Violin Forum/Message Board

[CT Dolan]

Hello, does anyone know where I can find information on the del Gesu "Leduc" violin? I am aware of the ubiquitous (I wish!) Biddulph publication, but this is not available to me so I was wondering if there is anywhere else one might find decent information on this spectacular violin. I have become quite a fan of Szeryng (he and Oistrakh have become my favorite violinists), but details regarding his violin are quite rare. Heck, I can't even find a picture of the violin online!

Thank you,
Chris

[Andres Sender]

Join Tarisio or Cosio and see it there. Cosio may still offer a free trial membership.

It's one of the weirdest looking violins by a great maker you could hope to see, with a unique arching concept:




AND Del Gesu made it after he died!

[MANFIO]

Hi! You have good taste! Szeryng and Oistrak are my favorites too, and I love the Leduc (as well as Biddulph book, my name is there as a subscriber). I love that CD with Oistrak and Richter playing Cesar Frank and Brahms sonatas...

The Leduc has an original label dated 1745 but Del Gesù died in 1744... so most people believe it was partially or entirely made by his wife Catarina Guarneri!

Leduc's scroll is quite strange for a person non initiated with Del Gesù style... but I like it, with those "handle bars", as Michael Darnton likes to call this type of DG scroll.

You may find some info here:

http://www.cozio.com/Instrument.aspx?id=448

I'm a bit lazy to find pics on the net today, sorry... Ciao!

www.manfio.com
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[CT Dolan]

Molti ringraziamenti!

There, that exhausts my Italian. I found the "Leduc" on Tarisio, thank you. For some reason I was unable to find it before. The arching profile is quite interesting, especially considering the date of the instrument as it suggests a continuation of what had come before. The f-holes appear very characteristic (and as ravishing as any I've ever seen). Perhaps del Gesu had the violin largely complete, and Katerina carved the scroll in order to put it up for sale and realize some income to get her by, with the passing of her beloved and all. Actually, there's no reason she might not have helped him all along, what with no children around the house. Take it from someone who knows, that certainly would have freed up some time to help in the shop! Oh to have been a fly on the wall...

[CT Dolan]

Actually, from the side the "Doyen" scroll shares a lot of similarities with the "Leduc". Also other, earlier scrolls show some of the same traits, again when viewed from the side (the only views I have on hand). Perhaps del Gesu was in declining health and had lost some of his ability with the chisel and knife, or perhaps he simply did not trouble himself with the scroll as much as he had before (again, perhaps due to declining health). Regardless, to listen to the Leduc tells one that the important bits were not sacrificed, not in the least and if Katerina played a significant role, she certainly knew how to make it work. This is one reason I have some doubt with regard to Katerina's level of contribution, because to me the continuity in the quality of work over some years suggests one mind (which is different than one set of hands) working throughout the span. There is also the matter of the evolution of these works. Also, if Katerina had a capable hand, why did the violins cease after her husband's death? Maybe a woman would have struggled no matter her ability, and it is pretty widely suggested that del Gesu might have struggled some in the trade when alive, so I suppose it is not too great a stretch to consider that Katerina was unable to carry on with her name after the passing of her husband. After all, times were quite different back then, were they not? Nonetheless, it is a fascinating subject, for sure.

[MANFIO]

Roger Hargrave, on the article about Del Gesù's methods in Biddulph's book, mentions that on DG violins there are scrolls carved:

- entirely by DG's father, Joseph Guarnerius filius Andrea;

- started by DG's father and finished by DG or Catarina;

- scrolls made entirely by Del Gesù;

- scrolls made by Catarina.

If we pay attention to the variety of DG's work we will imagine that there were more than 2 hands there. The idea of a maker working alone is a modern concept.

Another insteresting feature are the "normal" X "Gothic" f holes. Althought the location of the upper and lower eyes is the same, they vary too much in style and execution, pointing out to the fact that they were carved by another hand, perhaps Catarina's.
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[CT Dolan]

Manfio, thanks for the information. The question to me is, who would have been responsible for the sound quality? I presume that DG oversaw the work, and took care of the more important aspects (i.e. arching, graduation) himself?

I suppose these were factories of sorts, and with the passing of time we wax nostalgic and tend to think of the makers as "artists in charge". But, they were making items for sale and even though there is an artistic aspect to their work, they were not artists in the most strict of terms. Regardless, the nature and aesthetic of design, the timeless need for human expression, does tend to create art of pretty much everything we do. Only the coldest of people do not seek expression in all they touch and all they do. Perhaps "coldest" is not the proper term, but most of us seek to express ourselves in our daily lives. Most of us need an outlet.

[MANFIO]

The Leduc, as we know it now, may be the product of Catarina alone or DG plus Catarina, plus the guy who possibly regraduated it (most of DG violins were regraduated), plus all the restorers who worked with it.

Perhaps you will these Szeryng's words interesting:

"What are the problems concerning antique violins?

I have talked at length with experts. The result is extremely simple. The material seasons and ages. With time the wood becomes more venerable... but ultimately ... too old.

It does not exactly decay, but certainly does not improve, and loses elasticity.

I mostly play one of my two modern violins.

With all due respect, we must not forget that the finest classical violins are at least 250 years old. I am an incurable optimist, but I'm convinced that the Stradivaris, the Guarneris, the Amatis, the Grancinos, the Ruggeris, the Gaglianos and the Stainers will not be "playable" much longer unless they are completely restored.

This then gives rise to the problem of whether such an instrument can still be considered antique and original or whether instead it is the restorer who has bestowed upon that violin its balanced timbre and sonorousness, rather than the violinmaker who made it.

Consequently, the question arises of whether it is not more practical to resort from the beggining to a new instrument" (FRANKFURTER ALLGEMEINE, Magazine, 30.01.87)


And in the Strad, september, 1988, we will find:


"In his final period, in addition to the "Le Duc, he (Szeryng) played on two French violins, one by Pierre Hel made in 1922 and the other by Jean Bauer, a comtemporary maker."
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[violinarius]

[CT Dolan]

Wow, those words were interesting! Given the international nature of Szeryng's career I can understand why he might have used other instruments from time to time, however I would guess that he always recorded with the Leduc, correct?

I tell you, when I read the comments of Szeryng (and of others who have said similar things), I am led all the more to consider the importance of arching (and perhaps as it relates to the outline) in determining the quality of an instrument. After all, arching is one of the few things (it, and the outline) that remains largely unaltered!

[MANFIO]

Archings will deform, mainly the top, and the whole soundbox will twist a bit too.
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