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(gwärnĕ`rē) or


(gwärnĕr`ēəs), family of violinmakers of Cremona, Italy. The first craftsman of the family was Andrea Guarneri, c.1626–1698, a pupil of Niccolò AmatiAmati
, Italian family of violinmakers of Cremona. The founder of the Cremona school was Andrea Amati (c.1520–c.1578), whose earliest violins date from c.1564. His labels bore the name Amadus, and he is credited with the basic design of the modern violin.
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. He designed and built his instruments in the Amati fashion. Andrea's two sons, who were his pupils, surpassed him in his work. They were Pietro Giovanni Guarneri, 1655–1720, who worked in Mantua and made several innovations, and Giuseppe Giovan Battista Guarneri, 1666–c.1738, who made superb violins in an original style. The son of Giuseppe Guarneri, Pietro Guarneri, 1695–1762, made his best violins in his later years, following his uncle's pattern for the most part. The greatest violinmaker of the family was Giuseppe Guarneri, 1698–1744, grandnephew of Andrea, called "del Gesù" because he signed his labels with a cross and the letters IHS. He was second only to StradivariStradivari, Antonio
, or Antonius Stradivarius
, 1644–1737, Italian violin maker of Cremona; pupil of Niccolò Amati. He was apprenticed to Amati c.1658 and may have remained with him until Amati's death in 1684.
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 in the history of violinmaking. He followed the school of Brescia instead of the Amati in his designs. Giuseppe built varied models to achieve a superb tone so that his instruments are not uniform.


See W. H. Hill, The Violin-Makers of the Guarneri Family (1931).



a family of Italian violinmakers.

Andrea Guarneri. Born 1622 or 1626 in Cremona; died there Dec. 7, 1698. The oldest representative of the family, Andrea Guarneri studied with N. Amati, and his first instruments were made in the Amati style. Guarneri later changed the model—for example, the ƒ holes have an irregular shape, the soundboard is flatter, and the sides rather low. Instruments made by Andrea Guarneri have a sweet but not very powerful tone.

Pietro Guarneri. Born Feb. 18, 1655, in Cremona; died Mar. 26, 1720, in Mantua. The eldest son of Andrea Guarneri, Pietro Guarneri worked in Cremona and later in Mantua. He made instruments from a model of his own creation (a wide belly, convex soundboards, rounded ƒ holes, and a rather wide scroll). The tone of his instruments is good but devoid of brilliance.

Giuseppe Guarneri. Born Aug. 21, 1698, in Cremona; died there Oct. 17, 1744. A grandson of Andrea Guarneri; known as Giuseppe del Gesù. With A. Stradivari, Giuseppe del Gesù is the greatest Italian violinmaker. He created his own individual style of violin, designed to be played in a large concert hall. His best violins have a powerful and ample tone and are distinguished by expressiveness and diversity of timbre. The first to appreciate the merits of Giuseppe del Gesù’s violins was N. Paganini.

Other Guarneris. Other great violin masters were another son and grandson of Andrea Guarneri, Giuseppe Guarneri, who was born Nov. 25, 1666, in Cremona and died there in 1739, and Pietro Guarneri, who was born Apr. 14, 1695, in Cremona, and died Apr. 7, 1762, in Venice.


Vitachek, E. F. Ocherki po istorii izgotovleniia smychkovykh instrumentov, 2nd ed. Moscow, 1964.
Jalovec, K. Italienische Geigenbauer. [Prague, 1957.]


, Guarnieri, Guarnerius
1. an Italian family of 17th- and 18th-century violin-makers
2. any violin made by a member of this family
References in periodicals archive ?
At points, the reader wonders whether Mogens has done more than find the perfect instrument for his love; could the Aarhus violin maker, an expert in every sense, construct a perfect copy of the 1740 Peter Guarnerius and fool the experts, including his old master Claude Lenoble in Paris?
You read in the paper that a Stradivarius was worth 20,000, so, say a Guarnerius was worth half as much, and say this Guarnerius, not being a Giuseppe, was only worth one-fifth as much as a Giuseppe Guarnerius-that would still be $2,000.
The David" Guarnerius del Gesu violin, dated to 1742, was bequeathed to the Fine Arts Museums by famed violinist Jascha Heifetz; it was the great musician's favorite instrument and the one he played in virtually all of his concerts and recordings in the last half-century of his extraordinary career.
Travelling with her, however, is her 1739 Guarnerius del Gesu violin.
It was known he had two fine violins - the 1713 Stradivarius known as the Gibson after its original owner, George Alfred Gibson, and a Guarnerius he planned to use that night.
The 1715 Guarnerius cello was a joy, a perfection of luscious tone which was never allowed to stray into sentimentality.
But there we were, delighted with the beautifully rounded resonances of a Guarnerius (1705) and an 18th century French violin, a Devirchis viola (1588), dark and brooding, and a cello by Testore (1758) sporting a sturdy spike, high bridge and much flatter shape than a modern instrument.
Karin draws a wonderfully big tone from her splendid Guarnerius instrument, Doris' pianism is texturally alive, with a tellingly delineated left hand.