Ep 15 Nicolo Amati part 2 The violin that almost wasn’t

The Violin Chronicles Podcast

In this episode of “the Violin Chronicles”, we delve into the life and legacy of Nicolo Amati, a name synonymous with the exquisite craftsmanship of violins. Beyond his unparalleled contributions to the world of music, Nicolo Amati's life was marked by profound tragedy during the devastating 1630 bubonic plague that swept through Europe. Join us as we unravel the remarkable tale of a man who not only mastered the art of violin-making but also found strength in the face of unbearable loss.

Nicolo Amati hailed from a renowned family of luthiers, and his violins are celebrated for their delicate craftsmanship and unparalleled tonal quality. Yet, amidst the acclaim and admiration, lies a harrowing chapter of his life that shaped his artistry and resilience.

In this episode, we explore the remarkable transformation of Nicolo Amati, who channeled his grief into creating some of the most exquisite violins the world has ever seen. We delve into the technical brilliance that characterized his work, as well as the emotional depth and resonance of the instruments he crafted during this tumultuous period.

Through the lens of history and musicology, we uncover how Nicolo Amati's journey through tragedy not only preserved the art of violin-making but also enriched it, leaving behind a legacy that continues to inspire musicians and craftsmen to this day.

Join us as we pay tribute to the indomitable spirit of Nicolo Amati, a master craftsman who found hope and redemption amidst the shadows of a devastating pandemic, leaving us with a priceless musical inheritance that transcends time and tragedy.

Tune in to “The Violin Chronicles” for an insightful exploration of Nicolo Amati's life, artistry, and resilience during the 1630 bubonic plague, a story of triumph over adversity that resonates through the ages.

Transcript

 Have you ever heard someone say, this is an Amati Violin? And you've thought, Ooh, wow, that must be old. And then they say, it's a Girolamo Amati or a Nicolo Amati or an Andrea Amati. But by this time, if you're anything like me, you're lost and your mind is wondering, and you can't remember which one of those Amatis it's supposed to be. Is it the grandfather or one of the brothers? Is this the Amati that's supposed to be worth more than the others? And if so, is it the right period in his making? And it is. In the end, you just settle for, it's an Amati and the rest will stay in the murky swamp of information you can't quite remember.

Well, no more, because hopefully by now, if you've been following these episodes in order, because they are in chronological order, you will know that we are now at Nicolo Amati, Andreas grandchild, Girolamo's son, the golden boy. So stick around and we'll see together how a devastating pandemic pushed one to transform the world of violin making.

Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French violin making school some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius, revolutionary craftsmanship, determination, cunning, and bravery that all have their part to play in the history of the violin.

Welcome back to another episode in which we will be looking at perhaps the most famous maker of the Amati family, Nicolo. So far I have spoken about the grandfather, Andrea, and his father and uncle, Girolamo Amati and Antonio Amati, the brothers. And now Nicolo Amati continues on with the family tradition by making fine instruments and waiting for middle age to get married and have a family. Except in Nicolo's case, things are quite a bit more dramatic for himself and his family, as you will see in this episode.

They were at it again, the Spanish, the French, the Germans, and the Piedmontese, fighting over who got what in yet another war, except this time, soldiers managed to spread the Black Death, and in 1628, Cremona was badly hit. Troops passing through, as they always did. to cross the Po River, were carrying and all too willing to spread the disease. This time it was the French and German troops that brought the illness with them and the effects were devastating. The plague was so deadly in this part of Italy in the years surrounding 1630 that it would have very nearly killed every violin maker in the city. This was indeed the case in Brescia where Maggini was working, bringing an end to the instrument makers there. And the history of the violin could have been very different if it were not for the genetically robust and freakishly lucky Nicolo Amati. Well, maybe not so lucky, as most of his friends and family died. But at least lucky not to die, and lucky for us, because thanks to Nicolo Amati’s survival, we have the violin that we do today. So what happened? Well, there was a war. The War of the Mantuan Succession. This was the war James Beck was talking about in a previous episode where everyone decided to invade Mantua after their Duke died, and there was a bit of a hoo ha about who it belonged to now. It was basically a war between the French and the Spanish about a highway. News from Milan was that people were falling ill with the bubonic plague and the city was quarantined. But over the carnival season, as you do, they loosened the restrictions and the disease took off again, spreading like wildfire. 60, 000 people would die in Milan, a city with a population of 130, 000. Things weren't much better in Cremona. In the autumn of 1630, Nicolo Amati’s father, Girolamo Amati, died, and soon after his mother followed by two of his sisters and other members of the family.

Benjamin Hebert, expert and dealer in Oxford, talks about how the plague spread and made its way to Cremona.

And one of the things that we learn about with the Amatis is the plague, which wipes out the brothers Amati. It's Girolamo Amati who survives until 1613, dies in the plague. All of the Brescian makers die in the plague. And actually, we talk about the plague as if it's one thing, like COVID has been over the last few years, but actually that plague was a result of Wars in Europe, where the Austrians Who are the Habsburgs, so Naples at the bottom of Italy, and they wanted to get their troops up through Cremona into Italy itself so that they could then go over to Austria to support, because actually more than troops, food to supply the troops from Naples is really important. So the French invade northern Italy. Northern Italy, in order to stop this supply line from the, from the south, and it's that huge change in population, which creates plague after plague, and also suffering, and a scarcity of resources because the army is there and Cremona is just the middle of a war zone. It's, it's one of the most important crossings connecting the two parts of the Habsburg Empire.

So the plague comes to town in 1630 and Discretion is not its middle name. But the city it hit was not the thriving Cremona that Andrea Amati and the brothers Amati had grown up in. By now, it was a city that was in a vulnerable and weakened state. It just wasn't going so well. We find Nicolo in his late 20s, working with his aging father in their family workshop. I spoke to John Gagne about the curious circumstances leading up to the devastating plague, and to understand what was going on, we have to zoom out and take a look at the big picture.

I'm John Gagné. I'm a senior lecturer in history at the University of Sydney, and I work mostly on European history from the 13th to the 18th centuries. The big context to put this all in is what scholars call the Little Ice Age, which starts in the 1550s. And this is in one way the catalyst for all of these events. The plague, the famine, the war, is that it's temperatures began dropping from the 1550s forward probably caused by a variety of environmental factors. It could have been, you know, the explosion of South Pacific volcanoes, which changed the global environmental pattern. It could have been, you know, changes to the jet stream. Whatever it was, it meant that Europe from the 1550s forward became colder than it had been in a thousand years. And this was, I think, the context against which all of these things were set, was that Europe was becoming colder and all the knowledge that had been built up for agriculture and disease prevention was now faced with a new problem, which was that things were collapsing. So in many ways, it does echo the world we inhabit today, where we're encountering more bushfires and more floods. They were encountering a similar, although different, different phenomenon in reality, but it was leading to grain failures, to, you know, crop failures, to animals giving, you know, less milk or producing offspring at different paces. And so the Little Ice Age just lasts until the 19th century, is part of the the big context of the sort of crisis that emerges around 1600, which is how do you support life in Europe when the environment is changing around you?

So we have climate change, pandemics, famine, it's starting to sound familiar, but ultimately things were not looking good for the citizens of Cremona at this point. How did the plague affect the lives of Cremonese people in the early 17th century?

So I guess the first thing to say is that the plague had been around, you know, for hundreds of years already and recurred frequently. So the, in northern Italy in particular, there had been a rise in plague from the 1570s. So there's the the so called Plague of San Carlo. In Milan, which is 1577- 78. The next big one was, you know, 60 years later in the 1630 plague. And that was even more catastrophic in terms of loss of life. Many of the, you know, Milan in particular lost a huge, a large portion of its population. And much of the rest of Northern Italy was, was badly affected too. I think there was a lot of death in Turin, in Venice, so across the sort of flatlands at the foothills of the Alps. It was, it was really traumatic. And that comes on top of a number of other factors. Famine that had started in the 1590s. So I think in a way the plague, Was attacking an already vulnerable population that had been suffering from a food crisis in the, in the 50, for several decades already.

So how did the plague affect, you know, Cremona was just what they didn't need because everyone was already sort of teetering on the edge of a, of a demographic crisis.

The plague of 1630 was a dark chapter in the history of Cremona. The city was one of many in Europe that was decimated by the outbreak, and its residents suffered greatly as a result. The streets of the city were deserted, grass was even starting to grow on people's doorsteps. No one dared to wander out unnecessarily, and when a family member fell ill, they knew that they might very well be next. At the height of the outbreak, the streets of Cremona were eerily quiet, as many of its residents had either fled or fallen ill. Those who remained behind were forced to confront the horrors of the disease, watching helplessly as friends, family and neighbours fell victim to the deadly illness. When Niccolo's brother in law started feeling unwell, the illness hit him so fast they had to send for the solicitor during the night to dictate his will. He died a few hours later. So also did two of his sons, Nicolo's nephews. When Elizabeth, his eldest sister, wanted to make her will, the solicitor refused to enter the house, so they had to dictate to him standing in the street for fear of the disease. She would eventually survive and recover, but her husband would not. The city's economy was brought to a standstill as trade and commerce came to a halt and many businesses closed their doors. The people of Cremona faced severe shortages of food and medicinal supplies, and many struggled to find the resources they needed to survive. And yet, despite the tragedy, in his family, Nicolo continued to make lovely instruments during this period. The likelihood of him selling them straight away would have been slim, but this was of little importance, he could always sell them in the future.

That's a bit like us, we were just making violins during the pandemic.

Unfortunately for the people of Northern Italy, the plague was not something new to them, to the point that they had systems in place for just this kind of event. But even the authorities could not have anticipated the power of this particular pathogen. Just to have an idea, Yersinia pestis, the bubonic plague, has a mortality rate 200 times higher than that of COVID.

John Gagney.

This part of Italy was a, you know, economic hub of Europe. There's a lot of movement between, you know, Tradespeople pilgrims, that sort of thing. And interestingly, Northern Italy was in fact a European leader in terms of plague prevention. So there were strong measures in place for sanitary passes, for access to, you know, getting in and out of cities, for transit, all the kinds of things that we've had during COVID. It was, a lot of those things were generated in. this part of Europe between the 14th century and the 17th century.

Yeah, because the word quarantine is a Venetian word for the 40 days that the ships had to wait before coming into the port. Yes. To see that they had, didn't have a, was it the plague? Yes. And in fact, that's, that's one of the first measures just as we went into lockdown in March, 2020. In 1630, when the plague was discovered, much of northern Italy went into a form of lockdown, all the way from Florence up to the foothills of the Alps. Successively, obviously not at the same time, but as it was discovered, many of the cities went into 40 day quarantine. But as we know from our own experiences, that doesn't always, that's not a fail safe. And so it was only partially successful. So we're talking about something that Europeans were familiar with. Plague was never out of people's minds. In fact, if, you know, if you look through any of the centuries, the 15th century, the 16th century, the 17th century, and you look at any city in Europe, you're going to see recurrent patterns of plague over the course of, you know, could be two to three years.

It could be 15 to 30 years, but it's there. It's always percolating in the background. Okay, and so, in this particular bout of plague, a lot of people associate it with the, the Mantuan War of Succession, which brought soldiers from France and Germany, I believe. Yes. So in Spain, I suppose the, the, the broader context here is the 30 years war and maybe even the bigger, broader context in which the 30 years war fits is this ongoing European struggle between France and Spain, which had been going on since, you know, at least the 14th century had lasted through the 16th century in the Italian wars. We've talked, you and I have talked about before. And. Yeah. through transformations into the, into the 70th century was still lasting. The French and the Spaniards were still battling over control of Italy, and it was inflected in addition by Protestant Catholic conflicts. And that's, you know, the story of the Thirty Years War is a mixture of this political battle for dominance in Europe with a Protestant Catholic contest.

In 1618, the Thirty Years War is launched by a dispute between the Holy Roman Emperor, who was a Habsburg, and the Kingdom of Bohemia, which were Czech Protestant people. That led to conflict, and that conflict kept going for 30 years. Hence the creatively named Thirty Years War. So, but within those 30 years, of course, there are all kinds of subsidiary The story of the War of Mantua and Succession is interesting. Mantua was a fief of the Holy Roman Empire, so it belonged in theory to the Habsburgs, but had been an ally of France. at least since the 15th century. So this always put the Mantuan rulers at an unusual position because they were technically they owed their allegiance to the empire, but they had also married into the French aristocracy. So from the 15th century, the Mantuan rulers There are Gonzaga elites. That's the ruling house of Mantua, the Gonzaga family. Many of the Gonzagas married into French aristocratic families, including the Bourbon family, which, as we know, became the sort of, the dynasty from Henry IV in the 16, early 1600s forward. So that put the Mantuans kind of at the crossroads between these two warring kingdoms of France and Spain. And so what happens in the War of Mantuan succession in the late 1620s, Is that the last of the Gonzaga heirs dies, and both France and Spain claim to want to have the next So there is a kind of subsidiary Gonzaga who puts himself forward. There are, you know, there are all kinds of lower branches of that family. And so one of the lower branches says, I should go, I should inherit the the duchy. Whereas the Habsburg emperor has a candidate of his own who he And so the War of Mantua Succession breaks out because this can't be agreed in the, by the diplomats. And so they go to war over who will be installed as the next Duke of Mantua. This, of course, brings, brings soldiers from all over Europe, from the south of France, from Germany. up from other parts of Italy. It doesn't last that long. It's sort of like an 18 month, two year struggle. But it does, especially at a moment when the plague is, this is 1629 1630, right? So it's right at this moment when the when the plague is afoot. It's, you know, exacerbates the transmission of plague, most likely. That seems to be the theory of many scholars that this, you know, the conflict leads to further transmission. Yeah, because of all the, like, the to ing and fro ing and coming from different areas. Yeah. So Cremona is minding its own business. They are already stretched for resources. Next door everyone appears to be fighting for Mantua, but to get there they all seem to pass through Cremona. This would have been fine for the Amatis if the soldiers were picking up violins on their way to war, but instead they just brought gems.

The other thing to say about the War of Mantuan Succession is that the toing and froing was also very much a part of what's going on in Milan as a hub of commerce. So sort of Mantua belongs to Lombardy, which is part of the Duchy of Milan. All the Duchy of Milan belongs to the Habsburgs. So Mantua, you know, it's all subsidiary to the Spanish crown, basically the Spanish Austrian crown. And this part of Europe. Mantua, Milan, Genoa is part of what's called the Spanish Road, which is the hub of transit for soldier movement and money movement to fund the war effort. You know, already it's part of this kind of axis. It's a very strategic location. So, you know, the War of Mantuan Secession in a way takes place in the, at the crossroads of an already very busy part of Europe. And, you know, throw into this an increasing, you know, sort of demographic Challenge from a famine in the 1590s, the plague that's circulating in the 1630s, and the war that then breaks out. It becomes a kind of perfect recipe for demographic, yeah, perfect storm for demographic collapse.

Yeah. So it's, yeah, it's a very important city for the Spanish, but then I can imagine, I mean, I was imagining being French and you're feeling a bit of a squeeze because you've got the Spanish, they're down the south, they've taken that bit of Italy, they tried to get England with with Philip, Mary, Mary, but that was before.

They've gone over to the Netherlands, they've almost completely, encircled France, haven't they? The Spanish. So they're probably feeling quite threatened. Like in there, there's that one, that door in Mantua that they don't, that was traditionally allied with France.

Yes. I think this was the concern of the French and many other European states. I mean, what you described is exactly correct. Spain. The Hapsburg Spain was on the rise in the 16th century in a spectacular way. I mean, there had been a Spanish presence in Europe before, but this was immense, largely due to the success of Emperor Charles V in the first half of the 16th century, who was one of those rare emperors who inherits kind of everything in Europe. He was both king of the Spanish kingdoms and Holy Roman Emperor, was also the emperor who was seated when The Americas were brought into the Spanish crown. So, you know, his was the empire, the original empire in which the sun never set. And I think that concerned a lot of Europeans. So France felt itself being encircled, but also other parts of Europe were watching the Habsburg rise with trepidation because they knew that, you know, it was going to be possibly a complete domination of Europe by, by Spain. In fact, I would say by the, by the late 16th century, it effectively was a complete European domination by Spain.

And there was just this like, I can imagine from the Spanish point of view, there was this annoying France just in the middle of it. Like, it's like literally this big blob in the middle of there, what they'd conquered all around.

Now, amidst the stress of death and disease, something quite extraordinary happens. Nicolo Amati makes a violin and places an Amati Brothers label in it. It's a different model to the ones he has been previously making. He conceived a slightly wider soundboard than what they had been making before, the corners being a tad longer and turning just a little bit more. In his experiment to improve on sound and design, he created his grand pattern violin. Whether Nicola realised it or not, this was a turning point in the design of the violin and its future.

I speak to Carlo Chiesa, violin maker in Milan and prolific writer and researcher on many different violin makers. If you look in the front of a lot of books on different violin makers, there is a high chance you will see his name in the historical section, writing about their lives. One of the points is that because instruments, there are many.

By Nicolo, but there are not many instruments, many violence by the brothers. There are more violas by the brothers than by nicolo, probably for historical reason. There was a search for Violas until about the twenties of the 17th century. So about but after 30, the viola was not so important as a musical instrument as it had been before.

And from that point on, Makers went on making mainly violins, and Niccolo made many violins. So that's the first point. If there are many instruments around, you can are a more important maker than other makers who has not, have not so many instruments around. And then he was of course more modern than the brothers.

So his instruments are usually better sounding, in my opinion, for modern ideas than the brothers. And the other point is that he anyway worked a lot developing a new model, and he slightly enlarged, en longed the variant. He made the grand pattern which is the grand new pattern slightly bigger than before, and that gives you a better acoustic results than the brothers.

As a, as a rule, usually I would prefer. The quality of workmanship in the Brothers work, Nicolò's, but I must admit that as musical instruments usually Nicolò violins are better instruments than those by the Brothers for sounding properties. In a modern setup. In a modern setup. I have no idea about ancient setup because We have no idea how they were set up originally.

We have no original neck in an Amati instrument. So we have no idea what it was. And of course there was also a development of different way for necks and bridges and so on in a story of 150 years. So it would be also wrong to say there was a Baroque setup or a Cremonese setup because 150 years And I was wondering when Niccolo made the, developed the grand pattern was Andrea Guarneri working for him at that time?

It was possibly slightly before then then Andrea Guarneri arrived in his workshop. I'm not sure about that. We don't know when. Exactly, Andrea started working for Ola, but yes, it is around the same time, but at first we must consider that Andrea, together with Giacomo Janero, they were just pupils.

So they were probably making just the boys work of rough work in the workshop. And I'm sure that at time. The finishing of the instruments was in the hands of the master, as it was later always in the Amati, in the Stradivari workshop. So you see actually the hand of the master in all his production because he followed the making of every instrument and finished them direct.

And, and then did Andrea Guarneri,

Did he go on to his instruments? Were they based on the Nicola's Grand Patton? Sometimes and sometimes also on the other side. Yeah, that size? Okay. Andrea was a good maker, intelligent maker, and he also, and I'm sure he went on working for Amati also after. He moved it to his own workshop.

So here we see the violin taking over in importance from the viola and Niccolo making lots of instruments. He's also using his grand pattern that leads to good acoustics in a modern setting and these may be some of the factors that lead to his success as a maker we still know today.

There is also something to be said about the sheer number of violins Niccolo made as Carlo Chiesa pointed out. But also Niccolo's instruments were adapted to what musicians wanted now. And that was power. In this episode, we saw just how close we came to losing the Cremonese violin making tradition forever.

But be sure to join me in the next episode where we will see what Niccolo does to make sure this instrument he is making becomes a superstar. And we'll never run the risk of dying out like it almost did. I'd like to thank my lovely guests, John Gagneux, Benjamin Hebert and Carlo Chiesa for joining me today.

If you have enjoyed this podcast, I would like to take this opportunity to ask you to rate and review it on whatever podcasting platform you're using. This is in fact, a great way of supporting the show so that I can continue to make more episodes for you. And if you feel like being an absolute legend, you can become a Patreon over at Patreon forward slash The Violin Chronicle.

I hope you'll join me next time on the next episode of The Violin Chronicle.

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