|
|
| ¾º¢éÍÁÙÅ·Ñé§ËÁ´4950 ÃÒ¡Òà |
|
|
ÇÔâÍÅÒ Paolo Vettori ·Ã§ Mantegazza 1790 ¢¹Ò´ 40.8
ÂÕèËéÍ: Paolo Vettori
ÃËÑÊ: VA7005
|
|
|
|
ÇÔâÍÅÒ Paolo Vettori ·Ã§ Mantegazza 1790 ¢¹Ò´ 40.8
Top: Old Italian Spruce
Back & Side: Old Italian Maple
Formula Stefanini Varnish
Paolo Vettori was born in Firenzuola in 1945, a small city in the Tosco-Romagnolo Appennini mountains and is the fifth-eldest son of Dario (1903-1973), known as "il liutaio della montagna". He started working in his father's workshop at a very early age. ‘In the 1960s Paolo visited Carlo Bisaich’s violin workshop with his father and was fascinated by the instruments, models, moulds and charisma of the important master. In the 1970s, he moved to Florence, where he was a frequent visitor and observer at the violin workshops of Lapo Casini and Sderci, where he received precious and important advice. When Giuseppe Stefanini moved from Brescia to Florence in 1986, the two craftsmen became acquainted and a deep, long-lasting friendship developed. Paolo acquired various techniques, models for violin-making and formulae for varnishes exclusive to the Bisiach family, with whom Stefanini collaborated closely for many decades. Paolo has already built more than 300 instruments including violins, violas and violoncellos, employing a great variety of models, many of which came from Carlo Bisiach's workshop, acquired in 1997 after the death of Sderci; the very same moulds and tools that had taken his fascination in 1963 in the violin workshop in Via Puccinotti 94, avoiding in this way their dispersion. Paolo's construction technique and style show strong traces of his father's influence, but also of his immense experience acquired over the years. At this time, he works in his workshop in Via della Dogana with his two sons Dario II and Lapo and his daughter Sofia, everyone signing the instruments with their own labels. Together, the family continues to follow the tradition and the great adventure started by "grandfather Dario" in 1935.In 2005 they celebrated 70 years of violin-making
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% |
|
|
|
|
ÇÔâÍÅÒ Paolo Vettori ·Ã§ Gasparo Da Sal ¢¹Ò´ 42 «Á.
ÂÕèËéÍ: Paolo Vettori
ÃËÑÊ: VA7006
|
|
|
|
ÇÔâÍÅÒ Paolo Vettori ·Ã§ Gasparo Da Sal ¢¹Ò´ 42 «Á.
Top: Old Italian Spruce
Back & Side: Old Italian Maple
Formula Stefanini Varnish
Paolo Vettori was born in Firenzuola in 1945, a small city in the Tosco-Romagnolo Appennini mountains and is the fifth-eldest son of Dario (1903-1973), known as "il liutaio della montagna". He started working in his father's workshop at a very early age. ‘In the 1960s Paolo visited Carlo Bisaich’s violin workshop with his father and was fascinated by the instruments, models, moulds and charisma of the important master. In the 1970s, he moved to Florence, where he was a frequent visitor and observer at the violin workshops of Lapo Casini and Sderci, where he received precious and important advice. When Giuseppe Stefanini moved from Brescia to Florence in 1986, the two craftsmen became acquainted and a deep, long-lasting friendship developed. Paolo acquired various techniques, models for violin-making and formulae for varnishes exclusive to the Bisiach family, with whom Stefanini collaborated closely for many decades. Paolo has already built more than 300 instruments including violins, violas and violoncellos, employing a great variety of models, many of which came from Carlo Bisiach's workshop, acquired in 1997 after the death of Sderci; the very same moulds and tools that had taken his fascination in 1963 in the violin workshop in Via Puccinotti 94, avoiding in this way their dispersion. Paolo's construction technique and style show strong traces of his father's influence, but also of his immense experience acquired over the years. At this time, he works in his workshop in Via della Dogana with his two sons Dario II and Lapo and his daughter Sofia, everyone signing the instruments with their own labels. Together, the family continues to follow the tradition and the great adventure started by "grandfather Dario" in 1935.In 2005 they celebrated 70 years of violin-making
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% |
|
|
|
|
ÇÔâÍÅÒÍÔµÒàÅÕ¹ Stefano Trabucchi ÃØè¹ Personal 2018
ÂÕèËéÍ: Stefano Trabucchi
ÃËÑÊ: VA6000
|
|
|
|
ÇÔâÍÅÒÍÔµÒàÅÕ¹ Stefano Trabucchi ·Ã§ Stradivari ÃØè¹ Personal 2018 ¢¹Ò´ 16 ¹ÔéÇ
á¼è¹Ë¹éҷӨҡʹäÁéÍÔµÒàÅÕ¹
á¼è¹ËÅѧáÅТéÒ§·Ó¨Ò¡äÁé àÁà»ÔéÅá¼è¹à´ÕÂÇ
Êоҹ¹ÔéÇ·Ó¨Ò¡äÁé Madagascar Ebony
¢ÒÃÑ´·ÕèÃͧ¤Ò§·Ó¨Ò¡ÇÑÊ´Øä··Òà¹ÕÂÁ
ªØ´ Fitting (ÅÙ¡ºÔ´, ËÒ§»ÅÒ, ·ÕèÃͧ¤Ò§) ·Ó¨Ò¡äÁéÍÔµÒàÅÕ¹ ºêÍ¡«ìÇÙ´ (Italian Boxwood Darkness & Lightness) à¾×èÍãËéà¡Ô´ÁԵԢͧàÊÕ§·Õè¹ØèÁáÅÐËÇÒ¹
¾ÃéÍÁãºÃѺÃͧ¨Ò¡ªèÒ§ Certificate
Stefano Trabucchi was born on Febbruary 5th, 1970 in Sondrio Italy in a family of musicians. When I was 8 years old I started to play the violin and, since then I’ve been attracted and fascinated by this instrument and consequently by lutherie and its secrets.
That’s the reason why, at 14, I enrolled in the International School of Lutherie “A. Stradivari”, where I graduated in 1988 gaining full marks.
Immediately after the diploma, I integrated in Master Nolli’s workshop where I learned all the tricks of the trade.
As I finished my internship in 1992, I opened my own workshop at Via Bella Rocca14, in the centre of Cremona. Here, by practicing constantly, I’ve improved and perfected my skills, in particular as for the construction of the classical quartet (violin, viola, cello).
I’ve also made some Baroque instruments, such as a pochette (directly inspired by Stradivari’s models) and violas d’amore.
Stradivari’s tradition, its features and models are my main inspiration. In addition to traditional modern instruments, I’ve focused my production on making copies of ancient instruments.
My creations are appreciated worldwide, especially in the USA, Japan, Germany, and Italy of course.
My company is a sole trader and registered at the Craftsmen Register of Cremona Chamber of Commerce.
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 Stefano Trabucchi ·Ã§ Stradivari ÃØè¹ Personalizzato 2023
ÂÕèËéÍ: Stefano Trabucchi
ÃËÑÊ: VN5050
|
|
|
|
äÇâÍÅÔ¹ÍÔµÒàÅÕ¹ Stefano Trabucchi ·Ã§ Stradivari 1715 ÃØè¹ Personalizzato 2023
á¼è¹Ë¹éҷӨҡʹäÁéÍÔµÒàÅÕ¹
á¼è¹ËÅѧáÅТéÒ§·Ó¨Ò¡äÁé àÁà»ÔéÅá¼è¹à´ÕÂÇ
Êоҹ¹ÔéÇ·Ó¨Ò¡äÁé Madagascar Ebony
¾ÃéÍÁãºÃѺÃͧ¨Ò¡ªèÒ§ Certificate
Stefano Trabucchi was born on Febbruary 5th, 1970 in Sondrio Italy in a family of musicians. When I was 8 years old I started to play the violin and, since then I’ve been attracted and fascinated by this instrument and consequently by lutherie and its secrets.
That’s the reason why, at 14, I enrolled in the International School of Lutherie “A. Stradivari”, where I graduated in 1988 gaining full marks.
Immediately after the diploma, I integrated in Master Nolli’s workshop where I learned all the tricks of the trade.
As I finished my internship in 1992, I opened my own workshop at Via Bella Rocca14, in the centre of Cremona. Here, by practicing constantly, I’ve improved and perfected my skills, in particular as for the construction of the classical quartet (violin, viola, cello).
I’ve also made some Baroque instruments, such as a pochette (directly inspired by Stradivari’s models) and violas d’amore.
Stradivari’s tradition, its features and models are my main inspiration. In addition to traditional modern instruments, I’ve focused my production on making copies of ancient instruments.
ÊÔ·¸Ô¾ÔàÈɵÅÍ´ÍÒÂØ¡ÒÃãªé§Ò¹ÊÓËÃѺäÇâÍÅÔ¹·Õè«×é͡Ѻ·Ò§ÃéÒ¹
ÊÁѤÃÊÁÒªÔ¡ ¿ÃÕ! ¾ÃéÍÁºÃÔ¡Òáè͹ áÅÐ ËÅѧ¡ÒâÒ¿ÃÕàªè¹ à»ÅÕè¹ÊÒ àÊÒ«ÒÇ´ìâ¾ÊµìÅéÁ «èÍÁËÂèͧ ¾ÃéÍÁÃѺÊèǹŴ¾ÔàÈÉàÁ×èÍ«×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ ¡ÅèͧäÇâÍÅÔ¹ ÃÇÁ¶Ö§¡ÒÃÊ͹äÇâÍÅÔ¹
|
|
|
|
|
ÇÔâÍÅÒ Villa Marcello copy Amati ¢¹Ò´ 16 ¹ÔéÇ
ÂÕèËéÍ: Villa Marcello
ÃËÑÊ: VA7000
|
|
|
|
ÇÔâÍÅÒ Villa Marcello copy Amati ¢¹Ò´ 16.2 ¹ÔéÇ
Marcello Villa was born in Monza in 1965, and lives and works in Cremona. He began studing the violin when he was twelve, later enrolling in th International School of Violin-making in Cremona.
He graduated in 1983 under the guidance of Giorgio Scolari and Stefano Conia, obtaining the highest possible merit in his final year, a scholarship from the Walter Stauffer Foundation.
Apprenticing in the prestigious shop of Stefano Conia, he was able to broaden his experience and soon began to participate in violin making competitions, receiving his first awards.
Eventually, Marcello Villa was awarded the following prizes:
- finalist in the Poznan Competition (1986)
- gold medal at the Bagnacavallo Young Violinmaker's Competition (1986)
- gold medal at the Baveno Competition (1987)
- gold medal for the quartet presented in the Bagnacavallo Violinmaking Exposition (1990)
- silver medal at the 6th Violinmaking Triennal in Cremona (1991)
- two gold medals for violin and cello in the Bagnacavallo Exposition (1992).
Marcello Villa makes violins, violas and cellos, particularly favouring Stradivarian models.
All instruments have a certificate of authenticity with colour photographs and accurate description of the instrument.
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% |
|
|
|
|
àªÅâÅÍÔµÒàÅÕ¹ Francesco Bissolotti A.D. 2014 Stradivari 1720 Model
ÂÕèËéÍ: Bissolotti Francesco
ÃËÑÊ: VC5002
|
|
|
|
àªÅâÅÍÔµÒàÅÕ¹ Francesco Bissolotti A.D. 2014 Stradivari 1720 Model
Top : Italian spruce
Back & side : Italian maple
Diapason cm.
Manico 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.
ʹã¨Êͺ¶ÒÁÃÒÂÅÐàÍÕ´ÊÔ¹¤éÒáÅÐÊèǹŴ¾ÔàÈÉâ·Ã 082-8246699
ÊÔ·¸Ô¾ÔàÈɵÅÍ´ÍÒÂØ¡ÒÃãªé§Ò¹ÊÓËÃѺàªÅâÅ·Õè«×é͡Ѻ·Ò§ÃéÒ¹
ÊÁѤÃÊÁÒªÔ¡ ¿ÃÕ! ¾ÃéÍÁºÃÔ¡Òáè͹ áÅÐ ËÅѧ¡ÒâÒ¿ÃÕàªè¹ à»ÅÕè¹ÊÒ àÊÒ«ÒÇ´ìâ¾ÊµìÅéÁ «èÍÁËÂèͧ ¾ÃéÍÁÃѺÊèǹŴ¾ÔàÈÉàÁ×èÍ«×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ ¡ÅèͧàªÅâÅ ÃÇÁ¶Ö§¡ÒÃÊ͹àªÅâÅ |
|
|
|
|
àªÅâÅÍÔµÒàÅÕ¹ Paolo Vettori 2011 ÃØè¹ Giuseppe Guarneri I
ÂÕèËéÍ: Paolo Vettori
ÃËÑÊ: VC5000
|
|
|
|
àªÅâÅÍÔµÒàÅÕ¹ Paolo Vettori 2011 ÃØè¹ Giuseppe Guarneri I "filius Andrea" à»ç¹ºÔ´Ò¢Í§ Giuseppe Guarneri "del Gesu"
The Cello name "Torrente Veccione"
ÃÒÂÅÐàÍÕ´¢Í§äÁé
- äÁéá¼è¹Ë¹éҷӨҡʹäÁéÍÔµÒàÅÕ¹à¡èÒÍÒÂØ»ÃÐÁÒ³ 300 »Õ ªèÇ ¤.È. 1725 - 1828
- äÁéá¼è¹ËÅѧáÅТéÒ§·Ó¨Ò¡äÁé àÁà»ÔéÅÍÔµÒàÅÕ¹á¼è¹à´ÕÂǵѴẺ Slap Cut ÍÒÂØ 300 »Õ
- Êоҹ¹ÔéÇ·Ó¨Ò¡äÁé Madagascar Ebony
- äÁé¤Í : äÁéàÁà»ÔéÅÍÔµÒàÅÕ¹¤Ñ´ÍÂèÒ§´Õ ÁÕÅÒÂÊǧÒÁ
- Êоҹ¹ÔéÇ : äÁéáÍ¿Ãԡѹ Ebony
- ªØ´ÅÙ¡ºÔ´·Ó¨Ò¡äÁé Ebony
¾ÃéÍÁãºÃѺÃͧ¨Ò¡ªèÒ§ Certificate & Photo Book
ãºÃѺÃͧäÁé¨Ò¡Ê¶ÒºÑ¹äÁé
ÃÒÂÅÐàÍÕ´¢Í§ÊÕ
- ÇÒ¹Ôª : à»ç¹ª¹Ô´ varnish à»ç¹Êٵâͧ·Ò§µÐ¡ÙŪèÒ§
ÃÒÂÅÐàÍÕ´ÊÑ´ÊèǹµÑÇà¤Ã×èͧ
- ¢¹Ò´ : 4/4
- ¢¹Ò´¤ÇÒÁÂÒÇÅÓµÑÇà¤Ã×èͧ (Body Length) ÁÕ¤ÇÒÁÂÒÇ 75,5 ૹµÔàÁµÃ
- ¢¹Ò´ÅÓµÑǢͧà¤Ã×èͧÊèǹâ¤é§´éÒ¹º¹ (Upper Bout) ÁÕ¢¹Ò´¤ÇÒÁ¡ÇéÒ§ 36 ૹµÔàÁµÃ
- ¢¹Ò´ÅÓµÑǢͧà¤Ã×èͧÊèǹàÇéҵç¡ÅÒ§ (C – Bout) à˹×Í F-Holes ÁÕ¢¹Ò´¤ÇÒÁ¡ÇéÒ§ 24,5 ૹµÔàÁµÃ
- ¢¹Ò´ÅÓµÑǢͧà¤Ã×èͧÊèǹâ¤é§´éÒ¹ÅèÒ§ (Lower Bout) ÁÕ¢¹Ò´¤ÇÒÁ¡ÇéÒ§ 45 ૹµÔàÁµÃ
- ¢¹Ò´¤ÇÒÁÅÖ¡´éÒ¹¢éÒ§¢Í§µÑÇà¤Ã×èͧ ( Depth of Rib) 12 ૹµÔàÁµÃ
- ¢¹Ò´¤ÇÒÁÂÒǢͧÊÒ 69 ૹµÔàÁµÃ
- ËÒ§»ÅÒ·Ó¨Ò¡¾ÅÒʵԡ Akusticus ÍÂèÒ§´Õ ÁÕ fine adjuster ½Ñ§ã¹µÑÇ
The violin maker liutaio in Florence
Paolo Vettori was born in Firenzuola in 1945, a small city in the Tosco-Romagnolo Appennini mountains and is the fifth-eldest son of Dario (1903-1973), known as "il liutaio della montagna". He started working in his father's workshop at a very early age. ‘In the 1960s Paolo visited Carlo Bisaich’s violin workshop with his father and was fascinated by the instruments, models, moulds and charisma of the important master. In the 1970s, he moved to Florence, where he was a frequent visitor and observer at the violin workshops of Lapo Casini and Sderci, where he received precious and important advice. When Giuseppe Stefanini moved from Brescia to Florence in 1986, the two craftsmen became acquainted and a deep, long-lasting friendship developed. Paolo acquired various techniques, models for violin-making and formulae for varnishes exclusive to the Bisiach family, with whom Stefanini collaborated closely for many decades. Paolo has already built more than 300 instruments including violins, violas and violoncellos, employing a great variety of models, many of which came from Carlo Bisiach's workshop, acquired in 1997 after the death of Sderci; the very same moulds and tools that had taken his fascination in 1963 in the violin workshop in Via Puccinotti 94, avoiding in this way their dispersion. Paolo's construction technique and style show strong traces of his father's influence, but also of his immense experience acquired over the years. At this time, he works in his workshop in Via della Dogana with his two sons Dario II and Lapo and his daughter Sofia, everyone signing the instruments with their own labels. Together, the family continues to follow the tradition and the great adventure started by "grandfather Dario" in 1935.In 2005 they celebrated 70 years of violin-making.
ÊÔ·¸Ô¾ÔàÈɵÅÍ´ÍÒÂØ¡ÒÃãªé§Ò¹ÊÓËÃѺàªÅâÅ·Õè«×é͡Ѻ·Ò§ÃéÒ¹
ÊÁѤÃÊÁÒªÔ¡ ¿ÃÕ! ¾ÃéÍÁºÃÔ¡Òáè͹ áÅÐ ËÅѧ¡ÒâÒ¿ÃÕàªè¹ à»ÅÕè¹ÊÒ àÊÒ«ÒÇ´ìâ¾ÊµìÅéÁ «èÍÁËÂèͧ ¾ÃéÍÁÃѺÊèǹŴ¾ÔàÈÉàÁ×èÍ«×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ ¡ÅèͧàªÅâÅ ÃÇÁ¶Ö§¡ÒÃÊ͹àªÅâÅ |
|
|
|
|
àªÅâÅÍÔµÒàÅÕ¹ Paolo Vettori 2013 ÃØè¹ Replica J.B. Guadagnini
ÂÕèËéÍ: Paolo Vettori
ÃËÑÊ: VC5001
|
|
|
|
àªÅâÅÍÔµÒàÅÕ¹ Paolo Vettori 2013 ÃØè¹ Replica J.B. Guadagnini
The cello is made after a J.B. Guadagnini pattern and the Back is in one piece of Willow, the top board is in almost one piece of very old spruce (500 years old), scroll and sides are made in Italian Maple.
Paolo Vettori was born in Firenzuola in 1945, a small city in the Tosco-Romagnolo Appennini mountains and is the fifth-eldest son of Dario (1903-1973), known as "il liutaio della montagna". He started working in his father's workshop at a very early age. ‘In the 1960s Paolo visited Carlo Bisaich’s violin workshop with his father and was fascinated by the instruments, models, moulds and charisma of the important master. In the 1970s, he moved to Florence, where he was a frequent visitor and observer at the violin workshops of Lapo Casini and Sderci, where he received precious and important advice. When Giuseppe Stefanini moved from Brescia to Florence in 1986, the two craftsmen became acquainted and a deep, long-lasting friendship developed. Paolo acquired various techniques, models for violin-making and formulae for varnishes exclusive to the Bisiach family, with whom Stefanini collaborated closely for many decades. Paolo has already built more than 300 instruments including violins, violas and violoncellos, employing a great variety of models, many of which came from Carlo Bisiach's workshop, acquired in 1997 after the death of Sderci; the very same moulds and tools that had taken his fascination in 1963 in the violin workshop in Via Puccinotti 94, avoiding in this way their dispersion. Paolo's construction technique and style show strong traces of his father's influence, but also of his immense experience acquired over the years. At this time, he works in his workshop in Via della Dogana with his two sons Dario II and Lapo and his daughter Sofia, everyone signing the instruments with their own labels. Together, the family continues to follow the tradition and the great adventure started by "grandfather Dario" in 1935.In 2005 they celebrated 70 years of violin-making.
ÊÔ·¸Ô¾ÔàÈɵÅÍ´ÍÒÂØ¡ÒÃãªé§Ò¹ÊÓËÃѺàªÅâÅ·Õè«×é͡Ѻ·Ò§ÃéÒ¹
ÊÁѤÃÊÁÒªÔ¡ ¿ÃÕ! ¾ÃéÍÁºÃÔ¡Òáè͹ áÅÐ ËÅѧ¡ÒâÒ¿ÃÕàªè¹ à»ÅÕè¹ÊÒ àÊÒ«ÒÇ´ìâ¾ÊµìÅéÁ «èÍÁËÂèͧ ¾ÃéÍÁÃѺÊèǹŴ¾ÔàÈÉàÁ×èÍ«×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ ¡ÅèͧàªÅâÅ ÃÇÁ¶Ö§¡ÒÃÊ͹àªÅâÅ |
|
|
|
|
àªÅâÅÍÔµÒàÅÕ¹ Stefano Trabucchi ÃØè¹ Stradivari Ex-Piatti (Personalizzato) 2016
ÂÕèËéÍ: Stefano Trabucchi
ÃËÑÊ: VC5004
|
|
|
|
àªÅâÅÍÔµÒàÅÕ¹ Stefano Trabucchi ÃØè¹ Stradivari Ex-Piatti (Personalizzato) 2016
á¼è¹Ë¹éҷӨҡʹäÁéÍÔµÒàÅÕ¹
á¼è¹ËÅѧáÅТéÒ§·Ó¨Ò¡äÁé àÁà»ÔéÅá¼è¹à´ÕÂÇ
Êоҹ¹ÔéÇ·Ó¨Ò¡äÁé Madagascar Ebony
¾ÃéÍÁãºÃѺÃͧ Certificate ¨Ò¡ªèÒ§
Stefano Trabucchi was born on Febbruary 5th, 1970 in Sondrio Italy in a family of musicians. When I was 8 years old I started to play the violin and, since then I’ve been attracted and fascinated by this instrument and consequently by lutherie and its secrets.
That’s the reason why, at 14, I enrolled in the International School of Lutherie “A. Stradivari”, where I graduated in 1988 gaining full marks.
Immediately after the diploma, I integrated in Master Nolli’s workshop where I learned all the tricks of the trade.
As I finished my internship in 1992, I opened my own workshop at Via Bella Rocca14, in the centre of Cremona. Here, by practicing constantly, I’ve improved and perfected my skills, in particular as for the construction of the classical quartet (violin, viola, cello).
I’ve also made some Baroque instruments, such as a pochette (directly inspired by Stradivari’s models) and violas d’amore.
Stradivari’s tradition, its features and models are my main inspiration. In addition to traditional modern instruments, I’ve focused my production on making copies of ancient instruments.
My creations are appreciated worldwide, especially in the USA, Japan, Germany, and Italy of course.
My company is a sole trader and registered at the Craftsmen Register of Cremona Chamber of Commerce.
Since 2010, I’m the Luthiers’ group leader of Cremona Confartigianato (it’s the confederation of the Italian craftsmen), and vice president of this association
ʹã¨Êͺ¶ÒÁÃÒÂÅÐàÍÕ´ÊÔ¹¤éÒáÅÐÊèǹŴ¾ÔàÈÉâ·Ã 082-8246699
ÊÔ·¸Ô¾ÔàÈɵÅÍ´ÍÒÂØ¡ÒÃãªé§Ò¹ÊÓËÃѺàªÅâÅ·Õè«×é͡Ѻ·Ò§ÃéÒ¹
ÊÁѤÃÊÁÒªÔ¡ ¿ÃÕ! ¾ÃéÍÁºÃÔ¡Òáè͹ áÅÐ ËÅѧ¡ÒâÒ¿ÃÕàªè¹ à»ÅÕè¹ÊÒ àÊÒ«ÒÇ´ìâ¾ÊµìÅéÁ «èÍÁËÂèͧ ¾ÃéÍÁÃѺÊèǹŴ¾ÔàÈÉàÁ×èÍ«×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ ¡ÅèͧàªÅâÅ ÃÇÁ¶Ö§¡ÒÃÊ͹àªÅâÅ |
|
|
|
|
àªÅâÅÍÔµÒÅÕ Stefano Trabucchi ÃØè¹ Stradivari Ex-Piatti (Personalizzato) 2021
ÂÕèËéÍ: Stefano Trabucchi
ÃËÑÊ: VC5005
|
|
|
|
àªÅâÅÍÔµÒÅÕ Stefano Trabucchi ÃØè¹ Stradivari Ex-Piatti (Personalizzato) 2021 Limited Edition of Trabucchi for PVGIM. ʶҺѹ´¹µÃÕ¡ÑÅÂÒ³ÔÇѲ¹Ò No.1 with special woods
á¼è¹Ë¹éҷӨҡʹäÁéÍÔµÒàÅÕ¹
á¼è¹ËÅѧáÅТéÒ§·Ó¨Ò¡äÁé àÁà»ÔéÅá¼è¹à´ÕÂÇ
Êоҹ¹ÔéÇ·Ó¨Ò¡äÁé Madagascar Ebony
¾ÃéÍÁãºÃѺÃͧ Certificate ¨Ò¡ªèÒ§
Stefano Trabucchi was born on Febbruary 5th, 1970 in Sondrio Italy in a family of musicians. When I was 8 years old I started to play the violin and, since then I’ve been attracted and fascinated by this instrument and consequently by lutherie and its secrets.
That’s the reason why, at 14, I enrolled in the International School of Lutherie “A. Stradivari”, where I graduated in 1988 gaining full marks.
Immediately after the diploma, I integrated in Master Nolli’s workshop where I learned all the tricks of the trade.
As I finished my internship in 1992, I opened my own workshop at Via Bella Rocca14, in the centre of Cremona. Here, by practicing constantly, I’ve improved and perfected my skills, in particular as for the construction of the classical quartet (violin, viola, cello).
I’ve also made some Baroque instruments, such as a pochette (directly inspired by Stradivari’s models) and violas d’amore.
Stradivari’s tradition, its features and models are my main inspiration. In addition to traditional modern instruments, I’ve focused my production on making copies of ancient instruments.
My creations are appreciated worldwide, especially in the USA, Japan, Germany, and Italy of course.
My company is a sole trader and registered at the Craftsmen Register of Cremona Chamber of Commerce.
Since 2010, I’m the Luthiers’ group leader of Cremona Confartigianato (it’s the confederation of the Italian craftsmen), and vice president of this association
ʹã¨Êͺ¶ÒÁÃÒÂÅÐàÍÕ´ÊÔ¹¤éÒáÅÐÊèǹŴ¾ÔàÈÉâ·Ã 082-8246699
ÊÔ·¸Ô¾ÔàÈɵÅÍ´ÍÒÂØ¡ÒÃãªé§Ò¹ÊÓËÃѺàªÅâÅ·Õè«×é͡Ѻ·Ò§ÃéÒ¹
ÊÁѤÃÊÁÒªÔ¡ ¿ÃÕ! ¾ÃéÍÁºÃÔ¡Òáè͹ áÅÐ ËÅѧ¡ÒâÒ¿ÃÕàªè¹ à»ÅÕè¹ÊÒ àÊÒ«ÒÇ´ìâ¾ÊµìÅéÁ «èÍÁËÂèͧ ¾ÃéÍÁÃѺÊèǹŴ¾ÔàÈÉàÁ×èÍ«×éÍÍØ»¡Ã³ì ÍÐäËÅè ÊÒ ¡ÅèͧàªÅâÅ ÃÇÁ¶Ö§¡ÒÃÊ͹àªÅâÅ |
|
|
|
|
