Violin Maker
Gibertoni & Nalin
Milan
Stefano Gibertoni and Valerio Nalin collaborate together in the making of violins, violas and cellos in their workshop in Milan. The combination of a long and solid experience in construction, making and set up, together with a young mind, with a free and enthusiastic spirit, has proven to be a collaboration that is extremely stimulating for both of them.Read more
Short Bio
Full Name: Gibertoni & Nalin
Highlights
New making style: AntiquedCopyNew
Credentials
Master Maker
Former Violin Making Professor
Acknowledge Maker Worldwide
Innovative Maker
Award Holder
Awards
2004, Silver Medal for violin tone VSA (Violin Society of America), USA (Gibertoni)
2010, 5th place for cello at the International Competition in Mittenwald, Germany (Gibertoni)
2014, Silver Medal for cello and viola at the International Violin Making Competition "Soul and shape", Moscow, Russia (Gibertoni)
2014, Viola best sound quality at the International Violin Making Competition "Soul and shape", Moscow, Russia (Gibertoni)
2019, First Prize for violin, viola, and cello, antiqued instruments section, Fermo, Italy (Gibertoni)
2019, Second Prize for violin, antiqued instruments section, Fermo, Italy (Nalin)
2022, Third Prize for cello, Talents d'aujourd'hui, Concours International de Lutherie of Philharmonie de Paris, Paris, France
2022, First Prize from the public for cello, Talents d'aujourd'hui, Concours International de Lutherie of Philharmonie de Paris, Paris, France
2022, First Prize from the cello section of the orchestra, Concours International de Lutherie of Philharmonie de Paris, Paris, France
2022, Silver Medal for Cello Tone and certificate for artisanship in quartet section VSA (Violin Society of America), USA
Locally making
Milan
Maker Background
Stefano Gibertoni, Italian, 54 years old, 30 years of experience.Valerio Nalin, Italian, 28 years old, 7 years of experience.
After graduating in 1991 at Civica Scuola di Liuteria di Milano under the guidance of Maestro Luca Primon, Stefano moved to the UK to work as a maker/restorer for some UK shops.
He then settled and opened his own business in Sheffield in 1994, where he worked as a maker for the UK and the international market. In his professional development, he found most valuable the Oberlin violin making workshop, Ohio-USA, attended since 2001, where he learned from some among the best makers worldwide, the physics of tone production and the art of antiquing. Very fondly remembered is also a work experience at Frederick Oster Fine Violins in Philadelphia, where he developed some valuable restoration and setup skills.
In 2012, Stefano moved back to Milan and returned to the Civica Scuola di liuteria, this time as a teacher of new making and varnishing. Here he met Valerio, one of the most talented students, and after his graduation, they continued to collaborate together up to the present day. They developed their own interpretations, inspired by Cremonese and Milanese 17th and 18th-century makers.
In the partnership, they combine very traditional methods but also rely on technology and science. A beautiful, powerful, and even tone is a consistent aspect of their production that has been recognized by clients and in international competitions alike; this, coupled with a detailed and realistic antiqued look, has proven a winning combination.
Maker Interview
Why did you start making instruments?
Stefano Gibertoni - From a musical family, I studied violin as a child; after high school, I visited the violin-making school, and I was fascinated by the environment and the passion of my future teacher, Luca Primon. I enthusiastically joined in, reconnecting to the instruments family.
Valerio Nalin - From a young age Iʼve been inspired by my parentsʼ love for arts and music, I studied guitar for years and developed a passion for drawing and painting. After graduating from high school I felt the urge to merge these two passions into a new path, which led me to the violin-making school where I met Stefano.
Why your instruments are so special?
When we begin a new project, we start with thorough research of original instruments that we find particularly striking, trying to be faithful to the methods of construction and style of each individual maker. The construction method combines traditional procedures and techniques but also looking in-depth at everything that modern science can help us with.
From the very beginning, the choice of materials is carefully selected based on their density and speed of sound. The frequencies of each plate are measured at various stages of the construction to regulate stiffness; this ensures consistent repeatability of results. The varnishing techniques implemented in recent years have led to an authentic antiqued look.
While constantly researching to better ourselves, we always explore new models and patterns, looking into their shape and acoustic properties. We investigate wood textures and varnish effects, trying to stay within the boundaries of each historical maker we are copying, but sometimes introducing our flavor and touch, resulting in each instrument being exclusive, standing proud in their uniqueness.
What is your inspiration?
While the Cremonese school has to be the benchmark, we love to deepen our research into lesser-known schools of making, such as Milan and Brescia, to take inspiration from their hidden gems.