Autore: buccellefineviolins

Dalla seconda metà del Settecento la viola contralto è diventata la scelta preferita di molti musicisti. Spesso i violinisti si trovavano a ricoprire anche la parte della viola: per questo cercavano strumenti agili, maneggevoli e accessibili, perfetti per affrontare prove e spettacoli senza rinunciare alla qualità.

In parallelo, il ruolo della viola nelle composizioni si stava evolvendo: le parti diventavano sempre più raffinate e tecnicamente impegnative, rendendo il formato ridotto ancora più apprezzato.

È in questo contesto che Giovanni Battista Guadagnini decise di creare un nuovo modello di viola. Il suo disegno si distingue nettamente dalle viole del periodo di Parma: pur mostrando l’influenza della tradizione stradivariana, se ne discosta con originalità, rivelando tutta la sua capacità di innovare.

Su queste basi ho realizzato la mia viola, ispirata al modello Guadagnini, cercando di sintetizzare le caratteristiche che rendono questo strumento un capolavoro di equilibrio tra storia e modernità.

🎻 Vuoi ascoltarne la voce dal vivo e provarla con le tue mani?
Ti aspetto a Cremona Musica, dal 26 al 28 settembre, stand 103bis.

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From Tradition to Innovation: My Guadagnini Model Viola

From the second half of the 18th century, the contralto viola became the preferred choice of many musicians. Violinists were often asked to cover the viola part as well, which is why they sought instruments that were lightweight, easy to handle, and accessible—perfect for rehearsals and performances without compromising on sound quality.

At the same time, the viola’s role in compositions was evolving: parts were becoming increasingly refined and technically demanding, making the smaller format even more desirable.

It was in this context that Giovanni Battista Guadagnini designed a new model of viola. His work stands out clearly from the instruments of his Parma period: while acknowledging the Stradivarian contralto tradition, Guadagnini’s design breaks away with originality, showcasing his remarkable ability to innovate.

Building on this legacy, I created my own Guadagnini-inspired viola, aiming to capture the essence of this unique model—an instrument that strikes the perfect balance between history and modernity.

🎻 Would you like to hear its voice live and try it yourself?
Come and meet me at Cremona Musica, from September 26 to 28, stand 103bis.

As we approach Cremona Musica 2025, I’m excited to share a behind-the-scenes look at three violins currently on my bench. Each one is inspired by a legendary master — Stradivari, Guarneri del Gesù, and Guadagnini — and each is captured here in a different stage of the varnishing process.

1. A. Stradivari – P Form (Left)

This violin is currently undergoing work on the varnish patina, a crucial step where depth and texture begin to emerge. The patina helps develop a sense of age, warmth, and complexity in the final finish — all while respecting the character of the original form.

2. Guarneri del Gesù “Lord Wilton” 1742 (Center)

For this model, the ground layer is complete and the instrument is now ready for its first coat of varnish. The ground plays a fundamental role in enhancing both the tonal response and the aesthetic depth of the violin.

3. G.B. Guadagnini “Berta” (Right)

This violin has just been prepared for the UV box and ground application. At this stage, the wood has been carefully sealed and is ready to begin the transformation that brings out its natural beauty and resonance.

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These three instruments represent different voices and traditions of classical violin making. Each one is built entirely by hand, with attention to historical accuracy, tonal quality, and aesthetic detail.

I look forward to presenting them in person at Cremona Musica 2025 — a celebration of craftsmanship, music, and the enduring legacy of Italian lutherie.

Stay tuned for more updates as the work progresses!

Some details of my latest work. For me this is a very interesting viola 40 cm of back lenght, but with a very rich sound

Some months ago I have started a new project with my friend and colleague Valentino Natolini. We live and work far away from each other, but we decideted to create in parallel the same violin. We decided to make a copy of Del Gesù Heifetz. We studied on specialized book, we daily made phone calls and video calls to define all details.

I also made a special varnish: homemade oil varnish. Here you can find some pictures of my new violin. I am happy and satisfied about the final result.

Non vedo l’ora di incontravi allo stand 186 di Cremona Musica per farvi vedere i miei nuovi strumenti.  E’ sempre un piacere passare 3 giorni insieme a colleghi liutai di Cremona e di tutto il mondo, ma anche con musicisti e appassionati di strumenti ad arco.