Daniele Tonarelli https://violintonarelli.com/en/ Master Violin Maker Mon, 26 Feb 2024 20:59:27 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.1 https://violintonarelli.com/wp-content/uploads/2022/02/logo-daniele-tonarelli-100x100.png Daniele Tonarelli https://violintonarelli.com/en/ 32 32 My line of Student Instruments https://violintonarelli.com/en/non-categorizzato/my-line-of-student-instruments/ Sat, 26 Mar 2022 10:54:30 +0000 http://violintonarelli.com/?p=425 I receive requests for violins, violas and cellos from musicians, students and amateurs who need high-quality instruments on a limited budget. For many years now, my workshop has been producing a line of lower priced student instruments that are made from quality materials and maintain the high level of handcrafted instruments following the traditional Cremonese method. A team of [...]

L'articolo My line of Student Instruments proviene da Daniele Tonarelli.

]]> I receive requests for violins, violas and cellos from musicians, students and amateurs who need high-quality instruments on a limited budget. For many years now, my workshop has been producing a line of lower priced student instruments that are made from quality materials and maintain the high level of handcrafted instruments following the traditional Cremonese method. A team of selected artisans, who are also knowledgeable about classical music, make these instruments in my workshop in Cremona. I monitor their work during the entire process – from the wood selection to the final set-up – to ensure they meet my workmanship and quality standards. The wood used to make the Tonarelli da Studio line is aged for a minimum of ten years.

The choice of violin

The student line of instruments allows students and amateur musicians to purchase less expensive violins – albeit of good quality and aesthetically beautiful – than those made by me. Buying a high quality violin, viola or cello means investing in an instrument that can withstand the test of time and maintains its value. I am proud to say that my instruments meet these expectations. The quality is established by the accuracy of the construction, which is visible on the exterior of the instrument in the beauty of the finishing – the purfling, scroll carving, f-holes and varnish. To understand the quality of the interior of the instrument, the potential buyer need only listen to the sound. Instruments usually improve over time, but well-made instruments produce a fine sound from the very beginning. A musician should consider two other factors when purchasing an instrument: the comfort of the neck and fingerboard and the ease of sound emission. For my line of instruments I have chosen the models of the great masters of the classical Cremonese school such as Amati, Stradivari and Guarnieri, while maintaining my own personal touch.

L'articolo My line of Student Instruments proviene da Daniele Tonarelli.

]]> The violin setup and the resulting sound: experience is everything https://violintonarelli.com/en/non-categorizzato/the-violin-setup-and-the-resulting-sound-experience-is-everything/ Sat, 26 Mar 2022 09:59:23 +0000 http://violintonarelli.com/?p=411 The setup of the instrument for classical music is the final stage of the construction process. It may be considered as one of the most important stages as it involves complex procedures aimed at getting all the parts of the instrument to work together as a cohesive whole; if carried out correctly, it exalts all of the work performed in the previous stages. The [...]

L'articolo The violin setup and the resulting sound: experience is everything proviene da Daniele Tonarelli.

]]> The setup of the instrument for classical music is the final stage of the construction process. It may be considered as one of the most important stages as it involves complex procedures aimed at getting all the parts of the instrument to work together as a cohesive whole; if carried out correctly, it exalts all of the work performed in the previous stages. The setup includes finishing the neck and fingerboard; cutting and fitting the bridge; and positioning the soundpost. These operations can only be executed to perfection by a master violin maker, one who has honed his craft after years of practice and experience.

The finishing of the neck

In addition to aesthetic factors, potential customers also need to consider the feel of the neck before purchasing a violin. Does it feel comfortable? Does it allow the hand to easily glide from one position to the next? The skill and knowledge an experienced violin maker uses to finish the neck can ensure that its form, width and texture are able to satisfy the demands of a musician when he picks up the instrument and begins to play.

The soundpost and the bridge

The bridge transmits vibrations from the strings to the top and back of the violin, viola or cello. The shape and the thickness of the bridge greatly influence the sound and it must be carved so it enhances the sonorous qualities of the instrument; in addition, the feet must be adapted so that they perfectly conform to the shape of the belly. Before cutting the bridge, the soundpost must be fitted and positioned inside the instrument. The procedure requires both artisanal knowledge and workmanship to execute perfectly. The dowel shaped soundpost is in spruce. It is positioned inside the soundbox and held in place by the pressure of the strings – no glue is used. A special tool is used to insert the soundpost inside the body through the f-holes. Only expert violin makers have the skill to position the soundpost between the top and the back of the violin, fitting it to perfection. To find that special sound, the skilled maker moves the soundpost in various directions with respect to the bridge and the centreline. The soundpost is the heart of the violin, viola and cello. If it has been positioned correctly the instruments come to life.

L'articolo The violin setup and the resulting sound: experience is everything proviene da Daniele Tonarelli.

]]> The Secret Recipes of the Varnish https://violintonarelli.com/en/non-categorizzato/the-secret-recipes-of-the-varnish/ Sat, 26 Mar 2022 09:57:42 +0000 http://violintonarelli.com/?p=417 Varnishing musical instruments to be used in classical music is an important and delicate process. The varnish protects the wood and the combination of substances used for the varnish must maintain the elasticity of the wood in order to enhance the acoustic properties of the instrument. After having acquired the basic notions of varnishes for violins, violas and [...]

L'articolo The Secret Recipes of the Varnish proviene da Daniele Tonarelli.

]]> Varnishing musical instruments to be used in classical music is an important and delicate process. The varnish protects the wood and the combination of substances used for the varnish must maintain the elasticity of the wood in order to enhance the acoustic properties of the instrument. After having acquired the basic notions of varnishes for violins, violas and cellos, makers usually go on to create their own recipe. This is not only a question of adding the precise quantities of resin to a given mixture; the maker must also know how to evaluate the many factors and conditions that are involved in the process. Every maker has his own varnish recipe and this may account for the usage of the word “secret” when referring to varnish. Stradivari, for example, managed to create secret recipes containing rare ingredients, the details of which are still unknown.
In keeping with the methods used by classical Cremonese makers, I prepare two types of varnish: one is oil-based, the other alcohol-based. The varnish I use depends on the final result I want to achieve.

Wood and varnish preparation

Before varnishing the instrument, the wood – being a living material – must be properly treated. To allow a violin under construction to have just the right amount of varnish absorption in the wood, a sealer must be applied. The sealer also plays an important role in terms of aesthetics and acoustics, and for this reason I use natural substances.

The preparation of the varnish mixture is complex and involves selecting a few resins amongst the hundreds of varieties present in nature. I prefer using the highest quality natural resins such as shellac, juniper, mastic and others for alcohol-based varnishes. For linseed oil based varnishes, I use amber or rosin as the extreme elasticity of linseed perfectly complements the brittleness of amber and rosin. When the two resins are melted at high temperatures and cooked for the required times, the resulting varnish protects and enhances the underlying wood.

L'articolo The Secret Recipes of the Varnish proviene da Daniele Tonarelli.

]]> The Classical Cremonese School, a UNESCO heritage. https://violintonarelli.com/en/blog-en/the-classical-cremonese-school-a-unesco-heritage/ Sat, 26 Mar 2022 09:55:06 +0000 http://violintonarelli.com/non-categorizzato/la-scuola-classica-cremonese-patrimonio-dellunesco/ Protected by the Stradivari Luthiers Consortium, which issues a certificate of origin with a SIAE stamp, endorsed by the Italian Luthier Association and UNESCO, the classical Cremonese school in the art of building violins, violas, and cellos, is the most famous in the world since the 16th century, and over the years, it has reached [...]

L'articolo The Classical Cremonese School, a UNESCO heritage. proviene da Daniele Tonarelli.

]]> Protected by the Stradivari Luthiers Consortium, which issues a certificate of origin with a SIAE stamp, endorsed by the Italian Luthier Association and UNESCO, the classical Cremonese school in the art of building violins, violas, and cellos, is the most famous in the world since the 16th century, and over the years, it has reached a very high level of technique and style, continually evolving in the pursuit of absolute perfection. The strictly artisanal technique of building what is called the “classical form” of the violin, or also the “internal form,” is such that two violins can never exist exactly alike.

The Violin Model and Its Construction

For the choice of the violin model to inspire me, I have always favored the works of the great luthier masters of Cremonese history, the historical Andrea Amati, Antonio Stradivari, and Guarneri del Gesù, and more recently, also the bowed instruments of luthiers like Giovanni Battista Guadagnini, are for me a source of inspiration following the demand of numerous clients. Once the instrument to follow is defined, the next fundamental step is the choice of wood to work with for the construction; the essence of wood – mainly the Balkan maple figured for building the back, sides, and neck, and the red spruce from Val di Fiemme for the soundboard – must meet specific requirements, primarily possessing characteristics similar to the antique instrument that inspires me. All stages of instrument construction require a lot of time and precision; wood is a living material and requires skilled and patient treatment. From the arching of the back and soundboard to their thicknesses, each step is studied to achieve the best acoustic result.

My Personal Touch

Despite the inspiration coming from tradition, there is a part of the violins, violas, and cellos that allows me, and all artisan luthiers, to express their creativity in stringed instrument construction, and that is the neck, which is ornamented at the top by the carving of the scroll. The scroll sculpture is the luthier’s personal imprint on the instrument, following the builder’s personal tastes and leaving room for the creative flair of us Cremonese luthiers. I thus draw inspiration from historical masters, but in this part, I can always leave my signature.

L'articolo The Classical Cremonese School, a UNESCO heritage. proviene da Daniele Tonarelli.

]]> My Violin Wood: Balkan Maple and Italian Red Spruce https://violintonarelli.com/en/non-categorizzato/my-violin-wood-balkan-maple-and-italian-red-spruce/ Sat, 26 Mar 2022 09:51:51 +0000 http://violintonarelli.com/?p=405 The acoustics of any string instrument lies primarily in the material with which it is made. The classical Cremonese masters, since the time of the great Andrea Amati, deemed the best woods to be flamed Balkan maple for the back, ribs and neck, and red spruce from the Dolomites for the belly. The masters’ experience, handed down and refined over the centuries, has [...]

L'articolo My Violin Wood: Balkan Maple and Italian Red Spruce proviene da Daniele Tonarelli.

]]> The acoustics of any string instrument lies primarily in the material with which it is made. The classical Cremonese masters, since the time of the great Andrea Amati, deemed the best woods to be flamed Balkan maple for the back, ribs and neck, and red spruce from the Dolomites for the belly. The masters’ experience, handed down and refined over the centuries, has established the best types of wood to utilise. As I am a Cremonese violin maker, I continue this tradition.

The beauty and the elegance of the maple

In terms of aesthetics, maple is characterised by its typical flame, which may be more or less pronounced. This figured wood is very much sought-after for refined works because it is partly responsible for the beauty of the back, ribs and neck of the instrument, in this case of the violin and its family.

The wood is soft, making it easy for violin makers to carve and sculpt. Maple can be plain or figured with flames or bird’s eye. The tree can grow to great heights; 120 species exist, 6 of which are in Italy. However, the one preferred by luthiers comes from the Balkans due to its sound qualities. The wood I use on my instruments is aged for at least twelve years. That is why I write down the year of purchase on every piece of wood I acquire.

The great sound quality of Italian red spruce

Until now red spruce has had no rivals in terms of wood for high quality instruments. The vibrations of the belly in red spruce are ideal and are unmatched by other qualities of wood. This sonorous wood, chosen for the tops of violins, violas, cellos and other string instruments used to perform classical music, features unique qualities such as elasticity and resistance to continuous strain. Red spruce trees can be up to 40 metres high; for making violins, the red spruce of Val di Fiemme is preferred. Rumour has it that Stradivari used to wander on his own in the so-called Violin Forest – namely the Panaveggio Woods in Val di Fiemme – in search of the most suitable trees: the centuries-old red spruce with fine and perfectly concentric growth rings, and lacking in knots.

L'articolo My Violin Wood: Balkan Maple and Italian Red Spruce proviene da Daniele Tonarelli.

]]> Who I am https://violintonarelli.com/en/non-categorizzato/who-i-am/ Sat, 26 Mar 2022 09:46:46 +0000 http://violintonarelli.com/?p=399 I was born in Cremona in 1976, the home of lute–making art since 16th century. It is a city rich in traditions and old craft workshops where technique, skills and studies have been handed down from father to son. It is the Cremona of Antonio Stradivari and Andrea Amati. My true calling has always been to become a master luter, so I attended The [...]

L'articolo Who I am proviene da Daniele Tonarelli.

]]> I was born in Cremona in 1976, the home of lute–making art since 16th century. It is a city rich in traditions and old craft workshops where technique, skills and studies have been handed down from father to son. It is the Cremona of Antonio Stradivari and Andrea Amati.

My true calling has always been to become a master luter, so I attended The International School of Violin-making “Antonio Stradivari” – which hosts students from all over the world – where I got a full professional training in this art. I graduated in 1994 with the help of my mentor Master Giorgio Scolari and during the following three years I dedicated myself to the improvement of my techniques in violin making, following the classical Cremona method in the workshop of Master Marco Nolli. After that, I participated in several contests in Baveno, Bagnacavallo and Moscow, receiving Distinctions and Recognitions; acknowledgements that are fundamental in this profession if you want your craftsmanship acknowledged both in Italy and abroad.

My profession today

This 2017 I am celebrating my 20 years of activity. So far I have obtained the following specializations: making of violins, violas, cellos and double basses; fixing and restoration; estimates. My passion for classical music and my great interest in these instruments have spurred me to more experimentation on sound and working techniques. I am proud to say that this specific art, so much typical of Cremona, has been UNESCO Intangible Cultural Heritage since 5th December 2012. It is actually a crafts tradition that leads to the construction of unique musical instruments appreciated worldwide. They are immediately recognized thanks to their particular shape, which is considered to be the most suitable and adequate not only to improve the acoustic and style characteristics of the instrument, but also to allow lute makers to freely interpret.

L'articolo Who I am proviene da Daniele Tonarelli.

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