The Violin Chronicles Podcast Linda Lespets

In this second episode on Giovanni Battista Rogeri we look at his family and children. Living in Brescia also meant that Rogeri was in the heart of an Opera loving people close to Venice and an exciting time musically and instrumentally.

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri. 
 This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.
 
Transcript
 
 Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings.
But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people.
George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases. 
This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century

Francesco Rugeri had 4 sons, lets take a look at who they were and their contribution to Cremona in its golden period.

In this episode we will be looking at Francesco’s most productive period of making instruments with a busy workshop and 4 sons helping him out. Jason Price from Tarisio fine violins and bows talks to us about Rugeris distinctive making style and his prolific production at this time in his life but things do not run as smoothly as Rugeri would like as he finds himself in hot water with court cases and grumpy children.
Thankyou to the Australian Chamber Orchestra for permission to play their music.

Join me as we continue to look at the life of this innovative violin maker who was literally living outside the box. His workshop has been successfully set up, he has a young family and work is pouring in. Francesco now has to take on apprentices but who could they be? Keep listening to find out. 
Transcript
  Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting, violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mirecourt. As well as being a luthier I've always been intrigued with the history of instruments I work with and in particular the lives of those who made them.  So often when we look back at history I know that I have a tendency to look at just one aspect. But here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture.
So join me as I wade through tales not only of fame, feminine war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning, and bravery that all have their part to play in the history of the violin.
 This week's show is sponsored by Tarizio Fine Instruments and Bows, and I just happen to have bumped into Mr.Jason Price.
Hello, I'm Jason Price. I'm the founder and director of Tarizio, Tarizio was started 25 years ago in New York City, and now we have offices in London and also Berlin. We do auctions, we do private sales, and we also are the maintainers and curators of this thing called the Cozio Archive.
I just wanted to say from personal experience as a violin maker, over the years we've bought instruments from different auction houses and you guys have been very straightforward to work with and
I'm happy to hear that.
And I'm not going to say that everything is perfect for everyone, but us personally,
of course, of course, of course,
We have never had a problem with you guys.
And we're happy to hear it.
So it's just been a pleasure working with you.
You know, we work really hard to make sure that our attributions are correct, that our condition reports are 100 percent accurate, and that what we're selling is reliable. 
Say I'm a musician and I'm looking for an instrument and I come to you, how does that process work?
Well, Our brick and mortar offices are in New York, London, and Berlin, and we put together three auctions a year in each of those locations, so that's nine auctions total, and we invite the public in for a full month before each auction. And we encourage you to bring your friend, your teacher, your standmate, your grandmother, anybody who can help you make a good decision, and we want you to spend as long as you can getting to know these instruments.
For people who listen to this podcast, something that you might be thinking when you're, when you're listening to me telling the stories of violin makers is you would really love to see pictures of the instruments that they make. And for that, you have the perfect resource. 
The Cosio Archive. We now own it, maintain it, and are continually adding to it. It's an incredible amount of instruments. Over 100, 000 instruments in the database.  Over 4, 000 makers, which we are following and tracking. 200, 000 auction prices. An incredible number of photographs. It's really quite cool to have access to all these photos.
What's the process to subscribe? The annual subscription is a hundred dollars and allows you unlimited access to as many makers and as many instruments as you want.
So there you have it. If you would like to subscribe to the Cosio Archive, read a Cartegio article or browse the auction catalogue, go to Tarizio.com. And now back to the show.
Welcome back to this series on Francesco

Part II
Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century.
In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe.
Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today.
Brought to you by Biddulph recordings
 
Transcript
 
  Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories.  My name is Linda Lespets and my co host is Eric Wan.
This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out.
So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909.
Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And  he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents.  Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest  version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin.  Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship.  She's an astounding player.
And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it’s quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the