Violins
Davide Negroni’s violin
For the construction of this instrument, the maker used a model "Il Cremonese 1725" by Antonio Stradivari. The top is made from spruce from the Dolomites, in two mirrored pieces, with tighter grain at the middle that widens towards the edges. The back is made from a single piece of Balkan maple, radially cut, with very deep flame. The sides are carved from the same block of maple as the back, while the scroll is made from Balkan maple, also radially cut, with a tighter and less deep flame compared to the back. A mixed varnish with an orange-red color and amber reflections on a golden-yellow base was used to paint the violin. Body length: 354,5 mm. Width upper bouts: 165 mm. Width “C” bouts: 112 mm. Width lower bouts: 205 mm. Bio di Davide Negroni
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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[contact-form-7 id="2468" title="Contact form 1"]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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[contact-form-7 id="2468" title="Contact form 1"]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
Stefano Conia’s violin
For the realization of this instrument Master Conia wanted to respect the original Stradivari model, customizing some parts: the camber, the "ff" and the thickness, thanks to the great experience of 50 years of work. The wood used is red spruce, inherited from his father more than 30 years ago, part of his personal collection. The top is in two pieces of well seasoned spruce with a medium, regular grain. The back is one piece with a deep, regular flame. The ribs are in the same wood of the back. The scroll has a downward flame. The varnish is red-brown, warm, soft, and a little faded. The edges are lighter. Body length: 355 mm. Width upper bouts: 164 mm. Width "C" bouts: 116. Width lower bouts: 206 mm. Conia is particularly attached to the "Stradivari 1715" model because it was the first model he made in the early years of his life as a luthier. Stefano Conia's bio
Andrea Varazzani’s violin
Another rightly celebrated violin, the "Lord Wilton" was ranked among del Gesù's great masterpieces by the Hills in 1931 and has been in the possession of Yehudi Menuhin, now Lord Menuhin, since 1978. The outline is broader in the lower bouts than previous models, emphasized by the flattened appearance at the upper and lower extremes, across the end blocks, a characteristic the "Lord Wilton" shares with other instruments from the same period, the "Alard" (1742) and the "Cannon" (1743). There is great freedom and vitality in the broad curves of this pattern, as well as an imposing breadth and presence. The particularly pinched corners and deeply worked edges are also a feature of Guarneri's work at that time. Body length: 355 mm. Width upper bouts: 169 mm. Width "C" bouts: 114. Width lower bouts: 208 mm. Andrea Varazzani's 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 19th 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.