Andrea Postacchini

Andrea Postacchini (1788–1862) was an Italian violin maker born in Fermo, known as the "Stradivari" of the Marches (a region of central Italy).

Postacchini circa 1850s

Postacchini was born on 30 December 1786 in Fermo, a hilltop town near the east coast in Italy's marches region. He came from a wealthy, religious family of farm workers. The young Postacchini was sent to a monastery in Fermo where he met a priest who made violins using primitive tools. Postacchini became fascinated with this craft and upon his departure (age of 28), he decided to become a violinmaker. Although he was self-taught, Postacchini produced many fine instruments, all with elegant archings.[1] His output was diverse and included not only bowed-string instruments but also guitars and bows. The tonal quality of Postacchini's wood was excellent.

During his lifetime, Postacchini received acclaim at exhibitions and fairs. At an exhibition in Fermo in 1869, his work was acknowledged as a unique continuation in direction and style of Antonio Stradivari, which gained him the title "Stradivari of the Marches".

Raphaele 1823-1892) was Andrea's son and pupil.

Postacchini spent his life in Fermo and died there on 3 February 1862, age 76.[2]

In 1993, the Andrea Postacchini International Violin Competition] was organized in Fermo.

Quotes

"The International Violin Competition is named after this Andrea Postacchini, who was born in Fermo, lived there between the 18th and 19th centuries and was already considered in his time as "the Marche's Stradivarius" or "the angel of violin". We can still admire his outstanding violins, with their powerful and smooth sound, and also his violas, cellos, contrabasses, guitars and bows. Born on November 30, 1781, he worked at his creations in the workshop of number 3 of via delle Vergini, making refined instruments both for their esthetical beauty and the characteristics of their sound: soft, round but at the same time potent and selective. Qualities much valued by soloists at his times as well as nowadays. The original label that Postacchini applied to his late works, the most appreciated and valuable, bring the wording "Andrea Postacchini Firmanus fecit sub titulo S. Raphaelis Arcang. 18..". Like those of Stradivarius, some of Postacchini's techniques and "secrets", making his works unimitable, are still ignored. We refer in particular to the original elastic varnishes, of beautiful brown-red and gold-yellow colours and still in perfect conditions after 150 year, whose formula has gone with him to the grave." - Carmela Marani, journalist.

"He learned his first violin making rudiments from an unknown friar and was then destined to priesthood. His ecclesiastic carrier was interrupted by the Napoleonic turmoil. In 1815 he was already "an outstanding maker of string instruments", in 1824 he signed a violin as his own work nr. 214. At Fermo, in his workshop of via delle Vergini, he made string instruments, guitars, bows and also restored them. His production was characterized by the accurate choice of the woods, the elegance of the curves and the fine varnishes he used, typically gold-yellow or brown-red. This built his reputation as an excellent violin maker when he was still living; his works, much appreciated for their beautiful sound, soon commanded high prices and were traded all over Europe. His late production bears the label "Andreas Postacchini Firmanus fecit sub titulo S. Raphaelis Arcang. 18..". After his death in Fermo, on February 3, 1862, Postacchini was named "the Marche's Stradivari". He is nowadays considered as a top class Italian violin maker of the 19th century.- Claudio Giovalè, journalist.

In his late work, Postacchini used "generous proportions, very slight gradient, deepish ribs, deep cherry red varnish with a touch of brown impregnating through, elastic and as smooth as foulard. Most skillful modeling with no imperfections to be criticised by the keenest eyes. Players fastidious in tonal matters should welcome these superb violins as an invaluable economy of time when assiduously practicing for rapid fingering clarity." - William Henley

gollark: OR DOES IT?
gollark: WHYYY and also WHAT TIME IS IT AT I WANT A PAPER
gollark: Luckily, my website URLs are short enough to put directly in dragon names.
gollark: Nobody is going to go through four layers of annoying clicking.
gollark: But ANY POSSIBLE INTER-PLAYER COMMUNICATION is EVIL.

References
  1. The Violin Makers of the Marches - Riccardo Gabrielli, 1935
  2. Makers of Central Italy - Florian Leonhard, 2011
  • The Violin Makers of the Marches - Riccardo Gabrielli, 1935
  • Karel Jalovek - Encyclopedia of Violin Makers, London 1968
  • Makers of Central Italy - Florian Leonhard, 2011
  • Azzolina, Umberto (1989). Liuteria Italiana dell'ottocento e del novecento. Cremona; Italy: EDITRICE TURRIS. ISBN 88-85635-57-1.
  • Jost Thoene - Italian & French Violin Makers Vol. IV
  • Vannes, Rene (1985) [1951]. Dictionnaire Universel del Luthiers (vol.3). Bruxelles: Les Amis de la musique. OCLC 53749830.
  • William, Henley (1969). Universal Dictionary of Violin & Bow Makers. Brighton; England: Amati. ISBN 0901424005.
  • Walter Hamma, Meister Italienischer Geigenbaukunst, Wilhelmshaven 1993, ISBN 3-7959-0537-0
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.