Ep 13. Giovanni Paolo Maggini; his life and the Brescian School of violin making.

This is the captivating journey through the life and craftsmanship of Gio Paolo Maggini, a renowned violin maker hailing from Brescia, Italy. Join us as we unravel the legacy of this extraordinary luthier whose instruments continue to mesmerize musicians and collectors worldwide. Delving into the fascinating world of Gio Paolo Maggini, exploring his innovative techniques, distinctive designs, and the enduring influence he had on the art of violin making. Not much is known about this enigmatic maker but the tragedies and hardships of his life have not deterred from the allure of his violins, celebrated for their robust tonal quality, remarkable projection, and distinctive stylistic workmanship. Christopher Moore principal Viola of the Melbourn Symphony Orchestra talks to us about his relationship with his Maggini Viola made in Brescia, and the journey he has been on with his four stringed friend. TRANSCRIPT Long, long ago in the realm of ancient Italy, a great strapping hero strode upon the earth. His name was Hercules, a mighty warrior favoured by the gods. One day, after crushing grapes in his rock-hard biceps and shaving his chiselled jawline, Hercules embarked for his legendary quest for the Golden Fleece. His path led him eventually to a region near the powerful Po River. In this land, a proud and formidable king named Eurytus ruled with an iron fist. His beautiful daughter, Calliho, possessed a grace and radiance that could rival the sun. When Hercules laid his eyes upon her, his heart was captivated, and he yearned to make her his bride. Yet King Eurytus, blinded by his own ambition, refused the hero's request. He scorned Hercules and cast him away, denying him the hand of his beloved daughter. This act of defiance set in motion a clash of titanic proportions. Determined to prove his worthiness, Hercules faced King Eurytus in a series of gruelling challenges. With each feat, the hero showcased his immense strength remember the grape crushing biceps and indomitable spirit. But it was a test of unparalleled magnitude that would forever mark the destiny of Brescia. Hercules set his sights on the Mela River. A waterway that flowed through the land. Its currents were wild and untamed, often causing havoc and destruction. Undeterred, the hero summoned his god given might and diverted the course of the river. With Herculean force, Hercules carved a new path for the Mela River, leading it through a marshy and forsaken terrain. The once desolate and waterlogged land now bloomed with life and fertility. It was a transformation of remarkable proportions. King Eurytus witnessed this incredible feat. Finally understood the true strength and valour of Hercules, and he saw the hero's unwavering determination and boundless love for Calliho. Overwhelmed by the hero's prowess and the sincerity of his heart, the king relented. Being able to challenge the course of a river and chiselled features were obviously great husband material, it seems. But moving on. In a great celebration of their union, Hercules laid the foundations of a magnificent city. He named it Brixia. The Latin form for Brescia. It was a testament to his strength and the indelible mark he left upon the land. The city grew and flourished, becoming a beacon of culture, art, and prosperity. And this is the legend of how the city of Brescia was founded. The mighty Maggini In this episode, we will be looking at the oh so influential Gio Paolo Maggini. If you haven't already listened to the first episodes on Brescian makers, stop and do that now because to truly understand this maker, you'll need to know where he and his city came from. Episodes 1, are about his master Gasparo Da Salo and the Brescian school. In the previous episodes of the Violin Chronicles, I have been looking at the Amati family, but it would be greatly remiss of me to bypass this Brescian maker. Living and working at the same time as the Amati brothers and Niccolo Amati, a mere 60 kilometers away. Now, remember the city of Cremona was still under Spanish rule and Brescia was part of the Venetian state, which made them quite different. And this is also seen in the production of their instruments, as we will soon see. So I'm taking a break from Cremona just now to travel up the highway to the land of guns and violins. 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 Lespets, who is also a violin maker and graduate of the French school, l'Ecole Nationale de lutherie, Mirecourt. 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. In the small village of Botticino situated in the hills an hour from Brescia lived the Maggini family. Zovan and Giulia lived with Zovan's father Bartolomeo Maggini and their two small children. Zorvan, somewhat like the Amatis, had taken his time in marrying and was in his forties when he eventually did find a wife and started a family of his own. As time passed, so did his elderly father, and it was all too evident that there was no future for their family in this small rural village. His children were getting older, and there were more possibilities and prospects for employment in Brescia. When Zolvan was 57, his wife, Julia, had just given birth to another child whom they named Gio Paolo, the star of our story. He was born in the autumn of 1580. Zolvan's eldest son was eager to work as a shoemaker and so the family moved to the large city of Brescia to start a new life. Over the years, the Maggini family settled into life in the vibrant city of Brescia. The youngest son, Gio Paolo, does not seem to have had an extensive education, like his Cremonese counterparts, and when Gio Paolo Maggini was still very young, his father passed away. When they had arrived in Brescia, Zoran, his father, had set out to make a shoemaking business and failed, and then went on to promptly die. Perhaps his death was not a surprise, but to make ends meet after his death, Maggini's mother sold land to keep them afloat. And it is around this time, in 1595, that the young Maggini becomes an apprentice of the well-known instrument maker, Gasparo Da Salo. It would have been a big change for Gio Paolo Maggini to begin with, but his apprenticeship in the well-established workshop was a success. Despite his lack of education, he may have also been a musician or singer, as many of the early Luthiers were both. Life was looking good for Gio Paolo Maggini. He had a close relationship with his boss, Gasparo Da Salo. He trusted him in the signing of legal documents. His life revolved around the musical district of Brescia and his friends and acquaintances, including musicians, well known instrument makers, and other assistants who worked for Da Salo. In 1602, he became friends with Paolo Virichi, who had returned from exile. Paolo's father was a close friend of Gasparo Da Salo, whom we spoke about in the Da Salo episodes. Still very young, in his early 20s, Gio Paolo Maggini, after 8 years of working with Gasparo Da Salo, was ready to head out on his own. He appears to still have had amicable dealings with Gasparo Bertolotti and his family, even though he did leave and set up a new workshop with La Franchini, Gasparo's other assistant, who came along with him. In 1606, when Maggini was 26 years old, he bought a workshop and house near Gasparo's. He paid slightly higher than its real value, and the noble Ludovico Seria feared for its payment. Maggini is able to pay with his mother's credit for her lands in Bottino. Thanks to the good old bank of mom and dad, this new workshop is very visible in front of the Piazza del Podesta, near Gasparo da Salo, and Annis. He's the organ builder. They're workshops, and it was in the prime instrument maker's quarters. In 1615, he is in his mid thirties with a well established workshop that has been running for nine years. Gio Paolo Maggini married the young Anna Foresti, a furrier's daughter, in January of 1615. She most probably knew Da Salo's younger sister, Ludovica, who was also married to a furrier in Brescia. They undoubtedly lived in the artisanal district of the city, and Maggini was 34 and Anna 19 years old when they were married. The couple lived in the house in Contrada del Palazzo Vecchio de Podesta, opposite the old palace, and eight days after the wedding, Maggini's wife signed in the kitchen a receipt for her dowry given by her father. The witnesses included a carpenter and a bootmaker, and her husband's assistant, Giacomo Della Franchini, maestro di Violini, living in the house with them. We can see that when he married, Maggini was in a comfortable position with a house, a workshop, a maid, and an assistant, running a thriving business. He had a good trade stock and paid his employees well. Here I'm speaking to Christopher Moore, Principal Viola of the Melbourne Symphony Orchestra, who plays on a lovely Gio Paolo Maggini. My name is Christopher Moore. I'm a viola operator. I I'm currently the Principal Viola of the Melbourne Symphony Orchestra, and before that I was the Principal Viola of the Australian Chamber Orchestra for 10 years. Yeah. And owner of a puppy that we can hear sometimes. Sorry. That was actually my child. Both. One of them has a, has a pupil free day and the other is. Just not going to school. Yeah. The teachers I know, they're like, why don't we have a teacher free day? Well, yeah, they seem to have a lot down in Victoria. So your principal viola and what viola do you play, Christopher? I'm very lucky to be the, what would you call it? The, not the, I'm not the owner. I play a wonderful Giovanni Paolo Maggini. Viola from around 1610. Custodian. Custodian. There we go. It was made about around 1610. Of course, I was listening to some of your podcast earlier. And as we know, some of these, these Brescian makers didn't really date their instruments until. Later on. Yeah. It's tricky. Yeah. So they just have to go on the dendro. Dendrochronology. Dendrochronology? Yeah. The dating of tree rings? Mm hmm. And what, what's your dendrochronology? I've got it here actually. So the report said that the youngest tree ring on the front is dated around 1591. So that puts the, yeah, puts the, the making of the instrument 10, 20 years after that. Mm. Yeah. Cause that, yeah, it's, it's kind of complicated to understand, but the youngest tree ring would be on the outside of the tree and then it's not necessarily the one on the most outside, depending on what piece of wood they used. Yes. So, so it's a guide, but you know, it can't be earlier than that or, yep. So, yeah and how long, how long have you been playing this viola? When did we get it? It was like 2014, I think, when I was Well, that was when it was procured, but I was sort of searching for a viola in the, in the Australian Chamber Orchestra for me to play around 2012, 2013. And we're comparing it to my wonderful instrument. It's a, it's a Arthur E. Smith from 1937. Great Australian maker. And we're comparing all these wonderful instruments to the Smith and nothing really stacked up until we found this Maggini, which had that sort of similar fruity viola tone that to, you know, to compete with the Smith. So then we'd, we'd actually sort of given up the search and this one sort of fell in our lap, the Giovanni Paolo Maggini. And we just tried it and we, we all fell in love with it. And so the anonymous benefactor who may or may not be the, enigmatic alter ego of Batman. You just don't know. Oh yeah. I think of, I do think of Batman. Yeah. Yeah. Anyway, so he's, he, he or she has purchased this viola for the ACO ostensibly. But anyway, then I left the ACO and viola stayed there for a bit. And it was sort of passed around a few hands, but then eventually the owner decided to give it back to me to play. So I'm, so now it's on loan to the Melbourne Symphony Orchestra. And I get to play it. Excellent. Actually fun fact about, I do remember when you were trying, you were trying two Magginis actually, at one point. Yeah. Yeah. You tried both? Because I remember they were both in the workshop at one point and I think that was before we had this one. I can't remember. Because there was your, that one. I remember that one. And another one. Yeah. And I remember that time because the anonymous benefactor was in the workshop and I, I was actually very pregnant and I had gone into labor and I had run into the garden and I'd run up to see our child and the anonymous benefactor was there and he said, You still haven't had this baby? Yeah. And I just went, yep, I'm working on it. And then I ran back downstairs. Gosh. So I, I remember that time and then just a few hours later, had the baby. Well, there you go. And then we had ours. We got ours. Anyway. Yeah, no, it was, it was a one interesting time. Wonderful. Like when you, you could. When you play another instrument, and then you come back to your Maggini what, what's sort of the thing that stands out to you about your instrument? Yeah. The thing that I think about these, feel about, about a lot of these Italian, old Italian instruments is this, it’s just got this sheen about the sound. It's not something necessarily that you'd, that you'd want to hear under your ear, close up. You it’s kind of got this penetrating tone that's not necessarily pleasant under the ear. But what you've got to be relying on is if you, you know, if you give it to somebody else and walk a couple meters away even, and then even further out into the hall, you then hear that what, what's coming, coming out to the audience, you know, and sometimes is lacking in, in other instruments. And it's sort of, when it's nice under the year, you go, Oh, this is great to play, but it doesn't translate to something beautiful in the hall. Whereas this thing, I know that it can, that it it's, it's sounding absolutely warm and rich and fruity out, you know, further you go back purely as a playing experience. What I love about this one, I mean, it's just really easy to play as well. It's been doing, shush, shush. That's his little puppy making noise in the background. It's been doing what it's been doing for, you know, 400 years now. So it's just like all of the, all of the bits, all of the atoms are aligned. I don't, I really just don't know. I can't, it just works incredibly well. It just does what you want it to do. without having to work too hard. And also, it's got a very thin neck, which makes it very easy to play. So, the last owner was Erwin Schiffer, who was a teacher and player, like the Haydn String Quartets and the Ducati and Tahoe String Quartets. So that was 47 years. So that, that was, that was owned by him for 47 years until 2011. Before that it was Louis Boday from about 1920 to 1964, who was a Parisian player. So we don't know anything before that, but I just sort of assumed that it was someone with a small hand. To make it easier to play, but I appreciate that. I don't have small hands, but just makes it easier to play, which is wonderful. Yeah. Well, that's good. Yeah. No, it's interesting having to, like you were saying, it sounds good in a concert hall setting and that's another consideration people have to take when. Choosing an instrument, like where they're going to play it and how it sounds. Yeah, for sure. And is it a big viola? What are the dimensions? It’s, I can tell you exactly. It's 43. 8 centimeters. Well, 17 and a quarter inches. Okay. So obviously that was cut down. Like all these instruments, they weren't sort of a, you know, standard size. When we talk about a standard sized viola, what we mean is an instrument with a body length, this does not include the neck, of about 41 centimetres or 16 inches to 16 and a half inches, which makes this one quite a large viola. But anyway, so this has been cut down up at the c bouts. Seem to be original. That's about it. And it's got an original scroll, which is interesting as well. Which is sometimes, sometimes they don't. And it's quite rough, the scroll. It's funny. When you, when you hold it up to look at it both sides don't really match up. Not symmetrical. No. Yeah. Not like, it's not like Stradivarius scrolls were something to behold, but this one's just a bit rough. It's tricky with Maggini. Like, Giovanni Paolo Maggini, we don't know much about him. His instruments aren't dated. But the 1610, that's like he in his life, he was pretty well established. He was actually quite wealthy. And he was living in a he had a workshop. He'd left Gasparo Da Salo by this point. And he was in his own workshop with his own family making instruments and it was just him and his assistant. Yeah, right. So there weren't huge amounts of instruments but that's when he would have made this particular one. Two years later, in 1617, Maggini now defines himself on a legal document as Master of Violins and owner of violins, wood and strings. Maggini's workshop was on the ground floor and the family would be living upstairs in the living quarters. Giovanni Paolo Maggini made various instruments like his master, Da Salo, but in this era, the violin was gaining popularity and he appears to have made lots of them. He also made cittars, tenors and violoncellos. Musically we are moving into the Baroque period and the musical expression was emphasizing feelings and emotions. The violin was a good instrument for this. In this earlier period of Magginis, we see the backs and scrolls and sides of the instrument mostly cut on the slab. The corners are quite short and his earlier works resemble quite closely those of Da Salo's. In the beginning of the 1620s, Maggini's family is growing. He has been married for five years and already has four children. One boy, Giovanni Pietro, and three girls, Giulia Barbera, Domenica and Cecilia Elana. Giovanni Paolo Maggini decides to move his family and workshop to a bigger premises, and they sell the old house and have now moved into a new house with his four children and assistants. Maggini's business was successful, even though his family life would become somewhat tragic. The salaries and wages of his assistants and servants were increased over this time, and his trade stock was larger. In 1626, their new house was in the Contrada della Barca. Sadly, his first son and daughter died in infancy, but his wife had also had three more children, Giulia, Veronica and Carlo Francesco. So there were now five children. He also had a property on the hill surrounding Brescia of 10 acres with both a farmhouse and a residential house, and another property on the plains of about seven acres and even a third one closer to the estate of the heirs of the Giovanni Paolo Maggini at Botticino. He most likely inherited property and also had the dowry of his wife. All his wealth probably did not come from his instrument making as he only had one assistant. The properties of seven and ten acres were most likely came from his wife's dowry as they border on her father's properties. As his career continues his craftsmanship improves. Very slight hollowing from the edges and higher archings than his earlier work, and later work. Neater purfling and more graceful sound holes. The heads are more symmetrical and better cut. The bellies are never on the slab and the backs are very rarely so. These instruments could be comparable to Cremonese makers in craftsmanship but would be less fine. The Dumas Tenor is a good example of this second period. Maggini continued making beautiful instruments, even as the hints of plague and famine were knocking at the door. In 1628, two years before he died, and at the age of 48, they had another son who would die the same year, and then in the same year that Maggini himself died, Giulia, his wife, had twins, Forstino and Caterina. Faustino would die after two months, but Caterina would live on. The characteristics of Giovanni Paolo Maggini's making in the years before he died were, according to the Hills, Maggini's third period. He had an even greater quality of workmanship. He may have seen and been inspired by the Amati brothers work, or done so on his own. His arching is significantly lower with higher edges. Giovanni Paolo Maggini was one of the first in Brescia to use side linings and corner blocks. His earlier instruments had a browner varnish like Da Salo's, but his later instruments have a more brilliant golden orange yellow colour. His characteristic double purfling. And the sound holes are undercut like viols, not perpendicular like the Amatis and Cremonese school. In 1630, Giovanni Paolo Maggini appears to have died. He was most probably buried in the common pit in the eastern part of town. During outbreaks of the plague, towns and cities acted differently. In Cremona, people were quarantined in their houses, and as we saw with Nicolo Amati, and in Brescia, the sick were taken to plague houses organized by the city. This would explain the lack of information about his death, if he died in one of these places and was buried in a communal grave. In Brescia, during the plague of 1632, the city provided these houses that I spoke of to receive the sick and then throw the dead bodies into the streets. Giovanni Paolo Maggini may have died in a pest house, and this was why there is no record of his death. He would have been about 51 years old. Gio Paolo Maggini’s wife and children survived him. Anna survived him and died in November 1651 at about the age of 58. Of Giovanni Paolo Maggini's sons, Gio Paolo II became a merchant, Carlo Francesco became a silk merchant, and his youngest son, Marco Antonio, became a priest. None of his children took up the trade of violin making. In this episode, I have gone through the life of Giovanni Paolo Maggini fairly quickly, because it is Strangely now, after his death, that the biggest story of Maggini's career begins to unfold. And for this, I will be talking to two experts who will explain this fascinating story, Florian Leonhardt and Benjamin Hebert. So join me for the next episode on Giovannin Paolo Maggini, one of the most influential Brescian violin makers, as we unravel the mystery to his posthumous bounding success. I'd like to thank my lovely guest, Chris Moore, for talking to me today. Thank you for listening to this episode. Please do leave a comment and rating. And if you would like to financially support the podcast, that would be amazing. You can go to Patreon forward slash the Violin Chronicles to do that. On social media, I have Instagram with the handle at the Violin Chronicles and Facebook is the Violin Chronicles podcast. Thank you for joining me. And I hope you will tune in to the next episode of the Violin Chronicles. ​