Maiya Papach Discovers There’s More to Her Fagnola Viola Than Meets the Eye

By Cliff Hall | From the May/June 2025 issue of Strings

For years, Maiya Papach, principal violist of the Saint Paul Chamber Orchestra, believed her viola was an Annibale Fagnola (1865–1939) copy of a Giuseppe Rocca (1807–65)—an instrument carefully crafted in homage to the 19th-century Turin master. But new research and a new piece of evidence have flipped the case upside down. The truth? It wasn’t a Rocca model at all, but instead, an early, original work by Fagnola.

The acquisition of a genuine 18th-century Cremonese instrument has long been the dream of many a string player. For most musicians, however, the luxury of owning such a treasure has been financially out of reach since the mid-19th century. This led to a flourishing market for reproductions. While Markneukirchen in Germany became a primary exporter of these copies—check your grandmother’s attic for that violin labeled Stradivarius for proof—many individual makers also sought to faithfully re-create the instruments crafted during the golden age of violin making. Among these makers was Fagnola, who specialized in re-creating works of 19th-century Turin masters, such as Giovanni Francesco Pressenda (1777–1854) and Rocca.

The first clue in unraveling the viola’s history came from instrument historian and appraiser Philip J. Kass, who instantly recognized the instrument. “I know that instrument very well,” he writes in an email, tracing its history back decades. When Kass worked at William Moennig & Son in Philadelphia (which closed its doors in 2010), the firm had purchased the instrument from his friend, bow dealer Mark Reindorf. From there, in 1992, it was sold to a doctor from Boston. By 2011, the viola had ended up in the hands of restorer Stefan Valcuha at Tarisio.

But, after seeing a picture of Papach’s viola, something didn’t add up. “At the time, it had papers from Dupuy of Paris, which may have been misplaced (along with our certificate!),” Kass says. “We attributed it to circa 1890 and thought that the original Fagnola label had been removed and switched because it is not actually on a Rocca model at all—simply a personal idea of a viola, and a very good and successful one at that. By the late 1990s, the first serious research into Fagnola’s life had determined that he actually started working somewhat later than anyone had thought, and thus we realized that it was probably more of the period 1900–06.”

Another telling detail that this was the same viola: a small emblem affixed to
the instrument. This wasn’t just decoration. “The gold shield was almost a trademark of our company,” says Kass. “The Moennig shop made these using gold shields provided by a local jeweler, and we put them on many, if not most, of what we sold.” Thus it seems certain that Papach’s instrument isn’t a Rocca copy at all: it is, instead, an original Fagnola, though his output, and how it has been represented by sellers over time, does invite confusion. 

Papach on her Fagnola

Tell me about your primary instrument.

My primary instrument is a viola made by Annibale Fagnola, who lived in Turin, Italy. 

What do you know about this instrument’s history?

I don’t know much except that the previous owner was a violist.

Fagnola was known for copying great Cremonese masters. What model is this viola? 

This instrument was made circa 1890. Fagnola was originally a baker, and this viola doesn’t appear to be a copy, but rather his own idea of a viola. It does have a Rocca label, but it is believed that this replaced the original Fagnola label later in the instrument’s life. 

It has a beautiful tinge of red in the varnish with lots of freckle marks made by Fagnola to ‘age’ the instrument, but this is uncharacteristic of his later [original] work.

How did you come to play it? What first drew you to it, and how did you know it was the right fit?

I happened to be visiting the Becker shop in Chicago, and there were three violas shown to me by Colin Maki. The Fagnola stood out to me because of its sound-color possibilities. It had a much bigger range of color and depth. It was very exciting. If it were an elevator, my previous viola, which I loved, had about a three-floor span, whereas this one felt like it had at least ten floors.

Does it have a one- or two-piece back?

It has a beautiful two-piece back. 

What gift does your instrument bring to your playing that can’t be found in any other instrument?

Besides the depth and color, it is very even from the A string to the C string. I never thought a 16-inch viola would be for me, but I immediately felt comfortable playing it. The notes are where I think they should be; it has the depth and tone, and therefore, I feel as though I have more of a chance at communicating. 

What is your instrument’s personality and temperament like? Does it remind you of anyone or anything?

Not anyone I know in particular, but I try to connect with the instrument and its history. I appreciate its origin and sometimes think of being in Turin, Italy—or imagine being there because I’ve never been. I can almost feel the air there by playing. I would love to visit where it was made one day to see if it’s at all like what I feel when I envision this.

Does it perform better in certain situations?

Its favorite setting (and mine—go figure) is in a string quartet. 

If given the ability, what would your instrument say to you if you sat down for tea (or any beverage of your choice)?

That’s an interesting question! I would hope it would tell me about its past owners/players and where it’s been and its most memorable performance or experience. Also, if it has a favorite luthier. I think my viola would ask me to make sure my Stretto case humidifier is always replenished! 

Fagnola was a self-taught maker. Is there any quirkiness to the viola?

For Fagnola, just that he put the antiquing on the viola, which looks beautiful to me. 

—CH

Other Gear

Bows François Nicolas Voirin; Émile A. Ouchard

Strings Pirastro Evah Pirazzi C, G, D; Larsen A, hard gauge; (sometimes Thomastik-Infeld Peter Infeld C) 

Case Bam

Rosin Salchow