Umbria Jazz 2019 has arrived! As we always do, since 2013, we participate in the Jazz Festival with our music store in Perugia, a temporary showroom, which this year will be nostalgic. In fact, it will take place in via dei Priori n.66, a place where we held the first edition of #LiuteriaCesariniExpo.
Dates: 12 July – 23 July
Opening and closing times difficult to predict. We limit ourselves to saying morning and afternoon, with lunch break.Also open on the late evening in the weekend.
I wait for you to show you the latest creations: C-Mida vers. 2, C-Paperback, C-Destiny and much more.
The world of chemistry has revolutionized the concept of adhesive and glue in all trades, including the sector of violin making. Until the early 1900s, animal bone glue by bone (strong) or by tissue (weak) was used, so the classical lutherie of the 1600s could only adopt this type of solution.
The animal glue has no excellent properties, since it is an organic glue its use is to be limited to some works. In violin making, it is recommended to use in certain types of restorations, especially when you do not want to mix two different compounds (an organic glue may not react well with another synthetic one). It is a reversible glue, it is cleaned with water and it melts with little heat. It is therefore necessary to be very careful with instruments glued with this type of glue, summer heat can cause the adhesion to come off. The animal bone glue or bag tissue, prepared at home, can mold up after 2 days, should be kept in the fridge, but its strong odor does not allow it. One of the best products on the market, ready to use and that does not spoil off the fridge is the Titebond hide glue.
The glues that are subsequent to the animal glue are the vinyl glues (polyvinyl acetate, Vinavil), rubbery glues of little use in our work. They are mainly used to glue chipboard or veneer. They have a good resistance to water and heat, but being rubbery they are not easy to work with. Not to be used in classical violin making, while in the electric one they can find some applications. If you need to use it other than violin making, buy it, because it is a glue that resists moisture (from outside).
Aliphatic glues (Titebond original and similar) are the American solution to the problem. They solve the weaknesses of animal glue, having a strength and elasticity equal to a vinyl, but retain the characteristics of reversibility. They are cleaned in water and melt (slowly) with water and heat, but a greater heat, which we will not find easily in the environment. So you can rest easy, without exaggerating. I remember using aliphatics on guitar bridges, which were then unstuck for leaving the instrument in the car in the sun. Available in three dispenser.
The polyurethane glue, is in the Titebond version (which I know) an exceptional glue, but with targeted and considered uses. It is not easily found and since it comes from America it is often found a glue already hardened and with a very short expiry date. It is a glue that inflates and attaches to everything it finds, adhering to almost all types of materials (not just porous, wood type). I recommend the use in operations made in economics and unlikely, for example pasting a broken pallet into a thousand parts (of which 50% are absent) of a tool of little value. Swelling can fill like a stucco. Be careful to close the cap well!
I advise you not to exaggerate in ordering large quantities, the glues dry up with time, even when they are closed they harden. Especially polyurethane.
<< Today we have a study cello and I want you to see what give you the answers to the most frequent questions of a student, or of those who (for him) are interested in a stringed instrument for first time. Practically what customers usually asked me “What are the first things I have to do with my bowed instrument?” Because initially you buy it for studio, it will therefore be of a certain construction, inexpensive, that will have an equally economical quality control . As a result it needs some relatively simple maintenance setups, even quite economic. The first question is surely “But how do I play the violin or the cello?” It is not a superficial question, the strings with a non prepared bow do not sound because actually the bow runs on the string and does not grip it, let’s say it slips over it . So the first step is to take the rosin from the case, slightly nick it and rub it on the hair. Stretch the bow without exaggerating, the stick must be neither too straight nor too little, at this point begin to rub. Obviously it takes a few minutes, for the most inexperienced even a few good minutes! You need to make a quick movement because the heat spreads it faster. Next there will be a part 2 in which I explain what are the parts of the instrument that we should carry under maintenance the first time we buy a cello or a violin >>
To prepare the bow do not use rosin in the studio sets you buy, it is better to use a better pitch. The cost is negligible compared to the time you can use it. A package of it can last up to two years for a student. We recommend the following (Corelli Bernardel and Royal Oak rosin), you can also find them in more specialized physical stores.
Italian violin making has a 4 centuries long tradition. In our century the violin makers are very numerous, of different nationalities and of very varied scholastic origin. Here is a list, which draws on various sources and from private reports, of official professional luthiers. We invite the luthiers not present in the list, to signal us their activity specifying the relative details. They will be added to keep this page updated. Thank you
Aguzzi Dario Airenti Antonino Alberini Guido Alberoni Alberto Algieri Francesco Amato Francesco Amighetti Claudio Amodeo Simone Anedda Marc Aquilino Luigi Ardoli Massimo Arezio Claudio Asinari Sandro Assandri Gianmaria Attili Eriberto Baratto Luca Barbiero Walter Bardella Elena Bariselli Luigi Barone Renato Belli Corrado Bellini Luca Bergonzi Riccardo Bernabeu Borja Biasin Alberto Bini Luciano Bissolotti Francesco Bissolotti Maurizio Bissolotti Vincenzo Blot Eric Blot Mael Bodini Stefania1973Italiascheda Bonino Sergio17.01.1964Italiascheda Borchardt Gaspar1961Italiascheda Borchardt Sibylle Fehr1965Italiascheda Bottelli Enrico Italiascheda Bramante Emanuele Italiascheda Brancato Paola Italiascheda Brunelli Marco21.05.1972Italiascheda Buccellè Michele23.07.1981Italiascheda Buchinger Wolfgang Italiascheda Bulfari Alceste1948Italiascheda Cabassi Ivan Cabrini Andrea Caliendo Ciro Campagnolo Luisa Cargnelutti Marco Carletti Gabriele Carlson Bruce Cassutti Alberto Cavagnoli Roberto Cavalieri Corrado Ceci Arturo Ceci Ornella Cesarini Federico Chiesa Carlo Italia Ciaccio Daniele Ciaccio Daniele Ciciliati Alessandro Ciciliati Roberto Civa Manuele Collini Roberto Commenduli Alessandro Conia Stefano Conia Stefano Copertini Amati Fiorenzo Corrochano Alvaro Cortesi Giancarlo Cossu Francesco Costardi Bruno Croce Gloria Cubanzi Vladimiro D’Oriano Vittorio Dacquati Riccarda Dalla Costa Fabio Dalla Quercia Francesco De Pasquale Silverio Del Gratta Roberto Delfanti Roberto Delfi Merlo Delisle Yves Demartis Davide Devenneaux Philippe Di Biagio Raffaello Di Labio Ezio Di Leonardo Augusta Di Matteo Alessandro Di Pietrantonio Dobner Michele Dodel Hildegard Eggimann Michel Eickmeyer Frank Esposti Piergiuseppe Fantin Domenico Farias Pablo Farina Giampiero Fasser Filippo Ferrari Luigi Italia Ferrari Michele Ferrazzi Cristiano Ferron Valerio Fiora Federico Fiorentini Danilo Fischetti Cosim Formaggia Nicolò Formaggia Vittorio Francioli Emanuele Franzil Pipul Mario Frasca Spada Giulio Fratelli Sirleto Friedmann Bénédicte Frignani Lorenzo Fukuyama Kaory Fulcini Bruno Gaiano Romano Galetti Filippo Galetti Filippo Galgani Fabio Gallo Luca Maria Gamba Luigi Gambarin Alessandro Garnier Barthélemy Gasser Robert Gastaldi Marco Maria Giordano Alberto Giordano Elisabetta Giovannitti Edoardo Giraud Franco Gironi Stefano Gistri Sergio Gorr Eduard Angel Gozzo Giancarlo Grasso Pietro Graziani Dino Gregorat Sergio Grisales Giorgio Grisales Jorge Orozco Guaraldi Riccardo Gugole Giuseppe Guicciardi Giancarlo Guicciardi Raffaella Heyligers Mathijs Adriaan Honoré Loeiz Hornung Pascal Francois Horvat Martin Hungerford Lyn Ignesti Mauro Improta Luciano Inguaggiato Mirco Innocenti Stefano Ishii Takashi Ito Lazzari Migiwa Iuliano Ivo Ius Martino1974 Ive Marcello Jost Marianne Kikuta Hiroshi Kim Min Sung Lanaro Roberto Lanaro Umberto Lassarat Ludovic Lazzara Jamie Marie Lazzari Dante Fulvio Lazzari Fabrizio Lazzari Nicola Lazzaro Giovanni Luca Lebet Claude Lee Seung Jin Leonidas Rafaelian Levaggi Silvio Lima Fernando Salvatore Liuteria Scarampella Losi Gilberto Lowenberger Federico Lunati Mauro Magrini Cesare Mangiacasale Salvatore Marchi Lorenzo Marchini Rodolfo Mari Federico Mariotto Guido Martino Roldo Matsushita Toshiyuki Mayer Winfred Mayer Winfred Mazza Evelyn Mazzolari Mina Mazzotti Matteo Mecatti Michele Medaglia Enrico Menta Alessandro Menta Annamaria Merlini Giuliano Merlo Delfi Milani Alessandro Miller Eddy Minnozzi Marco Modica Giuseppa Montagne Bruno Montanari Pio Montanucci Valentina Montenegro Gianluca Morassi Gio Batta Morassi Giovanni Morassi Simeone Moredon Igor Moroder Igor Muzio Roberto Nakamura Katzumitzu Napoleone Giorgio Natali Gabriele Negri Gabriele Negroni Davide Negroni Massimo Neumann Bernard Nicotra Fabio Nolli Marco Norcia Gianni Nupieri Giuseppe Occhipinti Dario Orfei Aaron Lorenzo Orippi Patrizio Orsini Gianni Osaki Kanna Osio Marco Ottaviani Luigi Pala Pietro Palagi Ferdinando Pampalone Alessio Pasquetto Luca Passiatore Ester Pedota Alessandra Pedrini Marco Perego Flavio Piacentini Fabio Piasentini Francesco Piazzi Cecilia Pica Giuseppe Piccinotti Barbara Pignataro Francesco Pignotti Emidio Piloni Francesco Pio Stefano Pistoni Primo Poli Gianluca Portanti Fabrizio Possenti Gabriele Prilipco Valerio Primavera Alfredo Primavera Andrea Primon Luca Pucino Gaetano Puerari Matteo Quagliano Giuseppe Lorenzo Quercetani Desiderio Radonich Aleksandra Ragazzi Fabrizio Ragghianti Fabio Rampini Claudio Rapisarda di M. Grasso & C Raponi Amenio Regazzi Roberto Rhee Pietro Ribes Sebastian Ricca Claudio Ricciardi Erika Riva Matti Roberto Carlos Rosenblum Yael Ruggiero Luca Russ Edgar Rusticoni Sylvain Sacra Arte Liutara di Greganti Carlo Mario Salvadori Luca Sanfilippo Ignazio Sardone Pasquale Sartori Edo Sbernini Luca Scalfi Daniele Alessandro Scaramelli Sergio Scartabelli Mauro Schimpf Michael Schudtz Andrea Scianamé Debora Scipioni Cristiano Scolari Daniele Scolari Giorgio Scrollavezza Elisa Scrollavezza Renato Seaux Patrick Segala Dario Segamiglia Giustino Semiani Massimo Serrano Diego Alberto Serreri Giovanni Carlo Severgnini Elio Severino Sabrina Simeoni Franco Soldi Sandro Somenzi Davide Sonzogni Umberto Sora Davide Sorgentone Paolo Spadoni Adriano Sperzaga Angelo Stanzani Giancarlo Stefanini Bruno Stelzer Gianmaria Streicher Isabella Suzuki Tetsu Sverdlik Boris Tadioli Maurizio Takahashi Akira Takahashi Shuichi Takashi Ishii Tarantino Francesco Tartari Anna Ternovec Marco Tomassone Sergio Tonarelli Daniele Tosello Benito Tossani Alessandro Toto Francesco Trabucchi Stefano Tribotti Gianni Triffaux Pierre Trimboli Pietro Trotta Guido Turchi Onorio Uchiyama Masayuki Urso Alessandro Vaccari Alberto Vaia Ernesto Italiascheda Valentinetti Salvatore Varazzani Andrea Vecchio Paola Maria Vella Maurizio Vettori Carlo Vettori Dario Vettori Lapo Vettori Paolo Vettori Sofia Vigato Laura Villa Marcello Villa Vittorio Virgoletti Arturo Volta Fabio Voltini Alessandro Yachi Yoko Zambelli Wanna Zanetti Gianluca Zangirolami Luciano Zanrè Andrea Zubenko Michele Zurlini Nicola
We can guarantee the BONUS STRADIVARI 2018, until funds run out (10 million euros). The plafond is little compared to possible questions, so we advise you to immediately request a quote from Atelier Cesarini, starting already from January to look for your instrument.
Extension of the Bonus to students of all the courses of the Conservatories, ISSMs and organizations authorized to issue recognized Afam qualifications: preaccademici, triennio, biennium and previous regulations. In addition, complementary instrument courses (excluded in 2016) are also included; Extension to the students of the Music High Schools;
The terms of the Bonus change: no more than 1,000 euros, but a 65% contribution on the purchase price, up to a maximum contribution of 2,500 euros;
The law will come into force from 2018 (still needs to be confirmed in which month), you can already book your instrument in January.
To know the sound of our instruments we recommend our Youtubechannel, where there are many visual audio tests.
Valter Vincenti, plays with Cesarini C-MOP guitar with C-Big Beat pickups while Lusi plays bass Cesarini C-Precision mod.2 with C-Close Strings (flat poles). Special Guest: Saverio Federici, drums
Jamming on “La notte del Guerre” (brano di Valter Vincenti)
CesariniJamSession is a production of Liuteria Cesarini.
The Cesarini guitars and pickups on jam.
Pickup Big Beat
The search for a “simple” sound, but with a certain frequency projection, has never been taken for granted. The C-Big Beat wink at the Gibsons ’59, but they twist the essence and design. A direct sound very effective in crunches, ghost notes, but also in clean pop. Even in jazz many have found them excellent travel companions (and recording). Already mounted in Valter’s guitars (in Eko Aqua, as we remember in the Valter Vincenti endorser blog).
Cesarini Guitars, LP C-MOP
Big Beat mounted on the Cesarini C-MOP guitar, which perfectly expresses their timbre. Les Paul type Gibson, Cesarini guitar of the Vintage Series, with very interesting characteristics. It has tonal chambers below the top, which increase the sustain of the highest frequency harmonics. This timbre is perfectly captured by the pickups, which being nasal at the right point, are not too harsh or bright, but open sound and with considerable projection. The ghost notes are not lost, they all play good. Even palm muting and all the techniques related to reggae, funky and rock rhythms stand out with this setup. Detailed on the page.
Cesarini Guitars, bass C-Precision m.2
Modification of the first C-Precision (Giacomo Rossetti used it on the Negrita 2015 tour). Electric bass with typical Fender shapes, with a narrow nut and a C-shaped rounded handle. The particularity is in the frequency cut of the body in ash, which seems to remember a Music Man. The ash resonates with harmonics with medium-high frequencies that they are handled by the C-Close Strings split coil of our creation, with a lot of definition. The sound generated is very different from a Fender Precision, less “big” but thinner, very useful in rock music, rock / punk, fusion and for all those who seek a sound of Precision sharpness. One volume potentiometer, as one day Giacomo advised me, to have a right fixed control of the tone.
This argument is certainly very long to deal with, I will only give some guidance indications that can be an help especially to musicians, music lovers and parents of music students.
Giving value to old instruments, luthier’s services and other is an objective that Atelier Cesarini pursues from the beginning, the first step was to create a very detailed luthier price list of the most demanding services.
It was not a very first absolute, but certainly one of the first listprice to have a remarkable specificity, without leaving free interpretation.
Now let’s see which parameters are reliable to give a value to an bowed instrument or a bow, then we’ll try to figure out what we can buy with a certain budget.
Parts of the instrument that need to be standard and well-regulated are not few. As a result, an bowed instrument, beyond its cost, must comply at least with some rules for being used in the study.
Do not value the instrument, it means not giving importance to the study. This can be considered as a general rule, which can surely lie in many other areas of study.
But how is it possible to understand what is the musical instrument that can be a good quality compromise? Surely the times change, the prices accordingly. A Chinese industrial violin 10 years ago cost 300 euros and was a trash , while an industrial violin today costs 200 euros and it’s done better.
Industrial production requires us to spend less, but we react accordingly, we want to spend less and less.
I look at some families that want to get a good timbre, a decent playability, a good reliability and a low price, from an entry level instrument set. These are things that unfortunately do not go well together.
My advice is to buy the second studio band, where we will begin to find a better quality instrument, better woods, more than sufficient playability, better strings, a true ebony keyboard and parts and a usable headband. The Stentor II violin is for you, it is not the only one, but it is one of the most reliable along with Soundsation. Then a tune-up is always easy on those two. In the size 4/4.
In the size 3/4:
In the smaller sizes all the violins 1/2, 1/4, 1/8, 1/16, look alike, you can spend less. Soundsation offers a low cost for “small sizes”.
Building a violin, a cello or a viola with personal shapes and dimensions is always the right choice for Atelier Cesarini. But there are exceptions, some works are certainly inspired by the well-known stradivarian shapes and by dimensions of antique violin makers (Amati, Guarneri, Gasparo da Salò). Perhaps the most used, in general in violin making, is the “Cremonese” violin template (faciebat Stradivari, year 1715).
The experimentation, of the various and possible forms of stringed instruments, has been widely done in the past years. Today it is difficult to reinvent something new in this sector.
The dimensions and volumes of classical lutherie have kept them unaltered, since the timbre of the instrument as it was conceived in the past, has been achieved following many empirical tests, which have fixed the sound canons in the ears of musicians and authors, who are past or modern.
It comes naturally to a classical orchestra musician, wanting to replicate the “sound” of a certain repertoire of the period, through an arched instrument that does not go too far from the known.
Conceiving sounds in an abstract and inventive way is a luxury that unfortunately does not belong to the classical repertoire (it is called “classic” also for this reason). The canons are there, getting out from those, can lead to the non-compatibility of the musician with this world.
One More Dub recording, studio in Orvieto and record label (the cave studio, look at that!) , organizes this musical jam between the two musicians, Alfredo Golino e Lusi.
Lusi is playing with the C-Gold Bronze, Cesarini Vintage Series ’70. That is a bass that can allow every bass technic, Lusi sometimes lay down the hand on the bridge and “pinch” the strings, the stopped sound could be really like a double bass.
He use a Proamp amplification that goes directly to mixer. The recording equipment is minimal, important on this jam is the dynamic, is not simple to follow a master, like Alfredo.
We recall some prestigious collaborations by Alfredo Golino. “Mina, Laura Pausini, Gianni Morandi, Vasco Rossi, Raf, Pino Daniele, Renato Zero, Eros Ramazzotti, RAG, Battiato, Fiorella Mannoia, Riccardo Cocciante, Anna Oxa, Ornella Vanoni, Marco Masini, Michele Zarrillo, Alice, Anna Oxa, Zuccero Fornaciari, Bocelli, Joe Coker, Tina Turner, Enrico Ruggeri, Platters, Enrico Rava and many others “
We thank Alfredo Golino and Lusi who give us about 10 minutes of linear jam session, the two musicians have practically known each other playing, that is fantastic.