Location: Milan, Italy
Dates: active ca. 1750 - 1775
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Author: John Dilworth
LANDOLPHI (LANDOLFI), Carlo Ferdinando Worked circa. 1750-1775 Milan Italy. A German-born violin maker who came to Milan in the middle of the 18th century where he plainly came under the influence of Paolo Antonio Testore. Probably already had a technique and style learned in his native country and later work sees his Germanic style, most noticeable in the cutting of the head and soundholes, merged with more advanced Italian ideas, possibly gleaned from J. B. Guadagnini who was active in Milan 1750-58. Early work is in the style of Paulo Testore with bulbous arching and plain golden-brown varnish. Later work with flat arch, flamboyant soundholes, and a tendency to extend the last turn of
In the third of a series exploring masterpieces of the string concerto repertoire, Julian Haylock looks into the respectful collaboration behind what is perhaps music’s most balanced, symphonic concerto One of Brahms’s most radiantly inspired scores, the Violin Concerto is the musical culmination of his long-term friendship with violin virtuoso and gifted composer Joseph Joachim (1831-1907)....
Author: Cecie Stainer
A maker in Milan about 1740-75. He made a large number of violins, which vary in character ; some carefully finished with brilliant red varnish, very transparent, are much liked ; others have a yellow varnish, thin and hard and not of good quality. He used fine wood, the outer edge is generally grooved, the sound-holes are badly cut, and the scroll is weak ; the work is often unfinished, only one coat of varnish being used and no purfling. He occasionally copied Giuseppe Guarneri very closely. His violoncellos, generally of small size, are extremely good, and rank higher than his violins; they are rather similar to those of Pietro Guarneri, but not so arched; the proportions are more accurate ; they are worth from £30 to £50; a remarkably fine violin was priced at £50. "Revisto da Carlo Ferdinando Landolfi, l'anno 1771." Two violins were dated 1752 and 1753.
Author: Willibald Leo Lütgendorff
Weil viele seiner Geigen, namentlich die seiner ersten Zeit, nach Josef Guarneri gemacht sind, hat man ihn zu einem Schüler dieses Meisters gemacht. Wollte man nach seinen Violoncelli urtheilen, müsste man ihn eher für einen Schüler von Pietro Guarneri halten. Landolfi ging aber schliesslich seine eigenen Wege, und da er augenscheinlich ein bestimmtes Ziel vor Augen hatte, machte er viele Versuche. Desshalb weichen seine Geigen oft auffällig von einander ab; manche sind mit grösster Liebe und Sorgfalt durchgeführt, manche ziemlich roh fertiggemacht, nicht einmal gut im Lack, obwohl nach Charles Reade gerade Landolfi als der Letzte gelten muss, der noch im Besitze des echten Cremoneser Lacks gewesen ist. Die Decke ist meistens stärker gewölbt als der Boden, die )(-Einschnitte kräftig, die F-Löcher selten sauber ausgearbeitet,
Author: George Hart
Though he belonged to the latest of the Italian makers, his merits were of no ordinary kind. His instruments vary very much, and hence, probably, a confusion has arisen as to there being two makers of this name, which is not the case. Those instruments which have the bright red varnish are certainly the best. The varnish is very transparent, and the wood being strikingly handsome, the effect is most pleasing. The pattern is not a copy of Guarneri, as often stated, but thoroughly original. His sound-hole cannot be considered an effective one, and is not in keeping with the work. The outer edge is generally grooved. The scroll is weak. His Violoncellos are mostly of small size. Some of this maker's instruments are very unfinished, many not being purfled, and having only a single coat of varnish.