Alberto Giordano

Dowling Giudici, Sabrina

Luthier

©Alberto Giordano

The scholar of Italian violin making

Alberto’s work is a delicate balance between creativity and discipline
His inspiration comes from the Genoese violin making tradition
He is assistant curator of the 1743 “Il Cannone” by Guarneri del Gesù

“I started violinmaking as soon as I finished high school, in 1980,” remembers Maestro Alberto Giordano. “I saw an article on the Cremona violin making school in a magazine, with photos of the workbenches and of the students, and it seemed to me the most beautiful job in the world. I was lucky, because my parents supported and encouraged me to follow my dream.” After training in Italy and abroad, he returned to Genoa, where he opened his own workshop. In 1994, he began to collaborate with the Municipality of Genoa for the conservation of Paganini’s violin Il Cannone, which was made by Guarneri del Gesù in 1743. “That was a very important moment in my professional life, because of the intense and particular relationship with a very special violin, which had a strong reflection in the way I make my instruments,” explains Alberto.

Interview

©Alberto Giordano

What is your connection with the Cannone?: The work we do on Paganini's Cannone is exclusively for conservation purposes, not restoration. When you are dealing with an asset of this type, which is perhaps also one of the most precious that we have in Italy, instinct must take a step back in favour of an organisation and a collection of information that is essentially scientific.
Do you prefer conservation or building new instuments?: The construction, of course. I draw inspiration from studying the history of violin making. I started replicating the Cannone at the age of 40, taking inspiration from the instruments made by Genoese luthiers in the 19th century.
How many instruments can a luthier build in his lifetime?: It depends. Stradivari achieved almost incredible numbers, which demonstrates the efficiency and organisation of his workshop. Personally I have handmade more than 150 violins and 20 cellos, which is not bad because I have done many other things including publications, research, books, lectures, and the conservation of Il Cannone.
What is suprising about your craft?: The history of violin making abounds with false myths and ancient fake news: one concerns supposed “magic” wood seasoning techniques to obtain the ideal sound. It is now proven that many Cremonese luthiers of the classical period actually used unseasoned wood from freshly cut firs.

Alberto Giordano is a master artisan: he began his career in 1985 and he started teaching in 1995