ENRICO CATENAR

A close look at the work of great and unusual makers

Lutherie

Enrico Catenar (an Italianisation of Heinrich Casner) is one of the earliest makers known to have been active in Turin in the second half of the 17th century. Recent research published in Claudio Amighetti’s book The Piedmontese Violin Makers in the 17th and 18th Centuries has brought to light several documents highlighting the connection between Catenar and his predecessor Johann Angerer, aka Giovanni Angereri, of whom he was probably an apprentice. Both clearly came from north of the Alps and Catenar declared his origin in several documents, although the identification of his home town (variously spelt as Chislin, Chissigne and Chissigné) is uncertain. It may possibly have been Bad Kissingen. As was usual at the time, Catenar married Angerer’s widow and adopted his two daughters soon after the latter’s death in 1651. He also inherited Angerer’s fortune and workshop.

The viola shown here is the oldest-known surviving instrument by this maker. It was donated to the Royal College of Music (RCM) lending collection before 1914, probably by a Mr Stevens, and was moved to its museum in 1974 on the initiative of the then curator Elizabeth Wells. It was extensively examined in 1978 by Charles Beare, who had first highlighted its importance a few years earlier.

MATERIALS

The belly is made from two pieces of spruce with narrow, regular grain. A 2022 dendrochonology study by John Topham has dated the last ring to the year 1623. The back is of a single piece of maple with no figure. A small fragment of metal, possibly the broken tip of a compass from the drawing stage of the instrument, is inserted in a small hole at mid-length, slightly left of the viola’s centre, visible from the outer surface of the instrument. The ribs are of similar maple to the back, set in a narrow groove carved in the back at c.2.5mm from the edge. Marks of a toothed plane are evident on all of them, internally and externally.

FORM AND CONSTRUCTION

This instrument is remarkably large for an alto viola (but small for a tenor) with a relatively narrow outline inspired by the Brothers Amati but with notably longer, slightly hooked corners. The archings are very high, the back fuller than the belly, reaching a height of c.17mm, extending almost to the edge. There is a narrow, shallow fluting, almost absent towards the top and bottom. The f-holes are short and rather vertical, with wide stems and large notches as is typical of the maker.

EDGEWORK AND PURFLING

The purfling is set at c.3mm from the edge and is made of three strips. The central one, in maple, is c.0.7mm thick and the external ones, stained black, c.0.4mm. It is centrally positioned at the corners.

HEAD

The head has been grafted on to a new neck. It has deep carving and fluting in the volute and back. A knot is visible on the left side, at the height of the A peg. The left centre point and a few tracing points are still visible, and the beginning of the fluting shows very clear toolmarks. The termination of the volute is higher on the right than on the left side.

ALL PHOTOS RICHARD MARTIN FOR THE ROYAL COLLEGE OF MUSIC

All measurements taken with callipers

VARNISH

The original varnish, of a reddish-brown colour, is well preserved on the soundboard and the outer sides of the back.

INTERIOR

The corner-blocks appear to be made of willow and the surviving original linings, in the upper part of the instrument, are thin and made of spruce. Several of the linings and the bottomblock have been replaced and reinforcements in linen are glued between the ribs and the back, at the C-bouts and around the top-block. However, these are likely not original as they closely match a strip of fabric that has been used to reinforce a repair under the belly.

LABEL

The label is original and has never been moved. It reads ‘Henricvs Catenar./ Fecit Taurini Anno 1661’. Only the last figure is written in pen, while the rest is printed in black ink.

SOUND

The instrument has been brought back to playing condition after decades by John Topham, in collaboration with RCM conservator Susana Caldeira. It is now being played by RCM student Ana Dunne Sequi. After some weeks of practising on the instrument she said: ‘The Catenar viola’s broad f-holes, high arching and large size all contribute to the huge sound that it is capable of producing. It makes it very easy to let the sound travel in the room. Even though the instrument has not been played for a long time, since the first day I practised on it I have been surprised by how responsive it can be. It has the quality of sound and resonance expected from old instruments, as well as a powerful deep bass, a warm, voice-like high register and a wide range of colours overall.’