brun_und_hilde (lana_ustinov) wrote,

Тесторе - продолжение

Спасибо огромное cactuzzz френдессе за сообщение, которое и выношу сюда! Не "мой" этот английский язык, но и то хорошо, чем ничего. Так их, оказывается, четыре!

--- cactuzzz wrote:
Да, в энциклопедиях про Тесторе не густо...
вот что предлагает ГРОУВ, электронная версия (кажется, 2005 года?)

Italian family of violin makers active in Milan from 1690 until the end of the 18th century. Once even derided as the ‘Milanese cheapjacks’, the Testores were an industrious family of makers whose instruments are far more appreciated today than they can have been at the time of their manufacture. The demand of the time and place was evidently for something inexpensive, so that hasty construction from commonplace materials was most often the rule of the day. They worked ‘Al segno dell'Aquila’, and often branded their work with an eagle emblem.
(1) Carlo Giuseppe Testore
(2) Carlo Antonio Testore
(3) Paolo Antonio Testore
(4) Pietro Testore

(1) Carlo Giuseppe Testore
(b c1665; d Milan, 5 March 1716). Violin maker. He was the most skilled of the family, having been, according to his earliest labels, a pupil of Grancino. His violins are often mistaken for those of his teacher, the chief differences being that Carlo Giuseppe's had slightly longer and more sweeping corners, and less distinctive soundholes. The volute of the scroll tends to bulge diagonally in contrast to the perfect roundness of a Grancino, a feature unique to the Testore family, whose later members copied and even exaggerated it. Carlo Giuseppe's varnish, like that of Grancino, varied from a rich, dark orange-brown to pale yellow, and there is little that distinguishes the two makers tonally.

(2) Carlo Antonio Testore
(b Milan, 1 Sept 1693; d Milan, c1765). Violin maker, elder son of (1) Carlo Giuseppe Testore, whose style he followed closely, but with less charm, using a more brittle, light-coloured varnish. He sometimes scratched a double line on the backs of his violins instead of inlaying the purfling, a feature occasionally seen in the work of Grancino and Carlo Giuseppe Testore. Another sign of haste was a flat back to the pegbox, in place of the normal fluting. Late in his working life he had the assistance of a son, Giovanni Testore (1724–65).

(3) Paolo Antonio Testore
(b Milan, 14 June 1700; d Milan, 30 March 1767). Violin maker, younger son of (1) Carlo Giuseppe Testore. Although his working habits were the same as those of his brother, he had independent ideas of outline and modelling, not always as successful. His least inspired instruments appear awkward, if not crude, but where the situation demanded he would purchase handsome wood, work it with talent and character, and abandon the dull brown or yellow varnish for a soft orange of real quality.

(4) Pietro Testore
(b Milan, 17 Oct 1732; d c1800). Violin maker, son of (3) Paolo Antonio Testore. He was the least skilled of the family. Every aspect of his work is of poor quality, including the choice of wood and the dark brown varnish. Nevertheless, his instruments usually have good acoustical properties, and the violas are particularly sought after.
In violin making literature there are references to a Gennaro Testore, but there is no evidence that a luthier of this name ever existed. For further information on the Testore family, see C. Chiesa: ‘Violin Making and Makers on the Contrada Larga in Milan’, Journal of the Violin Society of America, xiv/3 (1996), 3–41

Tags: Тесторе, мастера, скрипка

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