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<\/a><\/figure>\n<\/li>\n<\/ul>\n<\/div>\n\n\nBorn in the southern Tyrolean town of\u00a0 Bressanone in about 1659, he came to Venice in 1685, almost certainly already trained and well-experienced as a luthier, to work at the shop of Martin Kaiser. In the space of five years, he married Kaiser\u2019s daughter and took over the running of the shop himself. Kaiser had been a maker of lutes and viols, but Gofriller quickly adapted to the new demand for violins, and at first took as his models work by the Cremonese Amati family, and also elements of the northern Tyrolean Jacob Stainer, a strong influence in his native Bressanone. He also very quickly adopted some of the forms and mannerisms of his contemporary Antonio Stradivari, and Gofriller was probably the first maker outside Cremona to do so. Gofriller\u2019s cello models are quite original and entirely his own, however. There may even have been some influence in the other direction; one of Stradivari\u2019s own cello templates from the period 1710bears the inscription \u2018violoncello di Venetia\u2019, and Gofriller would have been the only source for this at that time.<\/p><\/p>\n\n\n\n
Gofriller\u2019s work is generally robust, the workmanship brisk and not highly finished. Tool marks are plentiful, providing texture, light and shade to the varnish.\u00a0 Most of his cellos were built on a very large scale which predates the modern form, and many have since undergone conversion to make them manageable for today\u2019s players. Pablo Casals played on perhaps the most famous of these, a remarkable Gofriller with which he will always be associated, but nevertheless much reduced from its original size and shape.<\/p><\/p>\n\n\n\n
The cello in the Dextra collection is remarkable in many ways, but not least because it is one of the few examples that remains as Gofriller made it; one of several smaller models he produced, possibly for the benefit of the young orphaned \u00a0women of the Venice Ospedale della Pieta orchestra which was conducted by Antonio Vivaldi at just this period in the early eighteenth century. The back length of 71.3 cm is actually slightly under the accepted\u00a0 modern \u00a0size, which was determined in fact by the great \u2018Forma B\u2019 cellos Stradivari developed in 1709, but this smaller model has great width, a full volume of resonant airspace, and an ideal string length.<\/p><\/p>\n\n\n\n
The charm of the instrument comes in part from this petite model with its diminutive scroll, but also from the vivid varnish. Possibly Gofriller\u2019s most significant contribution to the great Venetian school of violin making was this intensely coloured and textured varnish, which he probably acquired in his home town of Bressanone, where similar preparations were already in use by local luthiers. In Venice, this deep red varnish almost became a trademark, appropriate to the sumptuous reputation of the city itself. On this beautifully preserved example, the varnish retains its brilliance and depth, and also its complex surface structure, free from most of the interventions of restoration and constant wear and polishing.<\/p><\/p>\n\n\n\n
Gofriller\u2019s varnish seems to be so loaded with pigment that it has split and crazed the soft oil medium, offering a wonderfully detailed and three-dimensional appearance. Barring the natural darkening of the wood beneath the varnish, in the colouration and beautifully even and undisturbed coating, the appearance of this instrument is much as Gofriller intended it. There is an interesting contradiction \u00a0at work however, in that despite the luxurious varnish and the beautifully figured maple used, the instrument was obviously quite quickly worked. The interior still bears deeply ripped gouge marks, and the back is not purfled in the usual way, the lines being merely scratched and inked in.\u00a0<\/p><\/p>\n\n\n\n
These are common traits of Gofriller\u2019s work, unusually well-preserved on this cello, but indicative of Gofriller\u2019s aims in instrument making. The finest materials, quickly worked to maximum visual effect, and today still prized for their great tonal depth and range.\u00a0 This exceptional instrument is a definitive example of this great maker\u2019s work, and the magnificent eighteenth century Venetian school in general.\u00a0<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"
Cello made ca. 1725 by Matteo Gofriller in Venice, Italy. The instrument is played by Torun S\u00e6ter Stavseng.<\/p>\n
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