Bruno Fulcini
Violin maker
The school in which I seek my direction and the expression of my “personality” is Italian and Cremonese. The “Italian School” is that of the great Masters from the ‘500 onwards, which in the course of a couple of centuries handed down to us the masterpieces that everyone knows, all equipped with clear and recognizable construction characteristics; “Cremonese” in my opinion is that way of understanding violin making that emerged in Cremona over the centuries ranging from the Amati to the reconstruction of the 1900s.
My training
I remember that in the old violin making school in Cremona that I attended, a quartet by Gio Batta Morassi was exhibited: those instruments struck me so much that I obtained the models; when it came to get the violins, the results were frustrating.
It was clear that I completely lacked the technique.
After school I was appreciated for the sonority of my instruments, but I lacked a clear stylistic direction.
One day (urged abruptly by what was my girlfriend, now my wife) I took courage and asked for help to what seemed to me to be “THE” Workshop.
The impact was enormous. It cannot be described. I was so dazed that I didn’t realize it, but I was lucky enough to observe the acts of a head of school, one of those who does not show you a way of doing things, but he shows you HOW things have to be done.
My choice
Over the years, thanks to the Masters Gio Batta and Simeone Morassi, I understood the importance of choosing gestures and how essential it is to carry on the enormous work done by the violin makers of the last century.
Hence the choice of “my” paint, “my” camber and “my” head: I believe that my work today clearly defines who I am, where I come from and where I want to go.
The meeting
Master Simeone Morassi was instrumental in my training, teaching me a type of “ruthless patience” (which I found only in him) and, giving me the opportunity to study the masterpieces of the greatest Italian Masters live, he made me understand what we have in our background.
For some years I’m also lucky enough to take advantage of the technical-stylistic support of Master Nicola Lazzari, thanks to which I understood how it is essential to study the way to obtain the desired results, without ever being satisfied with those obtained.
My training
I remember that in the old violin making school in Cremona that I attended, a quartet by Gio Batta Morassi was exhibited: those instruments struck me so much that I obtained the models; when it came to get the violins, the results were frustrating.
It was clear that I completely lacked the technique.
After school I was appreciated for the sonority of my instruments, but I lacked a clear stylistic direction.
One day (urged abruptly by what was my girlfriend, now my wife) I took courage and asked for help to what seemed to me to be “THE” Workshop.
The impact was enormous. It cannot be described. I was so dazed that I didn’t realize it, but I was lucky enough to observe the acts of a head of school, one of those who does not show you a way of doing things, but he shows you HOW things have to be done.
My choice
Over the years, thanks to the Masters Gio Batta and Simeone Morassi, I understood the importance of choosing gestures and how essential it is to carry on the enormous work done by the violin makers of the last century.
Hence the choice of “my” paint, “my” camber and “my” head: I believe that my work today clearly defines who I am, where I come from and where I want to go.
The meeting
Master Simeone Morassi was instrumental in my training, teaching me a type of “ruthless patience” (which I found only in him) and, giving me the opportunity to study the masterpieces of the greatest Italian Masters live, he made me understand what we have in our background.
For some years I’m also lucky enough to take advantage of the technical-stylistic support of Master Nicola Lazzari, thanks to which I understood how it is essential to study the way to obtain the desired results, without ever being satisfied with those obtained.
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