Tomasso Balestrieri

History

Tomasso Balestrieri (circa 1735-circa 1790) is documented as a maker working in Cremona from about 1720 to 1757, and subsequently in Mantua until about 1772, according to Cecie Stainer. John Dilworth, however, places his birth around 1735 and death around 1790 in Mantua, Italy. Dilworth notes that Balestrieri referred to himself as "Cremonese" on his labels, but no record of him has been found in Cremona, suggesting he may have been born in a village between Cremona and Mantua. Willibald Leo Lütgendorff also states that Balestrieri claimed to be from Cremona but was only traceable in Mantua from 1757 onwards, having supposedly lived in Cremona before that. In Mantua, he was considered the leading maker after Pietro Guarneri and Antonio Zanotti.

Craft

• Instruments: Tomasso Balestrieri produced good violins, a few violas, and violoncellos of fine tone, as noted by Cecie Stainer. His violoncellos are particularly sought after, according to Willibald Leo Lütgendorff.
• Model: His model is described as large and beautiful by Willibald Leo Lütgendorff. John Dilworth characterizes it as a bold, flat-arched Stradivarian model. George Hart observes that Balestrieri's instruments may be likened to those made by Stradivari during the last few years of his life, specifically between 1730 and 1737, noting a general rough resemblance in character.
• Workmanship: Cecie Stainer notes a rough general resemblance in his work to Stradivari's late period, though with no comparison in merit. George Hart elaborates that the ruggedness found in late Stradivari instruments is present, but more marked, in Balestrieri's work. Hart also mentions that the absence of finish is compensated by a style full of vigour. Willibald Leo Lütgendorff describes his work as not very uniform. John Dilworth notes that early work has a Camilli-like rotundity and lightness, but later work adopted a slightly coarsened Cremonese style.
• Wood: The wood used by Balestrieri varies considerably, though the wood for the bellies was carefully selected and possessed the necessary qualities for good tone, according to Cecie Stainer and George Hart.
• Varnish: Cecie Stainer identifies two kinds of varnish: one resembling that of Guadagnini, and another softer and richer in colour. George Hart concurs with this observation. Willibald Leo Lütgendorff describes the varnish as yellowish-red or orange-yellow, also noting two distinct types, one reminiscent of Guadagnini. John Dilworth describes a slightly harder recipe, tending towards a greenish golden-brown, which substituted the great Cremonese varnish.
• Scroll: John Dilworth notes an open scroll with a small chamfer, recalling Storioni.
• Tone: His instruments are known for a powerful tone that becomes richer with age, as stated by Cecie Stainer. George Hart describes the tone as large and very telling, acquiring a richness that is by no means common after much use.
• Labels: Willibald Leo Lütgendorff mentions that Balestrieri used various labels, including one with an ornate border featuring a three-line text. An example provided by John Dilworth is "Thomas Balestrieri / Cremonensis / Fecit Mantuae anno 1751".

Influence

• Teachers and Schools: Sources contain conflicting information about Tomasso Balestrieri's training. Cecie Stainer and George Hart state he was said to be a pupil of Stradivari, with Hart finding this probable. Willibald Leo Lütgendorff notes that while some consider him a skilled dilettante, others, like De Piccolellis and Vidal, assign him to the Stradivari school, which Lütgendorff finds justified given Balestrieri's apparent connection to the great Cremonese maker's later works. Lütgendorff also mentions that some make him the only pupil of Pietro Guarneri. John Dilworth identifies Camillo Camilli as his presumed teacher, through whom Balestrieri acquired an authentic technique from Guarneri.

Legacy

• Appreciation: Tomasso Balestrieri's instruments are more valued in Italy than in England or France, though their estimation by competent judges in the latter countries is fast rising, not solely for artistic merit but for their peculiarly telling qualities, according to George Hart. Willibald Leo Lütgendorff adds that his violins have undoubtedly gained in tonal beauty with age, explaining their current higher appreciation, and his violoncellos are particularly sought after.

Summary

Tomasso Balestrieri was an influential violin maker active in Cremona and Mantua during the 18th century. While he claimed Cremonese origin, records primarily place him in Mantua, where he became a leading maker. His instruments, including violins, violas, and highly sought-after violoncellos, are characterized by a bold, flat-arched Stradivarian model and a powerful, rich tone that improves with age. Although his workmanship could be rugged and less refined than his contemporaries, it possessed a vigorous style. Balestrieri used carefully selected wood for bellies and applied two distinct types of varnish, one reminiscent of Guadagnini. Sources offer conflicting accounts of his training, suggesting possible tutelage under Stradivari, Pietro Guarneri, or Camillo Camilli, through whom he gained authentic technique.