by Maria Musti
There are those who approach the world of violin making out of passion, those who come from family tradition and those – like Daniele Tonarelli – who discovered it almost for fun, in elementary school. Born in Cremona in 1976, he is now one of the leading names in the new generation of Italian violin makers. In view of his participation in Cremona Musica, scheduled for September 26-28, we met him to hear his story.
You approached violin making as a child. What drove you to spend summers in the workshop?
In elementary school we made so-called “lavoretti” with a teacher for the holidays, using fretwork and wood. I was given the task of creating Christmas gifts for my classmates too: nativity scene characters, landscapes and so on. My creativity was stimulated. In the same years I began to study music with a violin maker: I understood then that violin making was what I was for. Despite my father’s opposition to an activity with an uncertain future, after middle school I enrolled at the International School of Violin Making, where I met Marco Nolli, my last teacher. In 1997, at the age of 21, I set up my own business. Among other things, I had already met Giorgio Scolari, vice-principal of the School of Violin Making for a long time, playing the trumpet in a band of which he was director. In short, a fortunate series of coincidences, even if I like to call it destiny.
What will you exhibit at Cremona Musica?
I have been participating for more than twenty years: I consider this event the only serious event for violin making in Europe. It is an event that can be felt throughout the city, not just at the fair. I will definitely bring two cellos: one made by me and the other by Davide Pizzolato, a very talented guy who works in my workshop. In addition, my top models for violins will not be missing: the Guarneri “Ole Bull” and the Guadagnini, created by the famous violin maker from Piacenza. This year’s novelty will be the Francesco Ruggeri from 1680: also born in Cremona, he was probably a student of Nicolò Amati.
If you had to define your instruments using only three adjectives, which would you choose?
Reporting the impressions of my customers, I would say “comfortable”: they are comfortable to play, because the attention put into making the neck makes the difference. Then “powerful”, for their full sound. Finally, “fascinating”: I often receive compliments for the beauty of the shades given to the varnish. I specialized in the creation of antiqued instruments, carefully studying the models of the great Cremonese masters and trying to recreate, in addition to the sound, the unmistakable aesthetic beauty.
