KLOTZ, MATTHIAS (1)
Born 1656. Son of Urban Klotz (a tailor). Taken (in 10th year), to Stainer’s workshop at Absam for guidance from that master. Produced little of consequence at that early age but, in 15th year realised that his workmanship was oppressive, and that instead of having a great command in handicraft, it had the command of him. Attached himself to some travelling merchants and ultimately reached Cremona, where he solicited lessons from Nicolo Amati. Soon won the favour of that celebrity and made such rapid progress as to subsequently draw forth the jealousy of the other assistants who, by various innuendos eventually made his existence almost unbearable. After practically being forced to leave the town, necessity of a livelihood caused him to accept the somewhat ignominous role of a servant at some hostelry. Discontent soon overcame him, so he once more set out on the road, wandered from village to village doing odd repairing jobs, and finally (in 1683) returned to Mittenwald, with the newly-awakened ambition of making that little town a “Cremona in Tyrol”. He could not have chosen a more opportune time, for the entire vicinity was just then well nigh impoverished owing to the Fairs (at which Venetian and other traders bought, in large quantities, the wood carving specialities of the villagers, and which had been held there for at least two centuries), before being removed to Botzen. Imbued with Cremonese enlightenment, he rented premises in the old market place, instructed many of the financially distressed inhabitants how to make ordinary cheap fiddles, and these were hawked about at the churches, castle and monasteries throughout the extensive Tyrol, for whatever price the would-be purchasers chose to offer. In this way, Mittenwald quickly resumed its former prosperity, and eventually became a serious rival to the similar cheap fiddle centres in Saxony. Klotz and his associates were considerably favoured in this rivalry through being situated in the heart of the Bavarian Alps where abundantly flourished a particularly suitable pine, remarkable for its delicate yet strong and highly resonant fibre. After achieving Tyrolese fame, he went to Padua, 1702, and attempted to establish rivalry with Cremona but (meeting with scant appreciation) soon retraced his steps to birthplace and steadfastly concentrated his activities in advancing the instrument industry. Died 1743. Violin makers of Mittenwald afterwards financed the erection of an iron monument to his memory, stands opposite the Churches of St. Peter and St. Paul. Nearly all his violins belong more to the Stainer than the Amati model. Correctly enough made, with all appropriate undulating curves, and honest inside work. Scroll far from real artistry; rather small sound-holes. Wood not always handsomely figured, now frequently worm-eaten. Varnish of yellowish shimmer, thinly applied on a dark brown ground, altogether insufficient in quantity and inferior in quality. Also many dissentient opinions concerning the tone, which not only lacks strength but likewise genuine mellowness. Several viol-d’amours and viola-da-Gambas known.
KLOTZ, MATTHIAS (1)
Born 1656. Son of Urban Klotz (a tailor). Taken (in 10th year), to Stainer’s workshop at Absam for guidance from that master. Produced little of consequence at that early age but, in 15th year realised that his workmanship was oppressive, and that instead of having a great command in handicraft, it had the command of him. Attached himself to some travelling merchants and ultimately reached Cremona, where he solicited lessons ...
Klotz(Kloz),Matthias(1)
