Davide Sora

DAVIDE SORA

Location
Via Decia, 22
26100 Cremona
Italy

WEBSITE

ABOUT ME

Born and raised in Cremona, I got my degree at the International Violin Making School of Cremona in 1982 under the guidance of master Giobatta Morassi.
I started my individual professional career in 1984; since 1986 I have my workshop in via Decia 22 in Cremona. All my instruments are registered in my personal archive with detailed photos and measurements as a guarantee against falsifications and my production is limited to three or four instruments per year. As a further guarantee for customers in 2019 I registered my trademark in various Countries.
From 2000 to 2019 I worked with the Cremona violin making school as part of a project to study the various topics for fourth year students.
In the 2017-2018 school year I taught the subjects Laboratory, Varnish Application and Maintenance for the third, fourth and fifth years students.
I was invited as a speaker at some conferences and I wrote articles for The Strad’s Trade Secrets and for the Michigan Violinmakers Association newsletter.
I was awarded in four editions of the Triennale Internazionale di Cremona: in 1991 with the silver medal for a viola, in 2003 with the third prize for a violin, in 2006 with the silver medal for the second prize for another violin, in 2015 with the third prize and the special prize offered by the Polish Union of Artist Violin Makers for the violin with the best acoustic quality.
In 2012 I began producing videos to illustrate the various stages of construction of the violin, all viewable on my YouTube channel, highly appreciated both by professional colleagues with a view to a fruitful exchange of experiences, both by musicians and by enthusiast of violin making in general.

davide sora

MY PHILOSOPHY

My work is mainly devoted to the construction of modern violins, violas and cellos according to the style of the ancient Cremonese School based on the internal form and I pay particular attention to the quality of the acoustic performance and the setting-up of the instruments.
Great care is naturally placed also on the aesthetic component of the instruments, always seeking higher levels of quality.
I have always been convinced that professional growth is also linked to knowledge sharing. For many years now I follow with passion and attention to research on acoustics of stringed instruments and actively participate in various violin-making forums on the web to help my evolution and my professional growth.
I am fascinated by the internal form because it allows a considerable flexibility and customization of the work and a greater freedom to vary the aesthetic levels and volumes: with simple modifications, which are possible at any time and can be performed differently on each instrument, slightly different acoustic and aesthetic results can be achieved. As a lover of classical Cremonese violin making and Stradivarian finds, I enjoyed studying and reconstructing the various methods used by the Master and integrating them into my work. The instruments that interest me most from the stylistic point of view are those from which it is possible to understand how the instrument was made when it came out of the shop. I continue to look for the details I like most in the classic instruments: in Cremona we have the original forms of Stradivari, what else could be better?

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