BANK OF SOUND

with Cremonese historical instruments of the MdV Collections

The Banca del Suono project is a meeting between past and future, between
cultural heritage and research: from
Monday, January 7, for about a month, four masterpieces by Stradivari, Amati,
Guarneri delle Collezioni
of the Museo del Violino will be the protagonists of a new recording project, in
the Auditorium
Giovanni Arvedi, and cataloging thanks to a software specially designed to
encode them
and reproduce its sound.
The project is carried out by Audiozone studios , a cultural and creative
company from Piacenza specialized
in innovative and digital services in the music production and sound design
sector, with the collaboration of
Municipality of Cremona , the Museum and the friends of
Stradivari network .
A sound bank is a database of notes, recorded in all possible variations,
accessible via
web as a paid service for all those, especially musicians and composers, who
want,
return the audio tracks of your own making using these notes.
Examples of this type already exist in the computer market, but the characteristic
of the project is to put
available to enthusiasts, for the first time, the unique and characteristic sound of
the instruments
of the classical Cremona school.
In the Giovanni Arvedi Auditorium, the viola Girolamo Amati "Stauffer" 1615,
played by the master
Wim Janssen , the Antonio Stradivari cello “Stauffer” (1700) played by
maestro Andrea
Nocerino, the Antonio Stradivari violin "Vesuvio" (1727), played by the
maestro Antonio De Lorenzi ,
and the Guarneri del Gesù “Prince Doria” violin (1734), played by
maestro Gabriele Schiavi , will be
carefully recorded, note by note, articulation by articulation, with over 30
microphones. just
to get the best acoustic performance, interpreters have been involved, most of
them already
collaborate with the Violin Museum.
During the recording Audiozone will be joined by Professor Fabio Antonacci of
the Politecinco di
Milan and by the students of the Musical Acoustics Lab of Cremona who will
make available
knowledge and data obtained from their research and studies carried out on the
instruments of the Museum and on acoustics
of the Auditorium.
All the material acquired will then be sent to Germany where, after a research
phase e
development, the sounds will be inserted in a Software specifically designed to
faithfully reproduce
the 4 historical instruments.
"The Sound Bank project - observes the Mayor of Cremona and President of the
Museo del
Violin Gianluca Galimberti - it is really important, not only for the Museo del
Violino but for the
city. Record in the magnificent Arvedi auditorium the sound of the instruments of
Amati, Stradivari and
Guarneri to create a real sound encyclopedia of these unique instruments in the
world is one
extraordinary operation of the future. It means to keep "the voice" of these
instruments, to put it to

Page 2
available to luthiers, musicians, researchers in the world and deliver it intact to
future generations.
Thanks go to the Museo del Violino, to private partners who allow the realization
of
this initiative and to the citizens who will suffer some limited but inevitable
discomfort. This also
project contributes to the strengthening and growth, even internationally, of our
District
of violin making ” .
" The idea - explains Mattia Bersani , founder and administrator of Audiozone
studios - was born thanks
from our work, we use daily software that reproduces musical instruments, being
passionate and knowing the excellence of the Cremona violin-making tradition
(UNESCO World Heritage
Immaterial of Humanity) we decided to combine the history and prestige of the
instruments
preserved by the Violin Museum to the innovative and digital software
technology used today.
A meeting between past and future to make the unique and unmistakable sound of
the immortal
instruments made by Stradivari, Guarneri and Amati.
The Stradivarius violins currently used in concert are few and only a small
number
of people has the honor of being able to use them. Thanks to our software the
sound of these instruments will be
accessible to all! A process of digitization and archiving that will make the sound
eternal
of the instruments preserved in the Violin Museum of Cremona ”.
Friends of Stradivari could not miss in an international project. " Often
- observes the president of the network, Paolo Bodini - there is talk of the sound
of Stradivari. Now we create a
extraordinarily important sound catalog, made in the best possible conditions,
with the
exhibited instruments Museum and properties of the Civic Collection of the
Municipality of Cremona, of the
Stauffer Foundation and friends, recorded in a room with perfect acoustics such
as the Auditorium
Giovanni Arvedi.
It is a project that looks to the future and to the world. We all know what the
power of the web is today
its ability to penetrate at the same time widespread and widespread: the hope is
that many thousands of
people come into contact with the new Sound Bank, thus discovering the
wonderful treasures of
Cremona and are intrigued and encouraged to come and admire and listen live
”.
The Banca del Suono project will take about one month to complete
limitation of the passage of vehicles in via Belcavezzo and piazza Sant'Angelo in
the days and times
of recording, to avoid noise and vibrations that interfere with the instruments
used for
record the sound. From 7 January to 9 February, therefore, traffic in via
Belcavezzo and piazza
Sant'Angelo will be closed to non-residents on Monday, Tuesday, Thursday and
Friday from 8 to 18 and Wednesday
and Saturday from 13 to 22. With appropriate poster will indicate the presence of
stalls for parking
at the same rates in the nearby Piazza Marconi car park. Residents, however, will
always be able to
access the street and the square through the security staff on duty, proceeding
however with the
own vehicles at walking pace.

Page 3
Masterpieces by Stradivari, Amati, Guarneri
(texts by Fausto Cacciatori - Conservator of the MdV Collections)
Girolamo Amati 1548c.-1630
purple 1615 Stauffer
The legacy was heavy for the sons of Andrea, Antonio and Girolamo, who
continued the work in the workshop
of his father: giving continuity to the role that the ancestor of the Amati plays for
most of the
Five hundred, maintaining at the same time the activity within a united family.
Everything seems to work beautifully between the two brothers until the year
1588; in fact, starting from that
given, the relations between the two suddenly become problematic.
Girolamo asks Antonio to return the part of the dowry of his two wives that he
had been to
recognized in the past. Antonio does not have money or perhaps considers
leaving his brother,
he then decides to sell Girolamo his portion of the house on the "island".
Despite the narrated events, the "reason of the singer" of the workshop,
the brand for contemporaries, remains
the same: in fact there are few instruments with the only name of Antonio, and
those with a little more frequent
the only name of his brother.
Girolamo will continue to use the same wording "Antonius & Hieronymus Fr.
Amati" also after
the death of Antonio 1607, and this is what we read on the original label visible
inside
of the 1615 viola.
A few years later, the register of the dead of the parish of San Faustino, on the
same day
of the year 1630, notes the death of four members of the Amati family including
Girolamo e
his wife Laura; will be his son Nicolo, who survived the terrible plague epidemic,
to collect
the inheritance of the family and to mark the Cremonese violin making for most
of the seventeenth century.
The instrument was played for more than thirty years by Henry Danks, the first
viola of the BBC Symphony
Orchestra, which came into possession in 1962, the year corresponding to the
certification issued by the
experts from the company WE Hill & Sons of London, who in the past had
bought and sold more
times the tool.
Considered the oldest contralto viola built in Cremona known today, it became
part of the
collection of the "Walter Stauffer" Musicology Center in May 1996.
(text taken from Lo Scrigno dei Tesori - Edizioni Museo del Violino, 2017)
Antonio Stradivari 1644c.-1737
cello 1700 Stauffer
At the beginning of the 18th century, Antonio Stradivarius is an experienced and
well-known luthier with more than thirty years
of work behind him, during which he had built guitars, decorated instruments, leg
violets, lutes,
clutch bags, harps besides, of course numerous violins, violas and cellos.
To date we know about 25 cellos made by the Cremona violin maker before
1700, instruments
large format like the Mediceo , which belonged to the court of the Grand Duchy
of Tuscany and currently
preserved in the Accademia Gallery in Florence. In the 1700s Stradivari reaches
the decision
to reduce the size of his cellos, an intermediate step that will lead him to develop
into
followed the model now identified and known as "form B", used in all
probability a
starting from 1707.
The history of our cello, reconstructed mainly on the basis of the documentation
of the brothers
Hill appears not always clear but suddenly lights up when Lisa Cristiani, very
young

Page 4
Parisian cellist, takes possession of the instrument and inextricably links his
name to
Stradivarius and the history of the cello.
From that moment, what happened before appears to be entirely secondary. Lisa
died in 1853 alone
26 years, meteor in the musical landscape of his time: in a few years, with his
extraordinary
cello fascinates the audience of the concert halls and the composer Felix
Mendelssohn Bartholdy
She writes for the Song Without Words, Op. 109.
After his death, the cello will remain for a long time in France, then in Germany
and finally
will arrive in London in 1894 under the availability of the company WE Hill and
Sons, until in 1936 it
will buy Mr. Lewis Bruce.
The instrument, one of the most beautiful examples of the great Master's work ,
according to the opinion of
Alfred Hill, will pass from the hands of Mr. Bruce's niece to those of Paolo
Salvelli, president of
Musicology Center "Walter Stauffer", to return to the city that had heard him
play the first one
time.
(text taken from Lo Scrigno dei Tesori - Edizioni Museo del Violino, 2017)
Antonio Stradivari 1644c.-1737
violin 1727c. Vesuvius
Cremona, 1977. The violinist and composer Remo Lauricella admired engrossed
in the Sala dei
Weddings of Palazzo Comunale, the Carlo IX violin by Andrea Amati owned by
him from 1935 to
1947, exhibited with the other masterpieces of classical Cremona violin making.
That was the occasion to show the will to donate to the city of Cremona, after his
death,
the instrument of Antonio Stradivari then owned by him and known as Vesuvio,
so that
could return to the place where it was built. When Remo Lauricella ended his life
earthly, January 19, 2003, the Municipality of Cremona learned that a clause of
his will
provided the legacy of the Stradivarius Vesuvius to the Mayor and Councilors of
the city. Arrived in Cremona
the instrument, in compliance with the last wishes of the musician, is entrusted to
young performers of
talent for special auditions at the Museo del Violino. In 1727 the Cremonese
violin maker is now
an old man, with decades of intense work behind him. In that same year he died,
just 24
years, Giovanni Battista Martino, the young son considered the heir able to
continue the activity
of family, also because of the advanced age of his brothers Francesco and
Omobono, long active
in the shop next to his father. Two years later Stradivarius, thinking of eternal
rest for himself and for her
own family, it acquires from the Villani heirs the sepulcher in the basilica of S.
Domenico; finally, on the 24th
January of the same year, the Cremonese violin maker writes his wills in his own
hand. The
instruments built in these years still reveal the master's sure hand, while there is
no trace
of the intervention of the children, more evident in the works of the last
period. From the certificate of authenticity of the
Vesuvius written by the house WE Hill & Sons of London in 1929, we learn that
the head, not
original, was made at the beginning of the nineteenth century by the French
violin maker Nicolas Lupot; in age
later the upper right wing was also replaced.
The label, probably original, reports the year 1727; although the date has been
altered, the violin
in any case it can be considered a typical specimen of the period 1724-1728.
(text taken from Lo Scrigno dei Tesori - Edizioni Museo del Violino, 2017)
Giuseppe Guarneri del Gesù
violin 1734 Prince Doria
The first document relating to the violin Prince Doria by Giuseppe Guarneri
"delGesù" dates back to 1858,
year in which the instrument was sold by Jacquot, the greatest French expert of
the time, to the family

Page 5
Doria. The Dorias, of Spanish origin and residing in Toulouse for several
generations, were owners of others
precious Italian instruments including the Stradivari Armingaud .
Over the past 150 years, Prince Doria has undergone few changes of
ownership. In 1950 Rembert
Wurlitzer gave the violin to Leopold Godowsky Jr., son of the great Russian
pianist and co-inventor
of the Kodachrome film. Twelve years later it was bought by the Lionel Perera
family for the
young aspiring violinist Zvi Zeitlin. In a letter of 1962, Rembert Wurlitzer wrote
that it
instrument was the best of all the Guarneri known to him, above all for his timbre
qualities.
Professor Zeitlin used it as a concert violin for over forty years, until he was
purchased by the current owners.
The violin is accompanied by a Certificate of Authenticity (Reg. No. M-127)
issued by the great
American expert Rembert Wurlitzer on 24 October 1950. The document,
accompanied by photographs in
black and white, attests that the violin is original in all its parts and in excellent
condition.
When the Prince Doria arrived in America it was completely restored by Simone
Fernando
Sacconi, who positioned the head present today on the instrument. A little later,
Rembert
Wurlitzer attested to the authenticity of the hedgehog in his certificate.
In more recent years, experts who have been able to examine Prince Doria ,
including the
disappeared Robert Bein, confirmed that the sculpture of the hedgehog reveals
the hand of the father
Giuseppe "filius Andreae". In fact, Giuseppe continued to work in the shop even
after having surrendered
the activity to the son "of the Jesus" starting from 1731; is believed to have made
most of the heads
of the violins built by "del Gesù" in that period, as indicated in the Wurlitzer
certification.
Traces of the original black border are still visible on the bevel of the head.
The Prince Doria is considered one of the best concert violins of Guarneri "del
Gesù". considered
the robust thickness of the boards, it is possible that his fame depends on the fact
of not having suffered in the
course of time, unlike other ancient instruments, interventions of reduction and
redistribution of the
thicknesses. In fact, the inside of the bottom shows original traces of the tooth
planer used by "del Gesù".
It is exhibited at the Museo del Violino as part of the friends of Stradivari project.
(text taken from the Giuseppe Guarneri del Gesù, violin 1734Principe Doria -
Edizioni Museo del Violino, 2017)
 Page 6
Teachers
Antonio De Lorenzi
After graduating in Violin from the Conservatory of Piacenza in the class of
Ernesto Schiavi,
he attended the Music School of Fiesole being part of the direct Italian Youth
Orchestra
by Riccardo Muti. He studied composition with Emilio Ghezzi and approached
the direction
of orchestra following as auditor the courses of Franco Ferrara at the Chigiana
Academy of Siena and, in the
class of Pietro Veneri, at the Conservatory of Parma obtaining the Academic
Diplomas of first and
second level, both with full marks and honors.
Perfected with Neil Thomson, Hans Leenders, Jac van Steen, Marco Guidarini,
Laurent Gay and
Isaac Karabtchevsky, directed the Regional Orchestra of Emilia Romagna
"Arturo Toscanini",
the "Bruno Maderna" orchestra of Forlì, the Youth Orchestra of Armenia, the
"Reino de
Arag6nn of Zaragoza and the Italian Philharmonic Orchestra.
As a violinist he participated in tours of the main American concert halls, for the
50th
anniversary of the death of Arturo Toscanini - in conjunction with the New
Philharmonic orchestra
York- in Tokyo (Suntory Hall, Bunka Kaikan, NHK and Opera City), in Paris, at
the KICL in Lucerne, at
Béla Bartòk Concert Hall in Budapest, Moscow (Caikovskji Hall and Great Hall
of the Conservatory)
under the direction of Lorin Maazel, Georges Pretre, Zubin Mehta,
Yuri Temirkanov, Kurt Masur, Jeffrey Tate, Charles Dutoit, Mstislav
Rostropovich, Nello Santi and
Antonio Pappano. With the Camerata of Cremona, he performed as a soloist in
New York, El Djem
(Tunisia), Cairo and Istanbul; of this orchestra he was also shoulder violin, a role
he held
also in the Italian Philharmonic Orchestra and in the Brescia Symphony.
In the chamber music field, he played with the Soloists of Cremona and the
Quartetto Amati of Verona, performing
at the Mozarteum in Salzburg and at the St. Petersburg Philharmonic. In
Cremona, on assignment before the
Then, as a municipality of the Violin Museum Foundation, it held public hearings
with precious objects
violins of the civic collection of Amati, Guarneri and Stradivari luthiers playing
in Brazil (San Paolo
and Rio de Janeiro), Paris, Valentia, Berlin and Madrid. Two of his recordings
(he recorded cd for Frequenz,
Fonè and Discantica) have obtained the "Five stars" from the magazine
"Musica".
Versatile personality - has a classical maturity - holds conferences on the history
of music. He is a teacher of
violin at the "Nicolini" Conservatory of Piacenza and held the courses of
Orchestral Propaedeutics at
the "Boito" Conservatory of Parma for which, in past years, he has directed
several concerts
they are part of the collaboration with the Regional Orchestra of Emilia Romagna
"Arturo Toscanini".
Wim Janssen
Wim Janssen, born in the Netherlands, moved to Italy after graduating from high
school, graduated from the
Conservatory of Milan with the maestro Paolo Borciani (first violin of the Italian
Quartet) and yes it is
perfected with the maestro Piero Farulli in Florence. He attended the course held
by the Quartet
Italian at the Chigiana Academy in Siena and the Chamber Music course in
Sermoneta. He started
his artistic activity performing a long series of concerts in duo with the pianist
Maria Grazia
Bertocchi and as a viola soloist on a tour with the Gioventù Musicale. With the
"Music Group
Together ”,“ Solisti Veneti ”,“ Divertimento Ensemble ”,“ Carme ”Group,
Camerata di Cremona, Choir
Cremonese polyphonic, Chamber Orchestra of Mantua, Orchestra of Italian
Switzerland, Gemini
Ensemble of Amsterdam, Cosa Rara and other complexes has held numerous
concerts, in all
chamber ensembles from the Duo to the Chamber Orchestra, throughout
Europe. He has also realized
important radio, television and recordings collaborating with performers such as:
Cathy Berberian, Antony Pay, Pervase de Peyer, Pierre Pierlot, David Geringas,
Antonio
Ballista, Marco Fornaciari, Massimiliano Damerini and many others. He played
viola first

Page 7
the RAI Symphony Orchestra of Milan, the "Toscanini" orchestra, the
"Pomeriggi" orchestra
Musicali ”, and the“ Brabants Orkest ”from Eindhoven in the Netherlands. As a
viola soloist he made in 1998
a tour in Japan performing music by Japanese artists, and a tour in Mexico. In
1982
he was a member of the jury and in 1991 president of the jury of the
"International Triennial Competition
of Liuteria ”. In 1973 he was one of the founders of the "Gruppo Musica
Insieme" and the review "Spazio
'900' which takes place annually in Cremona and which includes: concerts,
conferences and music lessons
in schools from elementary to university. He has lectured at the Lanciano ed
Alexandria. From 1981 to 2017 he was a lecturer at the Piacenza Conservatory
"Nicolini"
also holding the roles of string coordinator and deputy director.
Andrea Nocerino
Andrea Nocerino graduated with honors and honorable mention at the Higher
Institute of Music Studies
of Cremona under the guidance of cellist Silvia Chiesa and attended the Faculty
of Musicology
University of Pavia. He also perfected technique and repertoire by participating
in masterclasses
internationals with the Masters Michael Flaksman and Pieter Wispelwey.
As solo violoncello he has held concerts in Milan, Vicenza, Cremona, Trieste,
Udine, Rome and
Pordenone, alongside leading figures such as Sandro Cappelletto, for projects and
collaborations
Gualtiero Scola, Mauro Corona and Alessandro Baricco.
As a chamber musician he has performed in the contexts of Amiata Piano
Festival, Museo della Teatro Alla Scala,
Ponchielli Theater, Musica Vicenza, Cremona Pianoforum, Auditorium Gaber of
Milan, Pavilion
Expo 2015 Italy, Vatican Museums, Cremona Mondomusica. Abroad he was
invited to Croatia
(Rijeka), France (Madiran), United States (University of Chicago) and South
Korea (Goryeong Gun Nuri
Hall). His concerts were broadcast on Rai Radio3 and appreciated by the best
national press.
Performer attentive to the contemporary repertoire, he performs in several first
performances and at some of
they are dedicating a recording project. He has recorded for Amadeus magazine
and for the label
Classical movement.
He is professor of cello at the "Claudio Monteverdi" Higher Institute of Musical
Studies in Cremona
Gabriele Schiavi
Gabriele Schiavi graduated from the "Giuseppe Verdi" Conservatory in Milan
with a maximum of
votes. He specialized at the University of Vienna and at the Conservatory of
Turin. During his journey
of studies was awarded in prestigious competitions: City of Asti (first prize
overall), Caffa Righetti (I
premium).
He collaborated with the Teatro alla Scala Orchestra, Filarmonica della Scala,
Cameristi della Scala,
Instrumental Scaliger Ensemble, Teatro alla Scala Academy (shoulder), Pavia
Soloists, Orchestra
Leonore, Turin Philharmonic Orchestra. He performed in the MiTo season. He
participated as
violinist for the creation of the new album by Laura Sullivan, winner of the
Grammy Award.
He teaches violin for the Val Tidone Summer Camp and is a member of the jury
in the Archi del Val section
Tidone Music Competition. He is professor of violin at the Civic Institute of San
Donato Milanese e
the Accademia del Ridotto di Stradella.

Page 8
Audiozone / the future sound of tomorrow
Audiozone Studios is an ICC (cultural and creative enterprise) of Piacenza
specialized services
innovative and digital linked to the world of Music Production & Sound Design.
Audiozone Studios provides audio, music and sound effects to advertising
agencies, advertising,
video production studios, video makers, social media managers, event organizers,
theater groups
and anyone who works in the Art sector and in the Marketing & Communication
sector.
He has worked on the advertisements of some of the most important international
brands such as Fiat, Campari,
Coca Cola, McDonald's, MasterChef, Bayer, Stroili, Yamaha, Nastlé, Pinko,
ParmaCotto,
Parmalat ...
Audiozone / Awards, awards and articles:
-
Registered in the Special Register of Innovative Start-ups from 2013 to 2018;
-
Winners of the INCREDIBOL Call ! 2015 in the Emilia Romagna region;
-
Winners of the OASI 2015 Call of the Piacenza Chamber of Commerce;
-
Competition winners START-UP COMPETITION Rotary Club of Fiorenzuola;
They talked about Audiozone Studios:
DJ Mag Italia (paper) , EmiliaRomagna Start-Up, Innovative StartUp, Hear
Listening, Wicked
Style , Rekked (international blog) , PiacenzaSera.it , Il Piacenza, Piacenza
Music Pride, Sportello
Daily , EighteenTrenta ...
Audiozone / Services offered
-
Voice-over and Voiceover (Italian & International);
-
Composition of original music;
-
Audio Logo & Sound Branding;
-
Sound Design, Sound Effects, Sound Systems;
-
Editing, Mixing & Mastering Audio;
Audiozone / Web, Social Media & Contacts
Web-site: www.audiozonestudios.com
Facebook : www.facebook.com/AudiozoneStudios
Instagram : www.instagram.com/audiozone_studios/
e-mail : info@audiozonestudios.com
phone: +39 393.36.71.973
Vicolo Barozzieri 15, Piacenza

Page 9
Partners
For the "Banca del Suono" project, Audiozone Studios has established a
partnership
with a German company specialized in the realization of Software Instruments.
A company with over 10 years of experience in the sector and which has
contributed to the realization of over
100 musical instruments and 10 software instruments for the best brands.
Thanks to the experience in the sector of the German partner Audiozone he
managed to involve an important one
multinational leader in the sector for worldwide promotion and distribution
through offices
in Eurpoa, USA, Japan, UK, Hong Kong and China.
Thanks to these partnerships, the realized software can also make use of
computer algorithms
patented (8 patents registered in the United States) and innovative technologies
covered by copyright, including
innovative functions, latest generation effects, simplified software interaction
with controller
external.