no baby amount due to the banal of Stradivari instruments, accoutrement and patterns still abutting to duke in the abode of Paolo Stradivari until 1775. Storioni aswell fabricated actual recognisable del Gesu models, which could accept been affected from violins still in use in the city, in the easily of violinists of the ability of P. Spagnoletti, the baton of the Cremonese orchestra if Mozart heard it in 1770, who is accepted to accept played both Amati and Guarneri instruments.
Storioni got abounding things appropriate from his observations – capital aspects of the arching and graduation of the copse accommodate the base of a full, ample complete – but the finishing is awkward about to his incomparable predecessors, Amati and Stradivari himself. He aswell lacked the abundant varnish. Somewhere in the aperture afterwards the afterlife of Carlo Bergonzi I in 1747, the bendable red-coloured compound was absent or discarded. Storioni’s own adorn is harder, and about aureate or burnt orange in colour, with a ashen accent to the arena rather than the arresting gold which gives added activity to even the atomic seventeenth aeon efforts.
His outlines are asperous and capricious rather than consistently defined, and his use of the classical techniques of Amati were a little off-beat. He occasionally affianced the plates to the high and lower blocks, but he did mortice the linings into the blocks. The annal patterns are adequately eccentric, with a continued beeline throat abruptly concluded at the volute, and the eye of the annal bulging above the endure about-face of the spiral. Interestingly this endure appropriate is aggregate by a amount of makers in this period, conspicuously Balestrieri of Mantua, whose scrolls can be mistaken for Storioni’s.JOYO JF-04
Storioni’s copse is rarely of the actual aboriginal quality, and he fabricated a advantage of apparent and anyhow ample hardwood, about application the bounded acreage maple accepted as oppio, which appears in a abundant accord of arctic Italian work, not excepting that of Stradivari and the Amati. The bandbox of the fronts is about of acceptable Tyrolean appearance, but about it is not of the best, about assuming adulterated and aberrant grain.
We can acknowledge Storioni for the additional advancing on Cremonese lutherie in the nineteenth century, and for a ample amount of characterful instruments which sustain the city’s acceptability for accuracy of sound, and add to the alluring array of Italian violin making.