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Matteo Goffriller (1659–1742) was a Venetian luthier, particularly noted for the quality of his cellos. He was active between 1685–1735 and was the founder of the "Venetian School" of luthiers,[1] during a time when Venice was one of the most important centers of musical activity in the world.

Biography

[edit]

Although it is known that Goffriller was born in Brixen, little else is known of him prior to 1685 in Venice. Goffriller arrived in Venice in 1685 to work for luthier Martin Kaiser (Caiser).[2] In 1685 he married Martin Kaiser's daughter Maddalena Maria Kaiser (Caiser), at the Madonna delle Grazie in Venice; they had twelve children (five boys and seven girls) in 26 years. Francesco Goffriller, long thought to be his brother, is now known to have been his son.[3]

He was the founder of the "Venetian School" of luthiers,[1] when Venice was one of the most important centers of musical activity in the world, and is believed to have taught luthiers Domenico Montagnana and Francesco Gobetti in addition to his son Francesco. After arriving in Venice, he is noted for being the city's sole violin and cello maker for some 25 years, between 1685 and 1710.[4]

He died in Venice in 1742.

Mistaken identities

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Goffriller's cellos had been erroneously attributed in the past to the Guarneri family, Carlo Bergonzi or even Antonio Stradivari and were virtually unknown until the 1920s, when they began to be discovered. The 1733 Goffriller cello once owned by Pablo Casals was originally attributed to Bergonzi. His earliest authenticated instrument is a viola da gamba dated 1689.

Goffriller labels

[edit]

The standard label for a Goffriller instrument, whether genuine or forged, uses the Latin inscription Mattheus Goffriller Fece in Venezia Anno [date], identifying maker, city (Venice) and year made; the date is either printed or handwritten. But he actually labeled only a small percentage of the instruments in order to avoid paying Venetian taxes.


Mattheus Goffriller feciebat Venetus, anno 1735

Mattio Gofrilleri in Venetia al' Insigna di Cremona. 1695

Mattio Goffriler Fece in Venezia. Anno 1709

Mattio Goffriller Fece in Venetia. 1721

Matteo Goffriller fecit Venetijis anno 17--


Legacy

[edit]

Pablo Casals's Goffriller 1733 cello was his main concert instrument for most of his professional life. He acquired it in 1913 and played it until his death in 1973. Since 2000, winners of the International Pablo Casals Cello Competition in Kronberg, Germany may use it for two years.[5] Terence Weil played another Goffriller used by Casals before the one he played between 1913 and 1973.[6]

Other notable musicians who have used Goffriller instruments include:

Goffriller instruments

[edit]

Violins

[edit]
Sobriquet Year Provenance Notes
Goffriller violin 1695 currently played by Andrej Power
Sammons 1696 Kenneth Sillito[7] currently played by Beth Hafter
Goffriller violin 1700 ex-Stopak currently played by Aaron Boyd[8]
Goffriller violin 1700 played by Alexander Yudkovsky since 2008
Goffriller violin ca. 1700 Stradivari Society played by Michala Høj[9]
ex-Sivori; ex-Lalo 1700
Goffriller violin 1700 played on by Jorja Fleezanis
Goffriller violin 1700 played on by Fanny Clamagirand
Goffriller violin 1702 played by Jaakko Kuusis
Goffriller violin 1708 played by Jennifer Pike
Goffriller violin ca. 1720 Alan Parmenter purchased in 2008 by an anonymous benefactor
Goffriller violin 1720 played- by Yuri Torchinsky
Goffriller violin 1722 stolen from violinist Charmian Gadd in 1999, subsequently recovered[10]
Goffriller Violin 1723 played by Amanda Favier since 1996
Goffriller Violin 1730 the Counts of Colloredo Castle, Friuli

Violas

[edit]
Sobriquet Year Provenance Notes
Goffriller viola 1727 ex-Walter Trampler measures 41 cm; currently played by Richard O'Neill[11]
Goffriller viola 1700 Rachel Barton Pine Foundation instrument loan currently played by Emad Zolfaghari[12]

Cellos

[edit]
Sobriquet Year Provenance Notes
Goffriller cello 1689 Mischa Maisky currently played by Sevak Avanesyan
Goffriller cello 1690 previously Sabatier, Axelrod, The New Jersey Symphony Orchestra labeled: Nicolas Amatus, previously played by Maria Kliegel[13]
Goffriller cello ca. 1700 Antonio Meneses
Goffriller cello 1693 ex-Leonard Rose; ex-Alfredo Piatti on loan to Leonard Elschenbroich
Goffriller cello 1693 labeled "Carlo Bergonzi" currently played by Bruno Philippe
Goffriller cello 1693 Previously owned and played by Mischa Schneider of the Budapest String Quartet features a carved Rosette on the top, under the fingerboard; currently played by Zuill Bailey
Goffriller cello 1695 played by Anner Bylsma
Count Marcello 1697 Nicholas Anderson; Count Girolamo Marcello; Aldo Pais of Venice; Irving Klein[14]
Rosette 1698 Leslie Parnas features a carved rosette decoration
Goffriller cello 1698 played by Andres Diaz
Goffriller cello 1698 exhibited at the Landesmuseum Joanneum, Graz, Austria
D'Archambeau ca. 1700 Iwan D'Archambeau played by Jonathan Miller of the Gramercy Trio, Boston Artists Ensemble, and formerly[15] Boston Symphony Orchestra
Goffriller cello 1700 Ex-Amadeus Quartet played by Christian-Pierre La Marca
Goffriller cello 1701 played by Gautier Capuçon
Garbousova[16] 1703 Karl Fruh; Raya Garbousova (1930–1951)
Comte de Gabriac 1703 currently played by Trey Lee
The Star 1705 Janos Starker (1965)[17]
ex-Warburg 1706 played by François Kieffer (Modigliani Quartet)
Goffriller cello 1707 Previously Hershel Gorodetzky (now Gordon), The Philadelphia Orchestra & Stringart Quartet. played by Eric Kim
Goffriller cello 1708 Istituto della Pietà, Venice
Goffriller cello 1710 played by Matt Haimovitz
Goffriller cello 1710 played by Anthony Ross, principal cello, Minnesota Orchestra
Goffriller cello 1710 played by Richard Hirschl, cellist, Chicago Symphony Orchestra
Goffriller cello 1710 played by Xavier Phillips, French cellist
Goffriller cello 1710 played by Alban Gerhardt, German cellist
Goffriller cello 1711 played by Marc Coppey
Goffriller cello 1712 Played by Christoph Croisé
Goffriller cello 1715 Samsung Foundation of Culture played by Sara Sant'Ambrogio
Goffriller cello 1715 Stradivari Society
Goffriller cello 1717 Played by Marie Hallynck[18]
Goffriller cello 1720 Emanuel Feuermann played by Joseph Schuster
Goffriller cello 1720 played by Bruno Delepelaire
Goffriller cello 1720 "ex-Lederlin" currently played by David Delacroix
Goffriller cello 1722 Yo-Yo Ma played by Valentin Erben
Gofriller cello 1723 ex-Piatti played by Arkady Orlovsky principal cello, Indianapolis Symphony Orchestra
Goffriller cello 1722 played by Pierre Fournier
ex-Cossmann 1726 played by Carl Fuchs, Jenska Slebos; once thought to be a Bergonzi.[19]
Saphir; ex-Harvey Shapiro 1727 currently played by Daniel Müller-Schott
Goffriller cello 1728 Samuel Mayes currently played by Timothy Eddy
Goffriller cello 1730-1735 “Maddalena” currently owned and played by Robert deMaine
Gorrfiller cello 1730 Johannes Goritzki currently played by Johannes Goritzki
Guffy 1730 Johann Sebastian Paetsch played by Gunther Paetsch (1970–1985)
ex-Pablo Casals 1733 Currently played by Amit Peled; played by Matt Haimovitz; played by Anne Gastinel; played by Claudio Bohorquez.[20]
Goffriller cello 1734 Nippon Violin currently played by Yuki Ito
Goffriller cello 1735 Hermann Busch currently played by Matthias Naegele

Double basses

[edit]
Sobriquet Year Provenance Notes
Benedetto Marcello 1712 exhibited in at the Venice Conservatory

[16]==References==

  1. ^ a b Nardolillo, Jo (2014). All things strings : an illustrated dictionary. T. M. Larsen. Lanham: Rowman & Littlefield Publishers. ISBN 978-0-8108-8444-1. OCLC 874323044.
  2. ^ Dilworth, John (2012). Brompton's Book of Violin and Bow Makers. Usk Publishing. ISBN 9780957349902.
  3. ^ Pio, Stefano (2004). Violin and Lute Makers of Venice 1640-1760. Venice, Italy: Venice research. p. 383. ISBN 978-88-907252-2-7.
  4. ^ PRIETO, CARLOS (2018). ADVENTURES OF A CELLO. [S.l.]: UNIV OF TEXAS PRESS. ISBN 978-1-4773-1786-0. OCLC 1263024052.
  5. ^ Claudio Bohórquez winner of "1. Internationaler Pablo-Casals-Wettbewerb der Kronberg Academy" 2000 (in German)
  6. ^ Obituary Terence Weil The Independent, William Waterhouse, 9 March 1995
  7. ^ "Albert Edward Sammons". The Strad Magazine. 97 (1156). August 1986. Retrieved 2008-04-23.
  8. ^ The Chamber Music Society of Lincoln Center Archived 2015-12-05 at the Wayback Machine
  9. ^ Stradivari Invest Archived 2008-05-10 at the Wayback Machine
  10. ^ "The Little Box That Sings". 2000-12-13. Australian Broadcasting Corporation. {{cite episode}}: Missing or empty |series= (help)
  11. ^ The Chamber Music Society of Lincoln Center
  12. ^ Instant Encore, Biography of Matthew Lipman, Viola
  13. ^ "Cello by Matteo Goffriller, 1690c". Cozio.com. Archived from the original on 2007-09-27. Retrieved 2008-04-24.
  14. ^ Nicholas Anderson (2005). "The "Count Marcello" Gofriller". nicholas-anderson.com. Archived from the original on 2005-12-17. Retrieved 2008-04-23.
  15. ^ "Cellos".
  16. ^ a b "Matteo Goffriller, Venice, 1703, the 'Garbousova'". Tarisio Fine Instruments & Bows.
  17. ^ Katherine Millett. "All Things Strings: Born to Teach, page 3". Strings Magazine. Retrieved 2008-04-24.
  18. ^ "| Marie Hallynck || celliste |". www.mariehallynck.com. Archived from the original on 2019-01-05.
  19. ^ "Cello by Matteo Goffriller, 1726 (ex-Cossmann)". Cozio.com. Archived from the original on 2007-12-19. Retrieved 2008-04-24.
  20. ^ "Amit Peled Receives Pablo Casals's Cello". Amit Peled Newsletter. 19 May 2003. Retrieved 2007-05-06.

Bibliography

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Matteo Goffriller

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Matteo Goffriller (c. 1659–1742) was an Italian luthier renowned as the founder of the Venetian school of violin making, particularly celebrated for his cellos that blended influences from the and Stradivari traditions. Born in the Tyrolean town of Bressanone (then ), he moved to in 1685, where he apprenticed under the German luthier Martin Kaiser and later married his daughter, inheriting the workshop around 1690. Active until his death in 1742, Goffriller produced a range of string instruments, including violins, violas, and violas da gamba, but his cellos—characterized by bold f-holes, full arching, and a distinctive deep red varnish—earned him lasting acclaim for their tonal power and craftsmanship. Goffriller's early career in marked a pivotal shift for the city's instrument-making tradition, as he became the earliest documented maker there to specialize in modern violins and cellos, drawing from northern Italian models while adapting them to Venetian preferences. By the 1690s, he dominated the local guild of instrument makers, training notable pupils such as , Santo Serafin, Carlo Tononi, and Francesco Gobetti, who carried forward his geometric precision and robust designs. His workshop thrived during a "golden period" from 1690 to 1715, producing instruments that often featured his initials "M.G." in labels, though later works from around 1710 onward were frequently unlabeled—possibly to evade guild taxes or regulations—leading to historical misattributions, including confusion with Cremonese maker Carlo Bergonzi. Though Goffriller's reputation waned in the due to unlabeled instruments being altered or overlooked, his legacy was revived in the early through the efforts of dealers like the Hill brothers, who authenticated key pieces. Today, his cellos are prized by virtuosos, with examples played by (a 1733 instrument he owned, acquired in 1913), János Starker (dubbed "Star"), and Leonard Rose, underscoring their enduring value—auction prices have reached as high as $620,800 for a in 2005 (the current record as of 2023). Goffriller's son, (1691–c. 1750), also became a , further extending the family's influence in .

Early Life and Training

Birth and Origins

Matteo Goffriller was born around 1659 in Bressanone (also known as Brixen), a town in South Tyrol that was then part of the Holy Roman Empire and is now in northern Italy near the Austrian border. This Alpine region, characterized by its rugged terrain and abundant timber resources, fostered a tradition of skilled woodworking that extended to musical instrument crafting. Specific details about Goffriller's parents or remain undocumented, but he likely emerged from the modest communities prevalent in 17th-century Bressanone, where local trades included and related crafts tied to the area's forested . The town's proximity to and other German-speaking areas in Tyrol exposed young s like Goffriller to emerging practices in making, building on the legacy of figures such as from nearby Absam. In the broader historical context, 17th-century Tyrol played a notable role in European lutherie, particularly through its lute-building traditions that transitioned into violin-family instruments amid the proto-Baroque era. Tyrolean craftsmen, often migrating southward due to economic opportunities and regional stability after the , contributed to the diffusion of Germanic styles across the continent, influencing the development of bowed string instruments in Italian centers like . This cultural and geographic backdrop shaped Goffriller's early exposure to the craft before his pivotal move to in 1685 for apprenticeship.

Apprenticeship and Influences

Matteo Goffriller likely received his initial training under Matthias Albani in , where he was exposed to South German lutherie traditions during his youth in the Alpine region near Bressanone. Albani, a prominent maker in , imparted techniques rooted in the style of , the renowned Tyrolean whose instruments featured high-arched bodies and clear, golden varnishes that produced a bright, projecting tone. This early exposure introduced Goffriller to precise construction methods emphasizing structural integrity and resonant qualities, which would later inform his Venetian work. Around 1685, Goffriller moved to to apprentice under Martin Kaiser, a German-born who had established a in the . Under Kaiser's guidance, Goffriller honed basic instrument construction techniques, including , assembly, and varnishing, within the vibrant Venetian guild system that regulated craftsmanship. Kaiser, himself influenced by Tyrolean traditions, provided a bridge between northern European styles and the emerging Italian school, allowing Goffriller to refine his skills in a more urban, trade-oriented environment. Goffriller's apprenticeship period saw him adopt Stainer-inspired models, characterized by elevated arching and transparent finishes, but he began adapting these for Venetian preferences by incorporating broader plates to enhance bass resonance and projection suited to the city's larger performance spaces. These modifications marked an early synthesis of his South German roots with local Italian demands, laying the foundation for the distinctive Venetian sound. He strengthened familial and professional ties by marrying Kaiser's daughter, Maddalena Maria, in , which facilitated his integration into the Venetian lutherie community.

Career in Venice

Workshop Establishment

Matteo Goffriller arrived in in 1685, where he apprenticed under the Tyrolean Martin Kaiser, establishing the foundations for his career in the city's vibrant trade. By 1690, following Kaiser's death, Goffriller succeeded to the , marking the beginning of his independent operation and positioning him as the preeminent maker of new string instruments in from that year until approximately 1715, during a period of little competition from other makers in the city. In 1686, Goffriller married 's daughter, Maria Maddalena Kaiser, which not only solidified his personal ties to the established Tyrolean instrument-making community in but also facilitated his integration into the local guild system. Their son , born in 1691, trained under his father and assisted in the workshop until departing for in 1714 to pursue his own luthiery career. Goffriller's workshop was located in the Cannaregio sestiere at Calle di Ca’ Dolphin, no. 687, near the S. Giovanni Grisostomo theater, where he operated under the regulations of the Venetian Ordine dei Marzeri (guild of inlayers and instrument makers), which he joined in 1689 to comply with local trade laws while minimizing reported production to avoid excessive taxes. He remained active in the guild until around 1710, after which he retired from official membership, continuing to produce instruments privately without labels to circumvent guild fees and taxes, a practice that persisted into the 1720s as his output gradually declined due to health issues leading to his death in 1742.

Production and Innovations

Matteo Goffriller's production of string instruments spanned from approximately 1685 to 1735, during which he established himself as a key figure in Venetian lutherie by focusing primarily on violins and cellos. As the earliest documented Venetian maker to concentrate almost exclusively on bowed instruments rather than plucked ones, he served as the primary supplier in Venice for these types until around 1710, facing little competition in the field for nearly two decades. Goffriller's innovations distinguished his work from northern European traditions, adapting Cremonese influences—particularly from the family—with a Tyrolean perspective derived from his origins and training. He introduced bolder, low, and powerful arching to enhance tonal projection, ideal for the acoustics of Venice's houses, along with round and symmetrical C-bout curves and large, boldly styled F-holes inspired by models but executed with greater robustness. These features contributed to a fuller, more resonant sound, while his use of deep red varnish became a hallmark of the emerging Venetian style. Additionally, he developed wider middle bouts on cellos for improved projection and playability, marking an early specialization that prioritized bowed instruments suited to the city's vibrant musical scene. Following his retirement from the Venetian instrument makers' around 1710 and increasingly after 1720, Goffriller shifted to producing unlabelled instruments, likely to evade guild regulations and taxes on registered output. This practice resulted in a substantial body of anonymous works from the onward, many of which were later retrospectively attributed to him based on stylistic consistency, though it initially obscured his full legacy.

Instrument Characteristics

Design Features

Matteo Goffriller's instruments are renowned for their broad body shapes, particularly evident in the sweeping, expansive lower bouts that give s a distinctive pear-like form and violins a robust outline. These proportions, often larger than average—such as cello back lengths reaching 77 cm in early examples—contribute to a powerful, resonant tone suited to ensemble playing. The arching is characteristically moderate, blending seamlessly from the edges to a gentle central rise, which balances structural integrity with acoustic projection without excessive height. The f-holes draw inspiration from Amati designs, featuring an upright and open configuration that enhances string tension and sound projection, while adapting Venetian stylistic elements for a bolder presence on the instrument's face. and designs reflect Goffriller's Tyrolean roots through a Germanic purity—evident in the clean, precise carving and tapered pegbox—but incorporate Venetian flair with graceful, elongated proportions that prioritize playability. are relatively short, typically around 29–30 cm in cellos, facilitating easier handling in the Baroque era's lower-tension stringing and gut setups. Goffriller's overall models evolved from early copies influenced heavily by Stainer's high-arched, Germanic forms in the late to more original Venetian patterns by around 1700, emphasizing broad outlines and variable soundhole placements to favor volume and projection over intricate refinement. This progression is seen in his violins, which shift from Amati-like long corners to bolder, Tononi-esque audacity, while maintaining a focus on functional robustness for contemporary performance demands. Local woods, such as and from northern Italian sources, were occasionally employed to support these structural choices.

Materials and Craftsmanship

Matteo Goffriller selected woods with meticulous care to optimize the acoustic properties and longevity of his instruments. For the tops, he preferred straight-grained sourced from the Alpine regions, particularly the Tyrol, valued for its lightness and even grain that promoted superior and responsiveness. The backs and sides were crafted from high-quality, quarter-cut , often with a strong, deep figure drawn from local European sources accessible to Venetian makers, burnished to enhance the wood's natural ripple and contribute to structural durability. These choices ensured a balance of strength and vibrational freedom, allowing the instruments to project a powerful, warm tone while resisting wear over centuries. Goffriller's varnish application was a hallmark of his craftsmanship, employing an oil-based formula that produced a rich, reddish-brown hue, applied more thickly than in Cremonese traditions. This , sometimes built up to create a textured over time, offered a warm, transparent glow that protected the wood from and enhanced the instrument's visual and sonic depth. Its resistance to aging stemmed from the oil medium's ability to coagulate gradually, maintaining clarity and preventing cracking that could compromise the finish. In terms of finishing techniques, Goffriller's work featured precise purfling inlays, meticulously cut and set to reinforce edges against splitting while adding aesthetic elegance. Hand-carved details, such as the scrolls with their distinctive upright ovality and subtle carvings, showcased his skilled manual precision, contributing to the instruments' robust construction. Particular attention was given to bass bar placement, especially in cellos, where its strategic positioning under the bridge enhanced power and projection by efficiently transferring string vibrations to the top plate. These elements, integrated with the broad arching, underscored Goffriller's holistic approach to creating durable, resonant instruments suited for professional performance.

Goffriller Instruments

Violins

Matteo Goffriller's violins, produced primarily after 1700 during his mature period in , represent a cornerstone of the Venetian school's early development, with a number of surviving examples documented through auctions and expert appraisals. These instruments often feature a one-piece back with rich figuring and bold, upright f-holes that contribute to their distinctive aesthetic and acoustic profile. Typical dimensions for Goffriller's violins include a body length of 35.2–35.5 cm, as seen in exemplars such as a circa 1710 instrument measuring 35.2 cm and a 1706 example at 35.3 cm, providing a balanced form suited to the demands of period performance. Their tone is characterized by a bright yet robust , offering powerful projection and a lyrical warmth that excels in both solo passages and settings. This sound profile, with its refined expansiveness and noble depth, made them particularly effective for the melodic lines in Venice's vibrant orchestras, where clarity was essential in projecting over large halls and elaborate musical accompaniments. Goffriller's violins share the Venetian tradition of intense red applied over carefully selected woods, enhancing their resonant properties and visual appeal. Surviving instruments, such as the 1696 violin once owned by Albert Sammons, demonstrate these traits through open f-hole designs and sturdy construction that support a muscular, projecting tone ideal for orchestral roles in Venice's operatic ensembles during the early 18th century.

Violas and Viols

Matteo Goffriller's work with viols, particularly the , reflects his early influences before fully establishing himself in . His earliest authenticated instrument is a dated 1689, featuring a traditional fretted design and six strings that highlight pre-Venetian Alpine craftsmanship from his birthplace in Bressanone. Goffriller produced a limited number of violas, with relatively few authenticated examples surviving today, underscoring their rarity within his oeuvre. These instruments typically have a body length of 40–41 cm, often employing a common broad arching that contributes to their structural integrity. Goffriller's violas evolved from models, transitioning toward the while retaining elements suited for consort music in Venetian chambers, where they incorporated gut strings to provide support. Known for a rich, blending tone ideal for inner voices in ensembles, these violas offer a darker and richer sound that excels in blending rather than solo projection.

Cellos

Matteo Goffriller's cellos represent the pinnacle of his lutherie, earning legendary status for their robust construction and tonal power that defined the Venetian school of instrument making. Active primarily in from the late 17th to early , Goffriller produced cellos that were instrumental in the era's musical landscape, particularly suited to the demands of ensemble playing in the city's vibrant scene. His instruments' deep, projecting tone made them ideal for providing continuo support in operatic performances, where a strong bass foundation was essential to underpin elaborate vocal and orchestral textures. Goffriller's cellos typically feature a body length of 75–76 cm in their current configurations, though many originals were larger (up to 77–78 cm) before reductions to modern standards. This size contributed to their stability when supported by an endpin on the floor, an adaptation that enhanced playability for the heavier, broader Venetian designs during extended performances. Peaking in production between 1700 and 1730, his output prioritized quality over quantity in an era when cellos were still emerging as solo and staples. Some later examples from his post-retirement period remain unlabelled, reflecting continued craftsmanship outside constraints. A hallmark of Goffriller's is the sloped shoulders on certain models, particularly smaller variants around 71 cm in back length, which improved upper-bout accessibility for performers navigating the instrument's wide body. These features distinguish his work from the slimmer, more elongated Cremonese models, such as those by Stradivari, by offering greater ergonomic ease without sacrificing volume. His cellos' signature sound profile includes a warm, rich bass response paired with clear, penetrating highs, delivering a darker and more resonant that excels in blending within ensembles while projecting vividly. This tonal balance, rooted in broad outlines and Amati-inspired f-holes, underscores their as foundational instruments for Venetian .

Double Basses

Matteo Goffriller is recognized as the first luthier to produce what is unambiguously identifiable as a double bass, marking a pivotal development in the instrument's evolution during the early 18th century in Venice. His double basses were crafted for ensemble settings, contributing to the robust low-end foundation required in the burgeoning Baroque orchestras of the Venetian theaters. With only a handful of surviving examples documented, such as those dated around 1708 and 1715, Goffriller's production of these largest string instruments appears limited, likely fewer than ten known instruments, reflecting both the specialized demand and the challenges of preservation over centuries. Goffriller's double basses featured construction elements adapted from earlier Brescian models, particularly those of Gasparo da Salò, but with distinctive Venetian refinements for enhanced stability and projection in large performance spaces. The instruments typically employed a round or swell back with a break positioned lower than in Brescian predecessors, promoting structural integrity while allowing for a resonant low register suited to 16-foot pitch tuning. Assembly utilized inside molds, a technique that ensured precise alignment of the flat or slightly arched plates, and the pegbox was designed to accommodate three or four strings, with some originals configured as three-stringers later converted for four-string use to improve playability in orchestral contexts. Additional features included a 'clog heel' style at the bottom with a vestigial tongue, a round volute scroll with minimal throat, and refined Stainer-pattern f-holes characterized by a graceful outward sweep and delicate lower wings, all contributing to a powerful, thunderous bass response. Materials in Goffriller's double basses emphasized durability for the instrument's massive scale, often incorporating a four-piece quarter-cut top with medium to fine grain for the soundboard, paired with a two-piece slab-cut poplar back and matching poplar ribs overlaid with decorative elements. Total height reached up to approximately 190 cm, with body lengths around 112 cm, upper bouts measuring 52.8 cm, central bouts 38.2 cm, and lower bouts 69.4 cm, creating an extended scaling ideal for the deep, foundational tones in Venetian opera and ensemble music. Early adaptations, such as the compact pegbox design, served as precursors to later mechanical tuners, facilitating quicker adjustments during performances in expansive theater acoustics. These instruments showcased Goffriller's hallmark craftsmanship, including intricate carvings, pronounced channelling, modified 'bee-sting' corners, and a breathtaking varnish that enhanced both and tonal warmth.

Labels and Authentication

Label Styles

Matteo Goffriller employed a standardized Latin inscription on his labeled instruments, typically reading "Mattheus Goffriller Fece in Venezia Anno [date]," with the year handwritten following the printed text. These labels were commonly placed inside the instrument for identification. The earliest known dated labels appear from around 1700, though Goffriller's activity as a began earlier in the late 1680s. Goffriller's labeling was notably sparse, with only a small of his instruments bearing his mark, a practice adopted to evade prohibitive Venetian taxes levied on officially branded goods. This selective approach resulted in numerous anonymous survivals, complicating attribution for many of his works. Variations in the label format included minor orthographic differences, such as "Mattio Goffriller / Fece in Venezia Anno [date]" or the use of "fecit Venetijis" instead of "Fece in Venezia," reflecting slight inconsistencies in printing or handwriting. Early labels from the 1690s to around 1710 often featured a Gothic script style, which evolved into a more fluid italic by the 1710s, aligning with broader typographic trends in Venetian printing. After retiring from the guild around 1710, Goffriller produced instruments without labels to further avoid regulatory oversight.

Misattributions and Identification Challenges

Matteo Goffriller's instruments have frequently been misattributed to prominent Cremonese makers such as , , and Carlo Bergonzi, primarily due to similarities in their bold stylistic features and varnish application, which could enhance perceived value in historical sales. For instance, some of Goffriller's cellos from the early 1700s were initially sold or cataloged as works by , reflecting the era's tendency to relabel Venetian instruments to align with the prestige of Cremonese luthiers. These errors often stemmed from the instruments' robust construction and warm-toned , which echoed the expressive qualities prized in Stradivari and models, leading to confusions that persisted into the 19th and early 20th centuries. A notable example is the 1733 cello once owned by , which bore a facsimile label attributing it to Carlo Bergonzi and was long accepted as such, influencing its use in Casals' iconic recordings, including the Bach Cello Suites. Acquired by Casals in 1913, the instrument's true origin as a Goffriller was established in the through detailed stylistic analysis, including examination of its low, gradual arching, Venetian-sourced back and sides, veined top, and distinctive forward-thrusting scroll—characteristics inconsistent with Bergonzi's Cremonese style but hallmarks of Goffriller's Venetian workshop. This reattribution highlighted how modifications, such as resizing to conform to Stradivari patterns, further obscured origins and perpetuated misidentifications among experts. Authentication challenges are particularly acute for Goffriller's post-1710 output, which includes a substantial portion of his instruments produced without labels, likely to evade Venetian guild taxes after his informal retirement around 1710. This unlabeled body of work, comprising many cellos and violas sold discreetly, has required modern forensic techniques for verification, such as to date wood rings and confirm construction timelines aligning with Goffriller's active period. Without these methods, such pieces risk ongoing misattribution or dismissal, complicating scholarly catalogs and market valuations despite their role in establishing the Venetian school's foundations.

Legacy

Pupils and Venetian School

Matteo Goffriller's influence extended through his direct pupils, who carried forward his techniques and established a distinct tradition in Venetian lutherie. Among his key apprentices were , who joined Goffriller's workshop in the early 1710s and later refined the powerful designs inherited from his master, producing instruments renowned for their enhanced projection and depth. , another pupil who worked closely with Goffriller after arriving in around 1699, adopted the master's broad model outlines, adapting them into violins and violas with robust arching suitable for the city's vibrant musical scene. Goffriller also trained Santo Serafin and Carlo Tononi, who contributed to the Venetian tradition. His son, , born in 1691, also trained in his father's workshop before departing for in 1714, where he continued producing instruments until approximately 1750, maintaining the family's commitment to Venetian-style craftsmanship. Goffriller is widely regarded as the founder of the Venetian School of lutherie, active from around 1700 to 1800, which marked a pivotal shift from reliance on imported Cremonese instruments to robust local production. This school encompassed numerous followers who emphasized powerful, resonant tones tailored to the demands of Venetian opera houses and large ensembles, prioritizing volume and durability over the more intimate Cremonese aesthetics. The school's influence spread across through exports by Goffriller's pupils and their successors, with instruments reaching courts and orchestras in , , and by the mid-18th century. This dissemination helped position as a formidable rival to , fostering a legacy of bold, operatic sound that defined Venetian making for generations.

Notable Instruments and Modern Recognition

One of the most renowned instruments by Matteo Goffriller is the 1733 cello once owned by the legendary cellist , acquired by him in in 1913 and used as his primary concert instrument until his death in 1973. This cello, known as "The Pablo," was initially misattributed to Carlo Bergonzi, a misidentification that persisted for decades despite its distinctive Venetian characteristics. Casals prized it for its warm, soloistic tone, which contributed to his landmark recordings and performances, and it has since been loaned to notable players including Amit Peled from 2012 to 2018 by its current owner, Marta Casals Istomin. Another celebrated Goffriller cello is the 1722 example played by during much of his early career, valued for its balanced projection and suitability for settings. Ma acquired this instrument prior to the late , using it extensively before transitioning to other historic cellos like the 1712 Davidov . In the modern market, surviving Goffriller instruments command significant value due to their rarity and tonal excellence, with cellos fetching up to $620,800 at auction as of 2005, and recent private sales reflecting prices in the $500,000 to over $1 million range. Restorations prioritize preserving the original deep red varnish, a hallmark of Goffriller's work, to maintain acoustic integrity. Examples are held in global collections, including a 1735 at the Museo della Musica in .

References

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