Matthias (II) Albani

History

According to John Dilworth (*The Brompton’s Book of Violin & Bow Makers*), Matthias (II) Albani (1634-1712) was born in Caldaro (Kaltern) in 1634 and died in Bolzano, Italy, in 1712. Conversely, Cecie Stainer, in *A Dictionary of Violin Makers*, places his birth in Botzen (Bolzano) in 1650 and his death around 1715. He is presumed to be the son and pupil of Matthias Albani (I), though Dilworth notes the two are often conflated. Albani (II) underwent an apprenticeship with Martino Arz in Rome in 1664 and worked for Andrea Portoghesi in 1666. By 1671, he had established himself in Bolzano, where he was recorded as a violin maker. His earliest known work dates from about 1683. George Hart, in *The Violin*, observes that while his father was a German maker, Matthias (II) Albani's style is distinctly Italian, suggesting he is more appropriately classified as an Italian maker.

Craft

• Methods: John Dilworth describes Matthias (II) Albani's work as very cleanly finished. George Hart similarly states that his overall workmanship earned high praise.

Influence

• Training and Mentorship: Both John Dilworth and Cecie Stainer identify him as the presumed son and pupil of Matthias Albani (I). Hart observes he showed "faint marks of having been tutored by his parent." Stainer suggests he probably remained in Cremona, studying under the Amatis for some time on his way to Rome, while Hart states he is "said to have visited Cremona" for instruction under Amati. Dilworth mentions an authenticated label of J.E. Steger implying a pupil relationship with Matthias (II) Albani, but notes there is no known historical or stylistic link.
• Schools/Tradition: His influence extended beyond his immediate family to the Jais family in Bolzano and Mayr in Salzburg, as documented by Dilworth.
• Notable Associations: The famous violinist Tomaso Albinoni owned two of his violins, dated 1702 and 1709, according to Gerber as cited by Hart.

Legacy

• Famous Owners: The renowned violinist Tomaso Albinoni notably owned two of his violins, dated 1702 and 1709, a fact reported by Gerber and cited by Hart.

Further Information

• Technical Characteristics: According to Dilworth, his style is original and Italianate, possibly reflecting his early experience in Rome, and his instruments follow an Amatisé model, distinctly different from other Tyrolean work. Stainer confirms his instruments adhere to the Amati pattern. He used a rich red-brown varnish of excellent consistency, often with a deeply crackled texture, frequently mistaken for Venetian varnish. De Piccolellis reports a cello with a carved dragon’s head. Known labels include "Mattio Albano fece in Roma, 1684" (cited by Forino as anachronistic), "Mattio Alban fecit Bolzan, 1702," and "Mattio Alban fecit Bolzen, 1700" (cited by Lebet, Beare), as well as "Mathias Albanus, 1680," and "Mattia Albano, fec. in Roma, 16 - ."
• Historical Uncertainties: Sources present conflicting information regarding his biographical dates; Dilworth indicates birth in 1634 and death in 1712, while Stainer provides 1650 for birth and circa 1715 for death. Much of the work attributed to Matthias (II) Albani may actually be by his sons Michael and Joseph under his name, or inferior German copies of a later date, as noted by Dilworth. Hart also states he is often credited with the work of the elder Albani, due to a past supposition of only one maker of that name. Claims of his studying with the Amatis in Cremona are presented with some qualification, as evidenced by phrases like "probably remained" or "said to have visited."

Summary

Matthias (II) Albani (1634-1712), presumed son and pupil of Matthias Albani (I), was an Italianate violin maker primarily active in Bolzano, Italy. After an apprenticeship in Rome, he established himself as a violin maker around 1671. His work features cleanly finished instruments crafted on an Amatisé model, which distinctly set them apart from typical Tyrolean work, and are characterized by a rich, red-brown varnish often mistaken for Venetian. Despite historical disputes regarding his birth and death dates and uncertainties surrounding his training with the Amati family in Cremona, his craftsmanship consistently garnered high praise. His influence extended to other regional makers like the Jais family and Mayr, and his instruments were notably owned by figures such as the violinist Tomaso Albinoni. However, the attribution of some instruments to him remains uncertain, partly due to conflation with his father and potential contributions from his sons.