Luiz Amorim instruments handmade in Cremona, Italy

HANDCRAFTED VIOLINS, VIOLAS AND CELLOS BY LUIZ AMORIM

After beginning his making career in 1995, Luiz Amorim has been perfecting his craft ever since. Luiz Amorim instruments are the result of countless hours spent mastering his technique, focusing on achieving the highest quality of workmanship, with a refined finish and sound. Luiz Amorim’s pieces follow the traditional Italian school, made in the inspiring surroundings of Cremona.

The Master Maker Luiz Amorim

“AN INSTRUMENT IS LIKE A BLANK CANVAS ON WHICH I CAN EXPRESS MY ARTISTIC FLAIR AS A MAKER.”

Bringing Brazilian flair to the Italian cradle of violin making, at the heart of Amorim Fine Violins is its founder, Luiz Amorim. Inspired by the desire to transform materials with his bare hands, integral to Luiz artistry is his sensitive eye for the contour and texture of nature. As a result of his highly successful career, Luiz collaborated with his partners to open his Italian workshop in 2018.

Born in Curitiba, Brazil, in 1964, Luiz started his studies in Mechanics, focused in technical drawing and projects, at the Federal Center of Technological Studies in 1979 and Arts – Drawing, Painting and Sculpture – at the State School of Music and Fine Arts in 1985. For ten years Luiz has worked as a professional artist. He has begun his instrument making career in 1995 making lyres and kanteles. By this time, Luiz was learning how to play violin and cello. In 1998, with the need of being in the classical music scenario, Luiz started learning how to make instruments from the violin family with a maestro whose a few months later became his partner. In 2001 Luiz established his own workshop where he and his team are developing a restoration and violin making work that is reference all over the world.

Eric Silberger on the unique qualities of his Luiz Amorim violin

Antonio Meneses talks about his Luiz Amorim Cello

The violin that I have just purchased from Luiz is without question the best copy of a Guarneri “del Gesù” that I have put under my chin. It is responsive, big and beautiful sounding all in one. As you probably know, I used to play on the original Sainton “del Gesù” and it is no less commanding. In fact, the varnish is even more beautiful than the original.

Elmar Oliveira, Violinist

Having acquired Luiz Amorim’s newest 1744 “Sainton” Del Gesù violin, I can wholeheartedly state that he is the finest living violin maker. His instruments are works of art, in addition to being top rate concert violins. Bravissimo Luiz on yet another monumental achievement!!

Sean Avram Carpenter, Violinist

The instrument (Luiz Amorim copy of Montagnana) not only brings a lot of warmth, but also bass support and clarity to the sound. It gives some kind of personal singing voice to the music and is something special to work with. I feel that it is the perfect mix of the shape and appearance of the original cello, which is made very much like the original with the beautiful red/brown varnish. If you look at the back, you can see the three-dimensional qualities in the structure of the wood and the varnish, and I think that’s really appealing.

Daniel Müller-Schott, Cellist

I confess that I was very excited when I met Luiz Amorim’s cello. Easy to play, it has a homogeneous sound on all strings and I did not check for problems like wolves. The cello has a beautiful sound that resembles Italian instruments of sec. XVIII, I confess that I have never seen a new instrument that has this quality.

Roberto Ring, Cellist

Throughout this year, I played concerts, sonatas, and quartets with my new violin, always with great pleasure and having a wonderful sound response. I recorded a CD that will show all this, but I wanted, before any proof, to record my words of great admiration for your work. You are a true artist, and you are serving music more than you ever imagined. Me and your violin we’ll do together, a lot of music. Congratulations on your art.

Emmanuele Baldini, Concertmaster and Conductor

When I play, my cello by Luiz Amorim, what happens is that I almost forget that I am playing a modern instrument. The deep sound of the basses of this instrument is really very unique and this reminds me of some of the great cellos that I have tried before in my life, Strad, Montagnana, and a few other ones. It has so many of the qualities that you expect from an instrument that is 300 years old or more.

Antonio Meneses, Cellist

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