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Violin Maker
Luca Salvadori

Cremona, Italy

For the first ten years after graduation, I devoted myself to make violins, violas and cellos, above all, concentrating on improving my technical skills.I got inspiration mainly from the instruments made by Stradivari for the Medicis'Court: as these instruments have hardly ever been played, they have remained almost intact, as if they had just come out of the great Maestro's workshop.Read more

Short Bio

Full Name: Luca Salvadori

Age: 59


Experience: 39 Years

New making style: New


Master Maker

Acknowledge Maker Worldwide

Award Holder

Cremonese Traditional Handcraftsmanship

Instruments Owned by Collectors


1990, Silver Award for a violin at Bagnacavallo Competition, Italy

1991, 9th place for a violin at the 6th International Triennale of Cremona, Italy

1992, Bronze Award both for a violin and a cello at Bagnacavallo Competition, Ravenna, Italy

1997, 12th place for a violin at the 8th Triennale of Cremona, Italy

1999, "Pro Loco Award" with the highest score for workmanship for a violin at the competition in "Città di Baveno", Italy

1999, 10th place for a violin at the "2ème Concours International de Lutherie" in Paris, France

2000, 5th place for a viola at the 9th Triennale of Cremona, Italy

2000, Silver Medal for Workmanship for a violin at the VSA Competition in Fort Mitchell, USA

2001, 8th place for a violin at the International Competition in Mittenwald, Germany

2001, "Pro Loco Award" with the highest score for workmanship for a violin at the competition in "Città di Baveno", Italy

2003, Finalist, 6th place and special honourable mention for a violin at the 10th Triennale of Cremona, Italy

2004, Certificate of Merit for Workmanship for a violin at the VSA Competition in Portland, USA

2004, 7th place for a violin at the "Etienne Vatelot" Competition in Paris, France

Locally making

Cremona, Italy

Maker Interview

What famous people play your instruments?

Chloe Hanslip and Klaidi Sahatçi to name a few.

Why did you start making instruments?

The choice to go to luthier school and later work as a luthier was quite casual, but in reality, before doing this job, I had already done a goldsmith school - so it was already clear that manual work attracted me a lot. I came from a family where music was very present (my mother was a piano teacher, and in general, all the members of my family played an instrument, including myself), so since I was a child, I had no doubts that I would choose a job where I could build with my hands. If to this we add that music has always been present in my life ... I would end up saying that the work of the luthier perfectly embodies these two qualities!

Why are your instruments so special?

Answering why my instruments are special makes me a little embarrassed, and I think maybe my customers' response would be better! However, I can explain my stylistic idea; From what my clients and colleagues say, I think it can come as a message.

I intend to find a balance between so-called "male" work and so-called "female" work. Translated into practical terms, it means making an instrument with a high level of technical rigor and at the same time creating a series of soft and captivating lines through the technique.
Therefore, the balance between masculine and feminine in my work represents that research, let's say a little obsessive, can make my instruments intriguing. All that has been said so far about the balance between masculine and feminine is the same concept that I also carry in searching for a sound.

Describing the sound with appropriate adjectives is always very difficult as it is a very personal thing. Still, if I had to synthesize the type of sound of my instruments mainly, I could describe them as powerful and direct, and at the same time, soft and mellow. Even if at the client's request, I can go more in one direction than the other, when I have no specific requests, I tend to seek that kind of balance that I have talked about so far.

What is your inspiration?

My inspiration comes mainly from Stradivari's instruments, which are currently preserved in the museum of the Academy of Florence - in particular the so-called Medici viola, which, having never been played, still maintains all the characteristics that the great Stradivarius created with extreme care details and with an almost absolute technical rigor.

In these instruments, you can observe the clean and, at the same time, harmonious lines that characterize Stradivari's work, such as the volute's black chamfers. The volute's black chamfer is one of the processes that most distinguish my work.

Just as I was inspired by Stradivari for the technical rigor and balance of the lines from a stylistic point of view, at the same time, I was very fascinated by some Italian authors of the early 20th century, such as Ornati, Garimberti, and Capicchioni. These three authors above, but mainly Ornati, have added a certain softening to the precision of Stradivari, which creates even more warmth in the instrument. Studying these work styles was the thing that inspired me most during my career as a luthier.

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