Violins


Luca Bastiani’s violin
For the construction of this instrument, the violinmaker used an Antonio Stradivari 1716 model. The wood of the top is made of two pieces of spruce from Val di Fiemme, with regular grain. The back is made of a single piece with a deep curl and a thick grain. The ribs and the head are also made from Balkan maple. All the woods used for the construction of this violin, even inside, are very seasoned. The oil varnish used for this violin is reddish brown. Body length: 355 mm. Width upper bouts: 169 mm. Width "C" bouts: 113. Width lower bouts: 210 mm. Luca Bastiani's bio
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Pablo Farias’ violin
For the construction of this instrument, the author was inspired by the shape of the violin "Alard" 1742 by Giuseppe Guarneri called "Del Gesù", kept at the Cité de la Musique in Paris, characterizing effe and head for a more personal style. The wood of the top comes from the mountains of the Val di Fiemme in northen Italy and has a grain of medium width but very regular. The maple used for the back comes from the Balkans and it’s a single piece with a medium marbling, regular but very deep that rises slightly from left to right. The ribs are made from the wood used for the back and the scroll from a similar material. Body length: 353 mm. Width upper bouts: 168 mm. Width "C" bouts: 114. Width lower bouts: 208 mm. Pablo Farias' bio
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Martin Gabbani’s violin
For the construction of this instrument, the violinmaker respected the original shape of 1937 Ferdinando Garimberti violin, winner of the bicentenary Stradivariano Cremona 1937 and now exhibited at Museo del Violino. The wood of the top is made of two pieces of spruce from Val di Fiemme, very regular and seasoned. The maple used for the back is made of two pieces with a large and very deep curl and a narrow and regular grain. The ribs are obtained by the wood used for the back, and the scroll comes from the same tree. The oil varnish used for this instrument is orange. The chamfers of the scroll, of the heel and of the ribs are matt black painted. Body length: 355 mm Width upper bouts: 169 mm Width “C” bouts: 114 Width lower bouts: 206 mm Woods: maple, spruce, ebony Year: 2021 Martin Gabbani's bio


Pablo Farias’ violin
For the construction of this instrument, the author was inspired by the shape of the violin "Alard" 1742 by Giuseppe Guarneri called "Del Gesù", kept at the Cité de la Musique in Paris, characterizing effe and head for a more personal style. The wood of the top comes from the mountains of the Val di Fiemme in northen Italy and has a grain of medium width but very regular. The maple used for the back comes from the Balkans and it’s a single piece with a medium marbling, regular but very deep that rises slightly from left to right. The ribs are made from the wood used for the back and the scroll from a similar material. Body length: 353 mm. Width upper bouts: 168 mm. Width "C" bouts: 114. Width lower bouts: 208 mm. Pablo Farias' bio
Protagonist of the historical evolution of the violin, Cremonese violinmaking initiated in the second part of the 16th century with Andrea Amati, creating, over three centuries, an evolutive process unique in the world.
In these 300 years many families of violinmakers succeeded one another for several generations: from father to son, from nephew to grand-nephew. These famous families are the Bergonzis, the Guarneris, the Ruggeris and the Stradivaris; dynasties of violin makers more or less well-known, but undoubtedly all relying on the classical tradition of instrument making.
These families became popular in Europe, the noble courts commissioned to the cremonese violinmakers the instruments for their orchestras, the famous musicians of those times aspired to own an instrument made in Cremona so the name Cremona reached the highest levels.
After the initial splendour there was a decline around the end of the 18th century that lasted all through the 19 th century, even if in that period many important violinmakers worked in the city.
A complete moment of silence started at the beginning of the 20th century; it broke only with the creation of the “Stradivari Room” first, and then the “Stradivari Museum”until the 50s. Around the 60s, the International School of Violinmaking of Cremona opened, even though it was constituted in 1938.
In that same period, the city of Cremona laid the basis of its collection of historical instruments: as a matter of fact, the Tourist Board (Ente per il Turismo) collected funds to purchase the violin made by Antonio Stradivari in 1715, that was later rebaptized “Il Cremonese”.
Since then, Cremonese violinmaking has regained importance, also thanks to the training of new masters, the opening of new workshops, the renewal of international relationships and the organization of successful concerts and exhibitions.