Giuseppe ROCCA

History

Giuseppe Rocca (1807-1865) was born in 1807 in Barbaresco, Alba, and died in 1865 in Genoa, Italy. According to John Dilworth in The Brompton’s Book of Violin & Bow Makers, he was a pupil and assistant of Pressenda, whom he may have encountered in Alba between 1814 and 1817. Karel Jalovec, in Italian violin makers, states that Rocca worked with his father as a baker until the age of twenty before becoming Pressenda's apprentice. He worked with Pressenda in Turin between 1820 and approximately 1835. Charles Beare (Grove) is cited by Dilworth as noting two virtually identical violins dated 1839, one bearing Pressenda’s label and the other Rocca’s. In 1844, he was awarded a copper medal at the 4th Turin exhibition, at which time he was living in via Po, Turin, and referred to as a pupil of Pressenda.

Giuseppe Rocca established himself independently by 1850, working in Contrada d’Angennes, Turin. He was a colleague of the dealer and connoisseur Luigi Tarisio. In 1851, he made a copy of the 1716 Stradivari ‘Messie’ violin while it was in Tarisio's possession, possibly being the first luthier to do so. Following Pressenda’s death in 1854, Rocca moved to Genoa where he encountered Gibertini and Bianchi; his work is noted by Dilworth to have begun to decline slightly after this move.

Craft

• Innovation: Giuseppe Rocca possibly became the first luthier to copy the 1716 Stradivari ‘Messie’ violin when he did so in 1851 while the instrument was owned by Luigi Tarisio.
• Materials: Karel Jalovec notes that Rocca used very good wood, and frequently made the back of his instruments from a single piece. Willibald Leo Lütgendorff also notes his use of beautiful wood, often for one-piece backs.
• Methods: Rocca executed extremely fine work on Stradivari and Guarneri models. According to Dilworth, his Guarneri pattern was taken from the ‘Alard’ of 1742, an instrument also in Tarisio's possession. Jalovec adds that he also worked on Maggini patterns and learned a great deal about tone from his master, Pressenda. Rocca followed Cremonese construction closely, utilizing pins set close under the purfling at each end of the back, and willow interior work with the linings morticed to the corner blocks. The only typically Turin characteristic he retained was the sharply marked centre line around the pegbox and scroll. Cécile Stainer describes his work as carefully finished, with a well-cut scroll. Jalovec specifies his scrolls were large like Pressenda's, tasteful, and the shape of his sound-holes beautiful, with suitably located purfling. Dilworth notes that his early work sometimes featured a thin dark red varnish recipe, which was among his least attractive varnishes. Later instruments are described as extremely sophisticated. Regarding varnish, sources present conflicting information: Cécile Stainer states the varnish is of poor quality. Karel Jalovec describes it as yellow, red, brown, or red-brown, of excellent qualities. Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, notes that "sein Lack ist weniger gut und oft zu dick, am besten der von rothbrauner Farbe" [his varnish is less good and often too thick, best of the reddish-brown color]. Henri Poidras mentions a "fine red varnish a little thick." Lütgendorff further notes his adeptness at making very good copies of old masters like Stradivari, Maggini, and Guarneri. His instruments are said to have a very rich tone with great carrying power by Jalovec, and a large, noble tone by Lütgendorff. Poidras observes that the outlines of his instruments are harmonious, but the edges are a little heavy and curved up.

Influence

• Training and Mentorship: Giuseppe Rocca was a pupil and assistant of Pressenda, working in his style and approaching him very closely, as noted by Lütgendorff. Jalovec specifically mentions that Rocca learned a great deal from Pressenda, especially regarding tone. His son, Enrico, and A. Montovani were his pupils.
• Schools/Tradition: Rocca's work is considered to be in the style of Pressenda. He closely followed Cremonese construction methods, departing from most typical Turin characteristics, except for retaining the sharply marked centre line around the pegbox and scroll.
• Notable Associations: He was a colleague of the well-known dealer and connoisseur Luigi Tarisio. In Genoa, he encountered other makers, Gibertini and Bianchi.

Legacy

• Modern Recognition: Dilworth notes that Rocca's later instruments are extremely sophisticated and are considered among the very best Italian instruments of the 19th century. His authentic work is generally of a level that is difficult to reproduce, and many workshops continued to make copies of Rocca’s work, often falsely labelled, well into the 20th century.

Further Information

• Technical Characteristics: Giuseppe Rocca branded his instruments internally with ‘G.R.’ Known labels include: "Joseph Antonius Rocca / Taurini 1830," "Joseph Rocca fecit / Taurini anno Domini 1843," and "Joseph Rocca fecit / Premiato di Medaglie alle Esposizione / di Torino, Genova, Londra e Parigi. / Taurini, Anno Domini 1858." Cécile Stainer records a label from 1841: "Joseph Antonio Rocca fecit Taurini, anno Domini 1841," and mentions other known violins dated 1839, 1851, and 1855.
• Historical Uncertainties: Dilworth indicates that Rocca "may have encountered Pressenda in Alba" during 1814-1817, highlighting a degree of uncertainty regarding their initial meeting. Furthermore, he is noted as "possibly the first luthier to" copy the 1716 Stradivari ‘Messie’. Karel Jalovec cautions that "Many instruments dated 1831 are fakes." There is also conflicting information regarding the quality and specific characteristics of his varnish across different sources. Willibald Leo Lütgendorff clarifies a common misreading, stating: "Den Namen Rotta zu lesen und dann Rota daraus zu machen, ist falsch." [To read the name Rotta and then make Rota out of it is wrong.]

Summary

Giuseppe Rocca, born in 1807 in Barbaresco, Alba, and deceased in 1865 in Genoa, was a significant Italian violin maker of the 19th century. Initially a pupil and assistant of Pressenda in Turin, he eventually established his own workshop, receiving a copper medal at the Turin exhibition in 1844. Known for his extremely fine craftsmanship on Stradivari, Guarneri, and Maggini models, Rocca was innovative, possibly being the first to copy the 1716 Stradivari ‘Messie’. He employed high-quality wood, often for one-piece backs, and adhered closely to Cremonese construction methods, though he retained the sharply marked centre line around the pegbox and scroll as a characteristic of Turin work. While there are differing accounts of his varnish quality, his later instruments are celebrated for their sophistication, placing them among the very best Italian instruments of their era. His pupils included his son, Enrico, and A. Montovani, and his authentic work is highly regarded and difficult to reproduce.