The aim of “Liuteria Scarli” by Emanuele Fabio Fortunato, is to revalue the historical
patrimony of italian stringed instruments making especially the Neapolitan, the Cremonese and the Bolognese one, starting from ‘700 to ‘900; it makes violins, violas, cellos, bassesinspired by instrument models worked by Italian famous stringed instruments makers of the past from Gagliano, Stradivari, Guarneri up to Fiorini, Sannino, Poggi, etc.. All the instruments made in a workshop have origin after research works and recordings carried out on original instruments kept in private precious collections and Italian academies of music that let us go back to the shapes, thicknesses and varnishes used during the best period of the Italian stringed instruments makers: “the Eighteenth Century”.
Liuteria Scarli’s production includes two types of instruments:
- those by master-makers of stringed instruments produced in their own workshop characterized by a typical Apulian bright amber yellow varnish;
- those by master-makers of stringed instruments coming from different Italian towns and produced for “Liuteria Scarli” who follow their own town’s tradition: “Bolognese, Cremonese, Neapolitan” , etc…
The “Liuteria Scarli” works together with Italian important stringed instruments makers and with Italian and French bow makers. They offer in the South of Italy a professional and efficient work for repair and bow settings and for instruments, bows and accessories sale which are in line with the musicians’ requirements. Our exhibition is furthermore made up of ancient instruments for concert artists and ancient and modern practice instruments for young musicians.
For the construction of our violins we double seasonal woods and natural varnishes of alcohooland oil in which we proudly maintain our secret formula.
Acoustic studies that we assidually experiment in collaboration with expert engineers of sound that permit us to obtain sound results.
With particular attention we work our homemade instruments without using precise machines that could even ruin the wood’s molecular make-up, in fact only the sensibility and tendernous of expert hands can cut and mold the pieces of wood with respect to it’s own molecular structure.
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