Music store in Perugia for UJ 2019

Music Store in Perugia
Music Store in Perugia

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.


Best glue for wood, a luthier choice

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.

Begin violin, viola or cello. A first look to the instrument.

italian language only

<< 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 makers

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

Bonus Stradivari – 2018

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.

Bonus 2018:

  • 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 Youtube channel, where there are many visual audio tests.

Cesarini Jam Session 4.2 – Cesarini Guitars

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)

Cesarini Jam Session 4.2

CesariniJamSession is a production of Liuteria Cesarini.

The Cesarini guitars and pickups on jam.

C-Big Beat
C-Big Beat, Cesarini pickups
chitarra Cesarini Vintage Series
C-MOP, chitarra Cesarini Vintage Series

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

verniciatura 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.

How to buy a violin or other musical instruments

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.

violino antico
old violin

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.

Continue reading How to buy a violin or other musical instruments

Children’s musical instruments, how to buy

The question is, how much to spend for a children’s musical instruments? 

50,00 euro, 100,00 euro, 200,00 euro, 500,00 euro, 1.500,00 euro, 2.500,00 euro, 10.000,00 euro, 20.000 euro?

An example of studio violin 3/4 size on pic.

violino da studio
studio violin 3/4 size

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.


violoncello da studio

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”.


Let’s have a look here to which are the characteristics that should have a entry level musical instument.

Why are luthiers still influenced by antique violin makers?

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).

Costruzione violino
Violin making

violin holes
violin holes

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.

Flamed maple crafting

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.

here you can see a restoration of an old violin. we’ll give you also some advice to understand antique instruments value 

Alfredo Golino and Lusi, the bass recording equipment is minimal

A Jam Session to watch without taking a breath!

One More Dub recordingstudio 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.

Lusi - Bassista

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.

SNAP Production has thought about shooting the event.