|
|
| ¾º¢éÍÁÙÅ·Ñé§ËÁ´4951 ÃÒ¡Òà |
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Andrea Schudtz 2006 ·Ã§ Guarneri
ÂÕèËéÍ: Andrea Schudtz
ÃËÑÊ: VN5002
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Hand made â´Â Andrea Schudtz Cremona 2006 á¼è¹Ë¹éÒäÁéʹÍÔµÒàÅÕ¹ á¼è¹ËÅѧäÁéàÁà»ÔéÅ Bosnian ªØ´ËÒ§»ÅÒáÅÐÅÙ¡ºÔ´·Ó¨Ò¡äÁé rose wood ¢Í§ Bogaro & Clemente ÊÙµÃÇÒ¹ÔªµÒÁÃٻẺäÇâÍÅÔ¹ÍÔµÒàÅÕ¹´Ñé§à´ÔÁ ¾ÃéÍÁ㺠Certificate ¨Ò¡ªèÒ§
Andrea Schudtz was born in November 1973. He took his first steps in the art of violin making with his father Pavel Schudtz, a famous Mo.Liutaio who worked for Bolshoi Theatre in Moscow and became an expert of the instrument collection of the state of Russia.
As a child Andrea began playing the violin and also attended the Central School of Music. When he was about 15 he started making his first instrument.. In 1990 the "Prince of Asturias Foundation" invited his father Pavel Schudtz to move to Spain and work for its Orchestra. The Family moved to Spain and Andrea started working with his father learning about the restoration of antique instruments.They opened two workshops: one in Oviedo(Asturias) and one in Madrid.
In 1991 Andrea decided to attend the International School of Violins Making in Cremona and moved to Italy. He studied with Mo. Conia, Mo. Negroni, Mo. G. Scolari and in 1995 graduated from the school. While attending the first year of the school he worked in Mo.Crillovi's workshop. From 1995 to 1997 he attended the bow making course in Cremona ,while working in the Bottega Scuola Cee.
His instruments are made following the classical models of the Cremonese School, such as Stradivari, Guarneri and Amati with a personal touch. His varnish is very thin and elastic and the choice of the wood is excellent. These qualities make his instruments very succesfull with musicians all over the world. At present he lives and works in Cremona where has opened a workshop in the center of town. He builds and repairs violins, violas and cellos; he also restores all stringed instruments and their bows and, under request, he also makes copies of antique instruments.
Andrea has taken part in several violin making competition, such as: -Violin Makers competition Tchaikovsky,Moscow - 1990 - where he earned the 5 th place for Violoncello and the Prize for the youngest participant; -Violin Makers competition in Prague -1992- -4 th . National Violin Makers Competition in Baveno, Italy - 1993 -2 nd ,Violin Makers Competition of Tchaikovsky,Moscow - 1994 where he earned the 5 th place for violin and the prize for the best sound offered by the french Violin Makers -6 th National Violin Makers competition in Baveno,Italy - 1997.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Andrea Schudtz 2010 ·Ã§ G.Guarneri Del Gesu
ÂÕèËéÍ: Andrea Schudtz
ÃËÑÊ: VN5003
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Andrea Schudtz 2010 ·Ã§ G.Guarneri Del Gesu
á¼è¹Ë¹éÒ·Ó¨Ò¡äÁéʹÍÔµÒÅÕÍÒÂØ 100 »Õ á¼è¹ËÅѧáÅТéÒ§·Ó¨Ò¡àÁà»ÔÅÍÔµÒàÅÕ¹à¡èÒ
¾ÃéÍÁãºÃѺÃͧ¨Ò¡ªèÒ§
Andrea Schudtz was born in November 1973. He took his first steps in the art of violin making with his father Pavel Schudtz, a famous Mo.Liutaio who worked for Bolshoi Theatre in Moscow and became an expert of the instrument collection of the state of Russia.
As a child Andrea began playing the violin and also attended the Central School of Music. When he was about 15 he started making his first instrument.. In 1990 the "Prince of Asturias Foundation" invited his father Pavel Schudtz to move to Spain and work for its Orchestra. The Family moved to Spain and Andrea started working with his father learning about the restoration of antique instruments.They opened two workshops: one in Oviedo(Asturias) and one in Madrid.
In 1991 Andrea decided to attend the International School of Violins Making in Cremona and moved to Italy. He studied with Mo. Conia, Mo. Negroni, Mo. G. Scolari and in 1995 graduated from the school. While attending the first year of the school he worked in Mo.Crillovi's workshop. From 1995 to 1997 he attended the bow making course in Cremona ,while working in the Bottega Scuola Cee.
His instruments are made following the classical models of the Cremonese School, such as Stradivari, Guarneri and Amati with a personal touch. His varnish is very thin and elastic and the choice of the wood is excellent. These qualities make his instruments very succesfull with musicians all over the world. At present he lives and works in Cremona where has opened a workshop in the center of town. He builds and repairs violins, violas and cellos; he also restores all stringed instruments and their bows and, under request, he also makes copies of antique instruments.
Andrea has taken part in several violin making competition, such as: -Violin Makers competition Tchaikovsky,Moscow - 1990 - where he earned the 5 th place for Violoncello and the Prize for the youngest participant; -Violin Makers competition in Prague -1992- -4 th . National Violin Makers Competition in Baveno, Italy - 1993 -2 nd ,Violin Makers Competition of Tchaikovsky,Moscow - 1994 where he earned the 5 th place for violin and the prize for the best sound offered by the french Violin Makers -6 th National Violin Makers competition in Baveno,Italy - 1997.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Modello A. Stradivari Cremonese â´Â Andrea Schudtz
ÂÕèËéÍ: Andrea Schudtz
ÃËÑÊ: VN5017
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Andrea Schudtz ·Ã§ Stradivari 1715 Cremonese
Top: Italian Spruce around 100 Year
Back & Side: Italian Maple 80-90 Year
Ebony Fingerboard
Fitting: Bogaro & Clemente Back wood
Oil Varnish
¾ÃéÍÁãºÃѺÃͧ¨Ò¡ªèÒ§ Certificate
Andrea Schudtz was born in November 1973. He took his first steps in the art of violin making with his father Pavel Schudtz, a famous Mo.Liutaio who worked for Bolshoi Theatre in Moscow and became an expert of the instrument collection of the state of Russia.
As a child Andrea began playing the violin and also attended the Central School of Music. When he was about 15 he started making his first instrument.. In 1990 the "Prince of Asturias Foundation" invited his father Pavel Schudtz to move to Spain and work for its Orchestra. The Family moved to Spain and Andrea started working with his father learning about the restoration of antique instruments.They opened two workshops: one in Oviedo(Asturias) and one in Madrid.
In 1991 Andrea decided to attend the International School of Violins Making in Cremona and moved to Italy. He studied with Mo. Conia, Mo. Negroni, Mo. G. Scolari and in 1995 graduated from the school. While attending the first year of the school he worked in Mo.Crillovi's workshop. From 1995 to 1997 he attended the bow making course in Cremona ,while working in the Bottega Scuola Cee.
His instruments are made following the classical models of the Cremonese School, such as Stradivari, Guarneri and Amati with a personal touch. His varnish is very thin and elastic and the choice of the wood is excellent. These qualities make his instruments very succesfull with musicians all over the world. At present he lives and works in Cremona where has opened a workshop in the center of town. He builds and repairs violins, violas and cellos; he also restores all stringed instruments and their bows and, under request, he also makes copies of antique instruments.
Andrea has taken part in several violin making competition, such as: -Violin Makers competition Tchaikovsky,Moscow - 1990 - where he earned the 5 th place for Violoncello and the Prize for the youngest participant; -Violin Makers competition in Prague -1992- -4 th . National Violin Makers Competition in Baveno, Italy - 1993 -2 nd ,Violin Makers Competition of Tchaikovsky,Moscow - 1994 where he earned the 5 th place for violin and the prize for the best sound offered by the french Violin Makers -6 th National Violin Makers competition in Baveno,Italy - 1997.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹â´Â Dario II Vettori ·Ã§ Guarneri Del Gesu
ÂÕèËéÍ: Dario II Vettori
ÃËÑÊ: VN5204
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹·Ã§ Guarneri Del Gesu "Il Cannone" 1743 â´Â Dario II Vettori Firenze 2012
Top: Italian Spruce
Back & Side: Bosnia Maple slab cut
Formula Stefanini Varnish
Dario Vettori II was born in Fiesole in 1979. He is the eldest son of Paolo and the grandson of Dario known as “il liutaio della montagna”. His interest in the world of music started at a very early age, studying cello at the Cherubini Conservatory in Florence. He also attended the faculty of Literature, devoting himself to the study of Art History.
At the age of eighteen he decided to dedicate himself full-time to violin making, entering his father’s workshop and enrolling with the ALI Professionisti in 2001. He had the chance to meet several well known violin makers and to spend a considerable amount of time in the United States, working in violin-making workshops, such as Christophe Landon in New York, in Washington DC, Texas and taking Varnish and Acustic Masterclasses in Oberlin (Ohio). This gave him the opportunity to learn restoration techniques and to admire original old instruments.
For the construction of his instruments he uses the moulds and models from his family’s workshop, most of them originally belonging to Carlo Bisiach’s collection, once owned by Igino Sderci. The wide variety of models employed in the Vettori’s workshop is consisting of Guarneri “del Ges?”, Pietro Guarneri da Mantova, Stradivari, Carlo Bergonzi, Camillo Camilli, Balestrieri, Nicol? Gagliano, Francesco Mantegazza, Domenico Montagna, Giuseppe Guarneri “filius Andreae” and many others.
Dario mainly uses ?local and Bosnian maple (some of which were left by his grandfather), Italian poplar, willow, cherry and pear wood as well as the traditional violin-making spruce from Val di Fiemme. He occasionally succeeds in finding old wood, which, according to analyses carried out at the University of Tuscia in Viterbo, comes from trees dating back to the 17th century.
The whole family took to researching old varnish formulas, mostly found in their grandfather Dario’s old manuscripts, which has allowed them to reach a quality that can be appreciated on each instrument of the family’s.
At the moment, Dario is working in the family workshop in Via della Dogana together with his father Paolo, his sister Sofia and his brother Lapo, though everyone signs their instruments with their own label.
Still today the family preserves its own tradition started by "Grandfather Dario" in 1935.
In 2015 they will celebrate 80 years of violin-making tradition.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹â´Â Dario II Vettori 2015 ·Ã§ G.B. Guadagnini
ÂÕèËéÍ: Dario II Vettori
ÃËÑÊ: VN5207
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹â´Â Dario II Vettori 2015 ·Ã§ Giovanni Battista Guadagnini
Top: Italian Spruce
Back & Side: Bosnia Maple one piece back
Formula Stefanini Varnish
Dario Vettori II was born in Fiesole in 1979. He is the eldest son of Paolo and the grandson of Dario known as “il liutaio della montagna”. His interest in the world of music started at a very early age, studying cello at the Cherubini Conservatory in Florence. He also attended the faculty of Literature, devoting himself to the study of Art History.
At the age of eighteen he decided to dedicate himself full-time to violin making, entering his father’s workshop and enrolling with the ALI Professionisti in 2001. He had the chance to meet several well known violin makers and to spend a considerable amount of time in the United States, working in violin-making workshops, such as Christophe Landon in New York, in Washington DC, Texas and taking Varnish and Acustic Masterclasses in Oberlin (Ohio). This gave him the opportunity to learn restoration techniques and to admire original old instruments.
For the construction of his instruments he uses the moulds and models from his family’s workshop, most of them originally belonging to Carlo Bisiach’s collection, once owned by Igino Sderci. The wide variety of models employed in the Vettori’s workshop is consisting of Guarneri “del Ges?”, Pietro Guarneri da Mantova, Stradivari, Carlo Bergonzi, Camillo Camilli, Balestrieri, Nicol? Gagliano, Francesco Mantegazza, Domenico Montagna, Giuseppe Guarneri “filius Andreae” and many others.
Dario mainly uses ?local and Bosnian maple (some of which were left by his grandfather), Italian poplar, willow, cherry and pear wood as well as the traditional violin-making spruce from Val di Fiemme. He occasionally succeeds in finding old wood, which, according to analyses carried out at the University of Tuscia in Viterbo, comes from trees dating back to the 17th century.
The whole family took to researching old varnish formulas, mostly found in their grandfather Dario’s old manuscripts, which has allowed them to reach a quality that can be appreciated on each instrument of the family’s.
At the moment, Dario is working in the family workshop in Via della Dogana together with his father Paolo, his sister Sofia and his brother Lapo, though everyone signs their instruments with their own label.
Still today the family preserves its own tradition started by "Grandfather Dario" in 1935.
In 2015 they will celebrate 80 years of violin-making tradition.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Francesco Bissolotti ·Ã§ Guarneri del Gesu 1742 A.D. 2001
ÂÕèËéÍ: Francesco Bissolotti
ÃËÑÊ: VN5024
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹â´Â Francesco Bissolotti ·Ã§ Guarneri del Gesu 1742 A.D. 2001
Top : Italian spruce
Back & side : Bird eye maple
Diapason 19.5 cm.
Manico 13.0 cm.
Maestro Francesco Mario Bissolotti
The cultural and professional education of the master is particularly interesting. He initially worked as a wood carver and engraver; he learned the art of violin making later on in life. He worked as a wood carver during the 1940s and continued in this role until the beginning of the 1950s. In the same period Bissolotti studied music and violin, and he became an excellent amateur violinist.
In 1957 he enrolled in the Cremona Violin Making School which he attended for four years. He studied under Master Pietro Sgarabotto. Sgarabotto's work was not very refined, but it was decisive and demonstrated strong personality. Bissolotti maintained a relationship of mutual esteem and friendship with Sgarabotto until the death of his old master in 1990.
In the early sixties, the Milanese violin makers Ornati and Garimberti alternated in teaching a restoration course held at the violin making school. The course was interesting and instructive, as these makers were great craftsmen with extensive experience. Bissolotti has always considered it a great fortune to have studied with them, and remembers his teachers with fondness.
One cannot fully comprehend the stylistic and violin making development of Bissolotti without completely understanding his relationship with the great Italo-American violin maker and restorer Simone Fernando Sacconi.
Bissolotti first met Sacconi in 1958 at the Violin Making School, a school which the great expert desired to visit while in Italy. The school had previously invited Sacconi to act as director in 1937 but he had reluctantly turned down the offer. This Italo-American violin maker passionately loved the city of Cremona and its old violin makers and it was precisely this love which bound the relationship between Bissolotti and Sacconi. Theirs was a deep friendship with mutual esteem and frequent collaboration.
This meeting was fundamental for the development of Bissolotti who immediately understood that he was in contact with an exceptional artisan and human being. He studied under Sacconi's guidance from 1962 to 1972.
In those years, he continued to improve his work and approached the mysteries of antique Cremonese violin making. He duly learnt the construction technique of the internal mould, which Sacconi had long since recovered unraveling all of its secrets. Bissolotti thus journeyed into the techniques of the past and at the same time projected himself into the future of modern Cremonese violin making.
In 1962 Sacconi offered Bissolotti a job at Wurlitzer's in New York where he could perfect his restoration technique and work on the construction of new instruments. Bissolotti was not able to accept this offer. The relationship between the two continued nonetheless as Sacconi began spending his summer holidays in Cremona. From 1962-1972, Sacconi spent 45 to 60 days a year in Cremona using Bissolotti's workshop as a reference point and logistic base.
In 1962 Sacconi and Bissolotti began to reorder the relics of the Stradivari Museum, then known as the Musical Instrument Museum, located on the third floor of the Art Building in Piazza Marconi. The days and months spent in the museum enabled the young Bissolotti to become thoroughly acquainted with the tools, moulds and original designs from the workshop of Antonio Stradivari and his sons Francesco and Omobono. Accompanied by the knowledgeable Sacconi, who already knew of the Stradivari relics through his master Giuseppe Fiorini (who had donated them to the Council of Cremona), Bissolotti penetrated the eighteenth century of Cremonese violin making, where the art had reached the finest levels of its history. By classifying, ordering, and restoring the relics of this mythical period, the young master came in contact with the spirit of Stradivari's workshop; he began to understand its ordered functioning, where meticulous methods and precision were almost maniacal and there was no place for carelessness, neither in the drawings, nor in the measurements.
Bissolotti further understood that the master he had chosen, and who had chosen him, was revealing to him the real secrets of Stradivari, not particularly mysterious, but difficult to assimilate. Sacconi passed on his modesty, the passion for his art, as well as an almost maniacal precision. He was always open to new solutions for improving the quality of work, while treasuring the contributions of past violin makers. Antonio Stradivari possessed all of this.
He was, in his own time, and still continues to be the greatest craftsman of the art of violin making. Bissolotti says, "it was in this museum and through these experiences that I understood the importance of building instruments according to the method used by the great Cremonese maker: the internal mould." Working with the internal mould requires manual, intellectual and creative ability which in turn reflects the personality of the maker.
Sacconi returned to the United States in autumn of 1962 and began an intense correspondence with Bissolotti who was now teaching at the violin making school. Sacconi's explanations were always thorough, often including photographs or sketches drawn by hand with data, measurements, and comments. His love for teaching was so great that he never denied anyone.
Every summer until 1972 Sacconi habitually spent his holidays in Cremona. He would plant himself in Bissolotti's workshop situated on Via Milazzo. (In 2001 the workshop moved to Piazza S. Paolo). Here he would pass many hours of the day giving advice and teaching as well as amusing himself with varnish experiments. When musicians and collectors knew that the renowned restorer was in town they would bring their prestigious instruments to the workshop on Via Milazzo, trusting them to Sacconi for small repairs or set-ups. The old master explained the life history of every instrument to the young violin makers, pointing out aesthetic and acoustic details. These years were full of unforgettable experiences, as intense as they were extraordinary.
Sacconi died in 1973, but his knowledge and experience has been sown in the heart of Bissolotti, experience which the young violin maker would never have been abe to acquire on his own. Bissolotti coveted this treasure, continuing the work of the master. He recalls Sacconi's morality, extraordinary generosity, his modesty and unfailing confidence in everybody's potential and ability.
After a decade with Sacconi, Bissolotti's style underwent a complete trasformation, and his work became increasingly removed from Sgarabotto's teachings. By following the method which Sacconi revealed to him, Bissolotti pays tribute to antique classical Cremonese violin making, an art which still continues to evolve. Originating from the Cremonese system and the internal mould, its only alternative is to progress, such are the possibilities and peculiarities that this construction methodology offers.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÂØâû â´Â Francesco Bissolotti ·Ã§ Guarneri del Gesu 1742 A.D. 2013
ÂÕèËéÍ: Francesco Bissolotti
ÃËÑÊ: VN5025
|
|
|
|
äÇâÍÅÔ¹ÂØâû â´Â Francesco Bissolotti ·Ã§ Guarneri del Gesu 1742 A.D. 2013
Top Italian Spruce
Back & Side one piece back maple
Diapason 19.5 cm.
Manico 13.0 cm.
Maestro Francesco Mario Bissolotti
The cultural and professional education of the master is particularly interesting. He initially worked as a wood carver and engraver; he learned the art of violin making later on in life. He worked as a wood carver during the 1940s and continued in this role until the beginning of the 1950s. In the same period Bissolotti studied music and violin, and he became an excellent amateur violinist.
In 1957 he enrolled in the Cremona Violin Making School which he attended for four years. He studied under Master Pietro Sgarabotto. Sgarabotto's work was not very refined, but it was decisive and demonstrated strong personality. Bissolotti maintained a relationship of mutual esteem and friendship with Sgarabotto until the death of his old master in 1990.
In the early sixties, the Milanese violin makers Ornati and Garimberti alternated in teaching a restoration course held at the violin making school. The course was interesting and instructive, as these makers were great craftsmen with extensive experience. Bissolotti has always considered it a great fortune to have studied with them, and remembers his teachers with fondness.
One cannot fully comprehend the stylistic and violin making development of Bissolotti without completely understanding his relationship with the great Italo-American violin maker and restorer Simone Fernando Sacconi.
Bissolotti first met Sacconi in 1958 at the Violin Making School, a school which the great expert desired to visit while in Italy. The school had previously invited Sacconi to act as director in 1937 but he had reluctantly turned down the offer. This Italo-American violin maker passionately loved the city of Cremona and its old violin makers and it was precisely this love which bound the relationship between Bissolotti and Sacconi. Theirs was a deep friendship with mutual esteem and frequent collaboration.
This meeting was fundamental for the development of Bissolotti who immediately understood that he was in contact with an exceptional artisan and human being. He studied under Sacconi's guidance from 1962 to 1972.
In those years, he continued to improve his work and approached the mysteries of antique Cremonese violin making. He duly learnt the construction technique of the internal mould, which Sacconi had long since recovered unraveling all of its secrets. Bissolotti thus journeyed into the techniques of the past and at the same time projected himself into the future of modern Cremonese violin making.
In 1962 Sacconi offered Bissolotti a job at Wurlitzer's in New York where he could perfect his restoration technique and work on the construction of new instruments. Bissolotti was not able to accept this offer. The relationship between the two continued nonetheless as Sacconi began spending his summer holidays in Cremona. From 1962-1972, Sacconi spent 45 to 60 days a year in Cremona using Bissolotti's workshop as a reference point and logistic base.
In 1962 Sacconi and Bissolotti began to reorder the relics of the Stradivari Museum, then known as the Musical Instrument Museum, located on the third floor of the Art Building in Piazza Marconi. The days and months spent in the museum enabled the young Bissolotti to become thoroughly acquainted with the tools, moulds and original designs from the workshop of Antonio Stradivari and his sons Francesco and Omobono. Accompanied by the knowledgeable Sacconi, who already knew of the Stradivari relics through his master Giuseppe Fiorini (who had donated them to the Council of Cremona), Bissolotti penetrated the eighteenth century of Cremonese violin making, where the art had reached the finest levels of its history. By classifying, ordering, and restoring the relics of this mythical period, the young master came in contact with the spirit of Stradivari's workshop; he began to understand its ordered functioning, where meticulous methods and precision were almost maniacal and there was no place for carelessness, neither in the drawings, nor in the measurements.
Bissolotti further understood that the master he had chosen, and who had chosen him, was revealing to him the real secrets of Stradivari, not particularly mysterious, but difficult to assimilate. Sacconi passed on his modesty, the passion for his art, as well as an almost maniacal precision. He was always open to new solutions for improving the quality of work, while treasuring the contributions of past violin makers. Antonio Stradivari possessed all of this.
He was, in his own time, and still continues to be the greatest craftsman of the art of violin making. Bissolotti says, "it was in this museum and through these experiences that I understood the importance of building instruments according to the method used by the great Cremonese maker: the internal mould." Working with the internal mould requires manual, intellectual and creative ability which in turn reflects the personality of the maker.
Sacconi returned to the United States in autumn of 1962 and began an intense correspondence with Bissolotti who was now teaching at the violin making school. Sacconi's explanations were always thorough, often including photographs or sketches drawn by hand with data, measurements, and comments. His love for teaching was so great that he never denied anyone.
Every summer until 1972 Sacconi habitually spent his holidays in Cremona. He would plant himself in Bissolotti's workshop situated on Via Milazzo. (In 2001 the workshop moved to Piazza S. Paolo). Here he would pass many hours of the day giving advice and teaching as well as amusing himself with varnish experiments. When musicians and collectors knew that the renowned restorer was in town they would bring their prestigious instruments to the workshop on Via Milazzo, trusting them to Sacconi for small repairs or set-ups. The old master explained the life history of every instrument to the young violin makers, pointing out aesthetic and acoustic details. These years were full of unforgettable experiences, as intense as they were extraordinary.
Sacconi died in 1973, but his knowledge and experience has been sown in the heart of Bissolotti, experience which the young violin maker would never have been abe to acquire on his own. Bissolotti coveted this treasure, continuing the work of the master. He recalls Sacconi's morality, extraordinary generosity, his modesty and unfailing confidence in everybody's potential and ability.
After a decade with Sacconi, Bissolotti's style underwent a complete trasformation, and his work became increasingly removed from Sgarabotto's teachings. By following the method which Sacconi revealed to him, Bissolotti pays tribute to antique classical Cremonese violin making, an art which still continues to evolve. Originating from the Cremonese system and the internal mould, its only alternative is to progress, such are the possibilities and peculiarities that this construction methodology offers.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÂØâû â´Â Maestro Francesco Mario Bissolotti ·Ã§ Stradivari 1705 A.D.2007
ÂÕèËéÍ: Francesco Bissolotti
ÃËÑÊ: VN5026
|
|
|
|
äÇâÍÅÔ¹ÂØâû â´Â Maestro Francesco Mario Bissolotti ·Ã§ Stradivari 1705 A.D. 2007
Top : Italian spruce
Back & side : Bosnian maple & one piece back
Ebony fingerboard
Fitting; Bogaro & Clemente Snake wood
Diapason 19.5 cm.
Manico 13.0 cm.
Maestro Francesco Mario Bissolotti
The cultural and professional education of the master is particularly interesting. He initially worked as a wood carver and engraver; he learned the art of violin making later on in life. He worked as a wood carver during the 1940s and continued in this role until the beginning of the 1950s. In the same period Bissolotti studied music and violin, and he became an excellent amateur violinist.
In 1957 he enrolled in the Cremona Violin Making School which he attended for four years. He studied under Master Pietro Sgarabotto. Sgarabotto's work was not very refined, but it was decisive and demonstrated strong personality. Bissolotti maintained a relationship of mutual esteem and friendship with Sgarabotto until the death of his old master in 1990.
In the early sixties, the Milanese violin makers Ornati and Garimberti alternated in teaching a restoration course held at the violin making school. The course was interesting and instructive, as these makers were great craftsmen with extensive experience. Bissolotti has always considered it a great fortune to have studied with them, and remembers his teachers with fondness.
One cannot fully comprehend the stylistic and violin making development of Bissolotti without completely understanding his relationship with the great Italo-American violin maker and restorer Simone Fernando Sacconi.
Bissolotti first met Sacconi in 1958 at the Violin Making School, a school which the great expert desired to visit while in Italy. The school had previously invited Sacconi to act as director in 1937 but he had reluctantly turned down the offer. This Italo-American violin maker passionately loved the city of Cremona and its old violin makers and it was precisely this love which bound the relationship between Bissolotti and Sacconi. Theirs was a deep friendship with mutual esteem and frequent collaboration.
This meeting was fundamental for the development of Bissolotti who immediately understood that he was in contact with an exceptional artisan and human being. He studied under Sacconi's guidance from 1962 to 1972.
In those years, he continued to improve his work and approached the mysteries of antique Cremonese violin making. He duly learnt the construction technique of the internal mould, which Sacconi had long since recovered unraveling all of its secrets. Bissolotti thus journeyed into the techniques of the past and at the same time projected himself into the future of modern Cremonese violin making.
In 1962 Sacconi offered Bissolotti a job at Wurlitzer's in New York where he could perfect his restoration technique and work on the construction of new instruments. Bissolotti was not able to accept this offer. The relationship between the two continued nonetheless as Sacconi began spending his summer holidays in Cremona. From 1962-1972, Sacconi spent 45 to 60 days a year in Cremona using Bissolotti's workshop as a reference point and logistic base.
In 1962 Sacconi and Bissolotti began to reorder the relics of the Stradivari Museum, then known as the Musical Instrument Museum, located on the third floor of the Art Building in Piazza Marconi. The days and months spent in the museum enabled the young Bissolotti to become thoroughly acquainted with the tools, moulds and original designs from the workshop of Antonio Stradivari and his sons Francesco and Omobono. Accompanied by the knowledgeable Sacconi, who already knew of the Stradivari relics through his master Giuseppe Fiorini (who had donated them to the Council of Cremona), Bissolotti penetrated the eighteenth century of Cremonese violin making, where the art had reached the finest levels of its history. By classifying, ordering, and restoring the relics of this mythical period, the young master came in contact with the spirit of Stradivari's workshop; he began to understand its ordered functioning, where meticulous methods and precision were almost maniacal and there was no place for carelessness, neither in the drawings, nor in the measurements.
Bissolotti further understood that the master he had chosen, and who had chosen him, was revealing to him the real secrets of Stradivari, not particularly mysterious, but difficult to assimilate. Sacconi passed on his modesty, the passion for his art, as well as an almost maniacal precision. He was always open to new solutions for improving the quality of work, while treasuring the contributions of past violin makers. Antonio Stradivari possessed all of this.
He was, in his own time, and still continues to be the greatest craftsman of the art of violin making. Bissolotti says, "it was in this museum and through these experiences that I understood the importance of building instruments according to the method used by the great Cremonese maker: the internal mould." Working with the internal mould requires manual, intellectual and creative ability which in turn reflects the personality of the maker.
Sacconi returned to the United States in autumn of 1962 and began an intense correspondence with Bissolotti who was now teaching at the violin making school. Sacconi's explanations were always thorough, often including photographs or sketches drawn by hand with data, measurements, and comments. His love for teaching was so great that he never denied anyone.
Every summer until 1972 Sacconi habitually spent his holidays in Cremona. He would plant himself in Bissolotti's workshop situated on Via Milazzo. (In 2001 the workshop moved to Piazza S. Paolo). Here he would pass many hours of the day giving advice and teaching as well as amusing himself with varnish experiments. When musicians and collectors knew that the renowned restorer was in town they would bring their prestigious instruments to the workshop on Via Milazzo, trusting them to Sacconi for small repairs or set-ups. The old master explained the life history of every instrument to the young violin makers, pointing out aesthetic and acoustic details. These years were full of unforgettable experiences, as intense as they were extraordinary.
Sacconi died in 1973, but his knowledge and experience has been sown in the heart of Bissolotti, experience which the young violin maker would never have been abe to acquire on his own. Bissolotti coveted this treasure, continuing the work of the master. He recalls Sacconi's morality, extraordinary generosity, his modesty and unfailing confidence in everybody's potential and ability.
After a decade with Sacconi, Bissolotti's style underwent a complete trasformation, and his work became increasingly removed from Sgarabotto's teachings. By following the method which Sacconi revealed to him, Bissolotti pays tribute to antique classical Cremonese violin making, an art which still continues to evolve. Originating from the Cremonese system and the internal mould, its only alternative is to progress, such are the possibilities and peculiarities that this construction methodology offers.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÂØâû â´Â Francesco Bissolotti ·Ã§ Stradivari 1705 A.D. 2014
ÂÕèËéÍ: Francesco Bissolotti
ÃËÑÊ: VN5030
|
|
|
|
äÇâÍÅÔ¹ÂØâû â´Â Francesco Bissolotti ·Ã§ Stradivari 1705 A.D. 2014
Top: Italian Spruce
Back & Side: Selected Bosnian Maple
Ebony fingerboard
Fitting; Bogaro & Clemente Snake wood
Diapason 19.5 cm.
Manico 13.0 cm.
The cultural and professional education of the master is particularly interesting. He initially worked as a wood carver and engraver; he learned the art of violin making later on in life. He worked as a wood carver during the 1940s and continued in this role until the beginning of the 1950s. In the same period Bissolotti studied music and violin, and he became an excellent amateur violinist.
In 1957 he enrolled in the Cremona Violin Making School which he attended for four years. He studied under Master Pietro Sgarabotto. Sgarabotto's work was not very refined, but it was decisive and demonstrated strong personality. Bissolotti maintained a relationship of mutual esteem and friendship with Sgarabotto until the death of his old master in 1990.
In the early sixties, the Milanese violin makers Ornati and Garimberti alternated in teaching a restoration course held at the violin making school. The course was interesting and instructive, as these makers were great craftsmen with extensive experience. Bissolotti has always considered it a great fortune to have studied with them, and remembers his teachers with fondness.
One cannot fully comprehend the stylistic and violin making development of Bissolotti without completely understanding his relationship with the great Italo-American violin maker and restorer Simone Fernando Sacconi.
Bissolotti first met Sacconi in 1958 at the Violin Making School, a school which the great expert desired to visit while in Italy. The school had previously invited Sacconi to act as director in 1937 but he had reluctantly turned down the offer. This Italo-American violin maker passionately loved the city of Cremona and its old violin makers and it was precisely this love which bound the relationship between Bissolotti and Sacconi. Theirs was a deep friendship with mutual esteem and frequent collaboration.
This meeting was fundamental for the development of Bissolotti who immediately understood that he was in contact with an exceptional artisan and human being. He studied under Sacconi's guidance from 1962 to 1972.
In those years, he continued to improve his work and approached the mysteries of antique Cremonese violin making. He duly learnt the construction technique of the internal mould, which Sacconi had long since recovered unraveling all of its secrets. Bissolotti thus journeyed into the techniques of the past and at the same time projected himself into the future of modern Cremonese violin making.
In 1962 Sacconi offered Bissolotti a job at Wurlitzer's in New York where he could perfect his restoration technique and work on the construction of new instruments. Bissolotti was not able to accept this offer. The relationship between the two continued nonetheless as Sacconi began spending his summer holidays in Cremona. From 1962-1972, Sacconi spent 45 to 60 days a year in Cremona using Bissolotti's workshop as a reference point and logistic base.
In 1962 Sacconi and Bissolotti began to reorder the relics of the Stradivari Museum, then known as the Musical Instrument Museum, located on the third floor of the Art Building in Piazza Marconi. The days and months spent in the museum enabled the young Bissolotti to become thoroughly acquainted with the tools, moulds and original designs from the workshop of Antonio Stradivari and his sons Francesco and Omobono. Accompanied by the knowledgeable Sacconi, who already knew of the Stradivari relics through his master Giuseppe Fiorini (who had donated them to the Council of Cremona), Bissolotti penetrated the eighteenth century of Cremonese violin making, where the art had reached the finest levels of its history. By classifying, ordering, and restoring the relics of this mythical period, the young master came in contact with the spirit of Stradivari's workshop; he began to understand its ordered functioning, where meticulous methods and precision were almost maniacal and there was no place for carelessness, neither in the drawings, nor in the measurements.
Bissolotti further understood that the master he had chosen, and who had chosen him, was revealing to him the real secrets of Stradivari, not particularly mysterious, but difficult to assimilate. Sacconi passed on his modesty, the passion for his art, as well as an almost maniacal precision. He was always open to new solutions for improving the quality of work, while treasuring the contributions of past violin makers. Antonio Stradivari possessed all of this.
He was, in his own time, and still continues to be the greatest craftsman of the art of violin making. Bissolotti says, "it was in this museum and through these experiences that I understood the importance of building instruments according to the method used by the great Cremonese maker: the internal mould." Working with the internal mould requires manual, intellectual and creative ability which in turn reflects the personality of the maker.
Sacconi returned to the United States in autumn of 1962 and began an intense correspondence with Bissolotti who was now teaching at the violin making school. Sacconi's explanations were always thorough, often including photographs or sketches drawn by hand with data, measurements, and comments. His love for teaching was so great that he never denied anyone.
Every summer until 1972 Sacconi habitually spent his holidays in Cremona. He would plant himself in Bissolotti's workshop situated on Via Milazzo. (In 2001 the workshop moved to Piazza S. Paolo). Here he would pass many hours of the day giving advice and teaching as well as amusing himself with varnish experiments. When musicians and collectors knew that the renowned restorer was in town they would bring their prestigious instruments to the workshop on Via Milazzo, trusting them to Sacconi for small repairs or set-ups. The old master explained the life history of every instrument to the young violin makers, pointing out aesthetic and acoustic details. These years were full of unforgettable experiences, as intense as they were extraordinary.
Sacconi died in 1973, but his knowledge and experience has been sown in the heart of Bissolotti, experience which the young violin maker would never have been abe to acquire on his own. Bissolotti coveted this treasure, continuing the work of the master. He recalls Sacconi's morality, extraordinary generosity, his modesty and unfailing confidence in everybody's potential and ability.
After a decade with Sacconi, Bissolotti's style underwent a complete trasformation, and his work became increasingly removed from Sgarabotto's teachings. By following the method which Sacconi revealed to him, Bissolotti pays tribute to antique classical Cremonese violin making, an art which still continues to evolve. Originating from the Cremonese system and the internal mould, its only alternative is to progress, such are the possibilities and peculiarities that this construction methodology offers.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Giorgio Grisales
ÂÕèËéÍ: Giorgio Grisales
ÃËÑÊ: VN5007
|
|
|
|
Grisale Giorgio Born in 1963, and moved to Cremona in 1982 where he began his first approach in the art of violinmaking. In 1988 he graduated at the "International School of Violinmaking" of Cremona and has also gained his diploma in bowmaking having attended a course organized by the "Regione Lombardia". His professional training was completed when he graduated "The Civic School of Violinmaking " in Milano, for musical instrument restoration.
He lives and works in Cremona, where he opened with Edgar Russ his workshop in via Sicardo. His instruments are now well-known and appreciated worldwide and boast a large market and demand from Japan to the United States as well as in Europe. He has acquired deserved recognition in the field of restoration and actively developed his talent by specific and deepened studies based on the forms and relative works of Ferdinando Garimberti and Giuseppe Ornati.
He constructs the quartetto classico drawing inspiration from the models of the Cremonese School (Stradivari and Guarneri) as well as his own model based on and inspired by Giuseppe Ornati and Giuseppe Fiorini.
ÊÓËÃѺÅÙ¡¤éÒ·Õè«×éÍà¤Ã×èͧ´¹µÃաѺ·Ò§ºÃÒâÇÁÔÇÊÔ¤ ¨Ðä´éÃѺ¡ÒÃà»ç¹ÊÁÒªÔ¡â´Â¡ÒÃÃѺÊèǹŴ¾ÔàÈÉ㹡Òë×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ áÅФèÒáç㹡ÒëèÍÁËÃ×Í»ÃѺáµè§¿ÃÕ - 10% |
|
|
|
|
