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I miei maestri

Stefano Conia

Stefano Conia nasce in Ungheria il 10.01.1946, da giovanissimo inizia gli studi di violino e comincia ad interessarsi alla costruzione di strumenti sull'esempio del padre, diplomato alla Scuola di Liuteria di Cremona. Dopo aver completato gli studi del liceo e di violino, nel suo paese d’origine, si trasferisce in Italia, frequenta dal 1968 al 1972 la Scuola Int. di Cremona e si diploma sotto la guida dei Maestri Sgarabotto, Morassi e Bissolotti. Insegnante di Scuola di Liuteria di Cremona per piu' di venti anni , prima in qualità di M° Esperto di Verniciatura e Restauro, in seguito di costruzione. All’interno del suo laboratorio, situato nel cuore di Cremona, costruisce i suoi strumenti ispirandosi ai modelli dei grandi Classici e, nel contempo, cimentandosi nella realizzazione di vari modelli personali. Per la costruzione dei suoi strumenti utilizza legni accuratamente scelti e ben stagionati, le linee e le bombature sono classiche, la vernice intensa. Ogni pezzo, accuratamente controllato ed acusticamente perfezionato, è corredato di certificato di originalita’ e di garanzia. Numerosi sono i premi da lui ottenuti in concorsi nazionali ed internazionali, oggi i suoi strumenti sono conosciuti ed apprezzati in tutto il mondo. E' membro e fondatore dell'Associazione Liutaria Italiana (ALI ) ed Europea (AEL). Notizie piu' dettagliate sul suo operato si possono trovare su: Strad Magazine 1976-77-78, “La bottega dei miracoli" Ed. Stradivari 1982, Liutai Italiani di Ieri e di Oggi, Arte Liutaria di GioBatta Morassi 1984 ed anno 2000, Dictionnaire universel des Luthiers 1985, Lütgendorf : Die Geigen und Lautenmacher 1990, Liutai Professionisti A.L.I. 1994 e 2000, Liutai Cremonesi di Fine 1900 di Yasuno Toshitake. http://www.stefanoconia.com/

Giorgio Scolari

Biography and artistic personality Giorgio Scolari was born in Casalbuttano, in the province of Cremona, on 5 January 1952, and lives and develops his activity as a master violin-maker in via Virgilio n. 1, in Cremona. He attended the International School for Violin Makers in Cremona (IPIALL), where he earned his Diploma in 1970. He was a pupil of Pietro Sgarabotto and Gio Batta Morassi, the one and the other featuring amongst the protagonists of the renaissance of violin-making in Cremona. From 1970 to 1976, Giorgio Scolari worked in Morassi’s workshop in Via Mantova; later he opened his own laboratory in via Trecchi. At present he works, together with his brother Daniele, in their new laboratory in via Virgilio, and is constantly researching new forms, more broadly sonorous, and mastering the technology of wood and the chemistry of varnishes. From 1974 onwards he has been a teacher in the laboratory in the school where he was an attentive and conscientious pupil, where he is also assistant headmaster. He has studied piano and organ and directs choral groups and instrumental ones; he also directs the orchestra of the International School. His production is inspired by the great Cremonese masters of the past, using Amati, Stradivari and Guarneri as models along with his own, and principally his own, models. Each instrument he constructs is the object of careful research and specific evaluation as far as choosing the wood, the cut and the sculpting are concerned, with particular care taken over the thicknesses of the sound boxes and backs, in search of maximum acoustic values. His varnish, produced in his own laboratory, is brilliant, soft and transparent, orange-gold in colour with a yellow undercoat, that evidences the marbling of the maple-wood and the veining of the sound box and is made up of essences and resins that are wholly natural. The instruments that the master violin maker Scolari constructs are mainly violins, violas and cellos, devoting his efforts, upon request, to other string instruments such as double-basses, leg-held violas, guitars, lutes and so on. He also devotes his time to repair-work, with specific competence, of any bow instrument. His workshop, sited in the historical centre of Cremona, is the destination for many pupils of violin-making and many musicians to whom he dedicates some of his time, not begrudging advice on the art of violin construction, in an open-hearted rapport that is rich in human facets... http://www.associazioneali.it/index.php?option=content&task=view&id=68&Itemid=27