Building
Creation of violins, violas and cellos, in both modern and baroque setup. The instruments are inspired by the great historical models of the 18th-century Venetian and Cremonese schools, made in modern style or as faithful copies.
Building
and restoration
of violins, violas
and cellos
Wood is alive.
And a wooden instrument
is not merely alive:
it also have a soul.
A soul, which speaks
with the voice of music.
Listening to wood through touch, capturing its scent and caressing its curves until you sense its secret life.
There is a subtle harmony in the flow of proportions of a bowed string instrument, the geometric quest for a shape that becomes elegance. But the true magic is revealed when that shape finds its voice: a unique, vibrant sound, capable of releasing deep, timeless emotions.
Building and restoring is, for me, the way of living this passion. A path made of patience, study and constant experimentation, to preserve and grow an age-old art that still today enchants the world with its mysterious charm.
About me
Alberto
Cassutti
I learned the art of violin making through two parallel and complementary paths: practical training in the workshop of Giovanni Lazzaro in Padua, and studies at the Violin Making School of Parma, led by Maestro Renato Scrollavezza, where I graduated in 2004.
In 2006 I moved to London, where I worked at prestigious workshops such as Bridgewood & Neitzert and Florian Leonhard Fine Violins, specializing in the most refined restoration techniques. I constantly broadened my technical knowledge through advanced courses with internationally renowned professionals — including Guy Rabut, Hans J. Nebel, Andrea Ortona, Iris Carr, Gudrun Kremeier, George Stoppani, Claudia Fritz and Pierre Flavetta — refining crucial skills in setup, varnish retouching, acoustics and innovative restoration methods.
Meeting Maestro Franco Simeoni marked a profound personal and artistic growth: he gave me the confidence needed to build with ease and freedom, teaching me deep respect for every instrument and for its maker, each the guardian of a unique expression.
A turning point in my career came in the summer of 2019 at the 10th International Violin Making Competition of Sesto Fiorentino, where I received three prestigious awards: First Prize for the antiqued violin, Second Prize for the antiqued viola, and the Special “Greatest Personality” Prize. This success opened the doors to the international market, allowing me to export my instruments worldwide, from Europe to America, all the way to Australia, China and Japan. Among the most rewarding collaborations, I proudly recall building the violin for the overall winner of the 20th “Andrea Postacchini” Violin Competition in Fermo, awarded to the talented New Zealand violinist Amalia Hall.
The restoration of fine antique Italian instruments is, for me, the main inspiration for creating new instruments in the antiqued style. Making faithful copies of the great classics of 18th-century Cremonese violin making is a daily exercise, fueled by constant dialogue with expert copyists of the caliber of Gábor Draskóczy and Philip Ihle, which satisfies my ongoing desire for acoustic and aesthetic research and refinement.
I firmly believe that dialogue and synergy among colleagues are vital to the evolution of this craft. This is why I actively take part in collective building and research projects. In 2023, together with Francesco Piasentini and Damien Sainmont, we carried out the initiative “A Violin for Tartini”, a project focused on the study of the baroque instrument and the composer Giuseppe Tartini, which led to the creation of two baroque violins. Internationally, I took part in the “Guarneri Project” organized by the French association ALADFI, collaborating with about twenty European violin makers on a bench copy of the famous 1739 “Guarneri - Ex Ebersolt - Ex Menuhin” violin, an experience that combined aesthetic analysis with comparative acoustic study of the original.
Workshop
Restoration
Interventions on antique instruments aimed at preserving their philological integrity and originality, while optimizing acoustic response and playing comfort. The work combines traditional fine violin making with the use of cutting-edge techniques such as micro-computed tomography (Micro-CT) and CNC technology.
Setup, Adjustment
and Instrument Care
Careful services to ensure maximum mechanical efficiency and the best sound performance of the instrument:
- Acoustic adjustment and personalized set-up.
- Instrument cleaning.
- Varnish retouching and restoration.
Bow Care
Specialized maintenance for the bow:
- General bow maintenance (leather grip, winding, etc.).
- Bow crack repair.
New instruments
Building:
The Birth
of a Voice
Every instrument has its own story and a unique voice. Starting a new build means setting off on an unpredictable journey, one that, as it unfolds, enchants and completely absorbs me, guided by the constant pursuit of superior acoustics and captivating aesthetics.
To give soul to my creations, I rely on the rigorous study of the great Italian tradition. I use Venetian and classic Cremonese models, closely analyzing the curves, style and proportions that characterize the great masters of the 17th and 18th centuries. Grasping the secrets of the past is the solid foundation on which I build my daily research, giving life to contemporary instruments and to antiqued-style copies of classic makers.
Restoration
Between
History
and Innovation
The deep fascination of restoration lies, for me, in an extraordinary contrast: the noble antiquity of the instrument I hold in my hands and the modernity of the techniques and materials I use today to care for it.
I approach every restoration with the utmost respect and one absolute priority: preserving the instrument’s originality. Working on a piece from the past means safeguarding its history, preserving every single acoustic and aesthetic detail conceived by its maker.
To do this, I combine artisanal care with innovative methods including the use of micro-computed tomography, three-dimensional scanning and computer numerical control (CNC) machines. This approach is the result of a path of continuous advanced training and constant, valuable dialogue with esteemed international colleagues, allowing me to guarantee the utmost precision in every intervention, in full respect of the original material.
