Our philosophy

What We Believe

Our work exists to support others in expressing themselves, through the instruments they play, the collections they build, and the legacies they protect.
A Workshop at the Service of Expression

Amorim is, before anything else, a workshop, and a workshop that exists for a clear reason. We are here to support others in expressing themselves uniquely. A musician finding the instrument that becomes their voice. A collector building a holding that reflects a personal vision and protects it for the future. An institution stewarding a legacy that allows great music to continue being made.

Everything else we do, building, restoring, evaluating, advising, and accompanying, flows from this purpose. It shapes what we make, how we work, the conversations we have, and the relationships we build over time.

AMORIM FINE VIOLINS

Lutherie as a Form of Art

For Luiz Amorim, who came to violin making after a decade as a professional artist and a degree in fine arts, lutherie is a continuation of artistic practice. The same training that teaches a painter to observe a portrait or a still life is what allows a maker to study a seventeenth century instrument and reproduce its essence honestly.

This artistic dimension is what gives an Amorim instrument its character, and what allows our reading of historical instruments to reach beyond technique.

our expertise

What We Believe About Fine Instruments

01

Fine instruments belong to those who care for them

Whether played daily on the world's stages, preserved within a collection, or protected by an institution, each instrument's role is shaped by the person who stewards it, and our work serves that intent.

02

Each instrument has its own identity

Shaped by its maker, its history, its condition, and the choices made about it over time, that identity must be preserved, not overwritten by our preferences.

03

A fine instrument is the meeting point of artistic, historical, and material value

Reading any one of these in isolation gives a partial picture. Serious work requires holding all three together.

04

The instrument and the musician complete each other

A great instrument in the wrong hands is incomplete; so is a great musician without the right voice beneath the bow. Part of our work is recognizing when the match is right.

AMORIM FINE VIOLINS

The Values That Guide Us

01

Ethics.

The principle that holds every internal and external relationship together.
02

Sensitivity.

A refined understanding of what each client actually needs, which is often different from what they first ask for.
03

Transparency.

Honesty with clients, with partners, and with ourselves, including when our findings are less favorable than expected.
04

Excellence.

A continuous standard of improvement applied to every process, from the bench to the final conversation.
05

Commitment.

Everyone in the workshop working toward the best possible result, on every instrument, every time.
06

Respect.

Valuing every person connected to the workshop, including clients, colleagues, makers, musicians, and the masters whose work we study every day.
06

Innovation.

Bringing forward-thinking methods and tools to a field shaped by tradition, including the work of the Amorim Lab.
06

Education.

Adding value through knowledge, for our clients, for our team, and for the broader community we are part of.
06

The Amorim Experience.

Every interaction with this workshop should be unique, attentive, and remembered.
Tradition as a Living Practice

Cremona is not a heritage we invoke; it is a tradition we practice. Tradition only exists when it shapes the daily decisions made in workshops like ours, at the bench, in the laboratory, and in the showroom.

The new instruments we build are informed by centuries of historical models we have studied directly. The historical instruments that reach us are read with eyes trained by the act of making.

AMORIM FINE VIOLINS

Connecting Instruments and People

For Luiz Amorim, who came to violin making after a decade as a professional artist and a degree in fine arts, lutherie is a continuation of artistic practice. The same training that teaches a painter to observe a portrait or a still life is what allows a maker to study a seventeenth century instrument and reproduce its essence honestly.

This artistic dimension is what gives an Amorim instrument its character, and what allows our reading of historical instruments to reach beyond technique.

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These convictions are easier to state than to live by. We measure ourselves against them in every instrument we touch, every conversation we have, and every decision we make.

 

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