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.
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.
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.
Discovering a true antique violin from the 1800s or 1900s can be very interesting.
We need to consider that almost all the old musical instruments have now been undercovered, due to the strong interest of a multitude of people that want to take possession of them. So we need to be realistic when we find something, that maybe can have value. A real antique violin of 1800, for example, it can come real damaged, rarely in good condition, expecially the top spruce and varnish.
Be aware of flea markets, or not very transparent luthiers, who try to delude you of having a rediscovered a “pearl in the desert”, dated two hundred years. More plausible it is instead a violin that an old owner wants to undo it and then sells it, perhaps through an intermediary.
In the downer photo, the instrument in restoration, has just been rediscovered in an attic. This is a bit the clichet of classical lutherie: “Nonna told me that there is a Stradivari above!”.
It is not “Stradivari“, but a copy of an old German violin with a label bearing “Stradivarius Cremonensis, etc.”, is a copy, but it retains its interest. The woods of this instrument will certainly be very seasoned, even if a bit “bruised”. Finding it partly destroyed is the least that can be expected, we consider that almost a hundred years have passed, they are not few.
Atelier Cesarinibuy old violins and other antique instruments (also bows) during the year and we restore them. We call those “Cesarini Collection“.
The following video represents the dilemma of every student or professional, where to look for the “perfect” musical instrument?
Vintage, handcrafted or studio?
We are in 2017, the era of the web is more real than ever, but unfortunately the common musician does not have exactly a precise idea of what goes on in the market and, above all, of what he needs.
Doubt is certainly a symbol of ability to discern, too much security often leads to risky purchases. Try and listen, this is what we recommend to all musicians looking for their musical instrument.
One’s own subjectivity plays an important role and must not be put aside. The advice of a friend or a professor should never be disdained, indeed it is precious, but it must be sought and not received in a coercive manner. This must never become a “dictat”, one’s taste must become contaminated with various opinions, to strengthen oneself not to annihilate oneself.
The search for wood, for the realization of musical instruments, is a very important discipline for the violin maker, it requires its maximum effort in the online and physical research of the material.
Online market is larger and richer than many others market, the same can not be said for the wood market. This precious material is sometimes found in the most unexpected ways …
… from an elderly violinmaker who closes, from a carpenter who has bought too much for himself, from a farmer who cuts his own plant under his house. Obviously, the seasoning of the wood must be done, especially if the plant has recently been torn down. A different story is made of wood taken from a luthier, who often bought already seasoned wood at the beginning of his activity. This is the best pratice to become the best place to buy a violin.
In Atelier Cesarini often we select seasoned woods, at least 10-20 years, but thanks to the availability of old lutheries that end up activity, we can have seasoned wood up to 40-50 years. This precious material creates the difference in production. The best woods are not used for the production of studio instruments, but for the only professional musical instruments.
Today I removed all the frets from this EKO guitar n. 100, vintage semi acoustic from the 70s, Italian factory production (Recanati).
Removing the frets is usually a necessary operation on all vintage guitars, which have not had special care over time.
The frets needed to be changed with the use of the guitar, being composed of relatively soft metal material (18% nickel). Only a few recent models mount hard stainless steel frets, which last longer, but unfortunately make various complications during their mounting on fretboard.
When only the first frets getting used, it often means that the instrument played with a wrong setup.
Alborosie comes back to Jamaica with a little gift!
The sound of this guitar (Eko, artisan production), which mounts the C-Big Beat (Cesarini Pickups) seems to have impressed him. Valter Vincenti, his guitarist and our dear friend, should have finished the tour with this guitar, but we will find a solution for him!
These are things that can not be predicted … he told me he felt in love!
We took a picture togheter in Bologna, both for the memory and for the satisfaction. See you soon Alborosie!