My philosophy

I tried to think to what this profession could represent to me, and spontaneously I made an association to that marvellous story Collodi told once and now pays hounour to the Italian people. I like to think about Master Geppetto as Immagination's most renowned luthier, and Pinocchio as the most accomplished among the instruments. That great artisan succeded in getting out from a piece of wood something with the gift of speech. It may look like an hazard but this should be the feeling luthiers must long for while creating the instrument, and more they must succed in handing it down to a musician when the last will catch up with her or his missing voice.

 

My starting point is the fact the a singer and a player do differ only in the means of expression. People playing instruments, unlike singers, must use something that can work as a substitute to one's own voice, the source of sound. What is basical is not what can substitute the voice, in fact that is the inner need of making music. The  choice of the instrument depends only on private inclinations or experiences. One should consider her or his own instrument as an extension of the body, as the intimate part which, when added to all the rest, is used to play the inner music .

Whoever comes into contact with a luthier takes a jump back into past times. It is descovering the patient rhythms of an old job, in which even if modern technology is adopted, the artisan is still on the foreground, overwhelmed by the raw stuff only: wood. The "other one's own voice" should come out from this reality.

 

One should have the feeling, both mystic and poetic, that she or he is in search of an "object" hanging between its sensible physical reality and the impalpability of the sound  coming out of it, and should grasp the strong feeling of beeing in the place where the missing part of one's own music is descovered: a kind of magic.

 

 

"Stradivari was not the depositary or the founder of some particular secret. The insistence on such a superficial and restricted vision of his personality and of his work, is, moreover, like cutting down his value and shrinking it to an empric, maybe lucky, maker. He was Stradivari because in his creations genius, mathematical knowledge and the nature, joined to a deep capacity of thought and research, artistic sensibility, outstanding craftmanship, experience and tradition happily cooccured and summed up ."

 

These are the ending words of the book "The secrets of Stradivari" by the great Simone Sacconi (one who restored threeundered and fifty of Stradivari's), words that my Master Mario Novelli keeps on quoting to me. This is the truth on the secret of Stradivari and on those of all artists: the gift of being excellently able in comunicating their ego to the others, by means of the sublime instrument of art, and in this case the art of guitar - making.

 

 A guitar. A story behind an instrument, a man and his inner world, it is the added value belonging only to a piece of craftmaship. But also the humbleness not to compel players to one sound and realizing that there is a musician and his or her own interpretation. That's why players have the need to understand what instrument they are more keen to. There is not an absolutely best instrument, in fact there is the right instrument, the one that can best enhance the power of expression of the single player.

 

I feel, after a piece of work is finished, that I have created an object that can talk. Likewise Master Geppetto I feel I have given life to pieces of wood. And even if the final result is not always that masterpiece you always struggle for, I feel as much affection for it as a father for a child.