Simeone Morassi is today one of the most authoritative voices in Italian violin making, able to combine a deep respect for tradition with a personal and recognizable vision. Raised in his father Giobatta’s workshop, a key figure in 20th-century Cremonese violin making, he absorbed its founding principles — respect for wood, meticulous attention to detail, the centrality of gesture — while developing an independent path characterized by acoustic research, conscious choices, and a mature style.

President of the A.L.I. and winner of prestigious international awards, Morassi closely observes the transformations of the field and contributes to its evolution through his workshop work, institutional activity, and continuous dialogue with musicians and colleagues. In this interview, he retraces his training, compares his own vision with that of his father, and reflects on the future of Italian violin making in a global context.

Your contact with the workshop began very early: what are the most significant memories of your youth spent alongside your father?
Talking about my beginnings in the workshop is like returning to the roots of everything. They are not just memories but the foundations on which I built who I am today. The smell of the woods, the varnishes… I would say those scents are the soundtrack of my childhood. One of the most vivid memories is when I asked my father how to carve a piece of wood for a violin scroll. Without much explanation, he took the gouge and cut the material as if it were butter, rotating the tool. I was struck by those broad, vigorous, and extremely precise gestures that remain unique to this day and characterize his work.

What are the points of contact, and above all the differences, between your father’s violin making and your personal approach to building instruments?
The roots of my work lie in what my father taught me. He taught me to “listen” to the wood: the selection of spruce and maple is the first and perhaps most important step. He instilled in me the belief that there are no shortcuts and that every stage of construction deserves the same meticulous attention. We both belong to the great Italian violin-making tradition, especially the Cremonese school. While the philosophy of the workshop has remained unchanged, the expression and character of our instruments differ. My father always emphasized the necessity of studying the classics and, starting from that school, imprinting one’s own personal touch on the work.

Your production is intentionally limited and characterized by resonance woods aged over twenty years: what criteria do you use to select the most suitable material?
The selection of wood is the moment when the violin begins to take shape. Aging is certainly a relevant factor, but even more important is the intrinsic quality of the materials, which must be excellent both acoustically and aesthetically. The fundamental characteristics concern the transmission of sound through the fibers longitudinally and transversely, combined with an appropriate specific weight. The grain pattern — with the distinct reddish winter growth and fine thickness — is also a distinctive element. There are further criteria, but I prefer not to go too deeply into technical details.

You have won numerous first prizes in international competitions: which recognition had a particularly significant impact on your professional path?
Every award has been an honor and a confirmation of the validity of my path. However, the recognition that had the most significant impact was the Wieniawski Competition held in Poznań, Poland, in 1996. In addition to the gold medal as first prize, I received the “Grand Prix,” the highest award ever given in the history of the competition, achieving the highest scores for both sound and craftsmanship. This result drew the attention of soloists, collectors, and orchestral musicians who, while aware of the Morassi family history, wanted to personally try my instruments.

You are often called to serve as a juror in prestigious international competitions: what excites you most about this role?
Being invited as a juror is an honor that I approach with great responsibility. The most stimulating aspect is observing an instrument and recognizing stylistic influences: the reference school, the master who trained the maker, or the luthier’s attempt to express a personality capable of standing out among many high-level instruments.

Over the past thirty years, violin making has changed profoundly: have the standards for judging instruments in the competitions where you serve as juror changed as well?
In the last thirty years, the number of competitions has increased significantly, but the judging criteria have not changed substantially. The technical evaluation of luthiers is similar to the past, as is the judgment expressed by musicians. However, competitions have emerged in which sound predominates — up to 80% of the score — while craftsmanship represents the remaining 20%. Others adopt the opposite criteria. There are also non-anonymous competitions, where participating luthiers are directly involved in judging their colleagues. I have contributed to drafting several regulations, and one of the most significant changes involves the introduction of technological materials — such as carbon or titanium tailpieces, composite fingerboards, and Kevlar tailgut — reflecting a growing awareness of sustainable use of natural resources.

You maintain constant relationships with the East: how is Italian violin making perceived today in countries like Japan, Korea, and China? What impact does the Eastern world have on contemporary Italian violin making, and what are, in your opinion, the main points of contact that have developed over the years between these cultures?
The relationship between Italian violin making and the East is today one of the most dynamic and significant exchanges in our field. In countries like Japan, Korea, and China, Italian violin making is perceived with almost sacred respect: it is not just an art but a cultural and aesthetic reference of the highest value. Names like Stradivari, Guarneri, and Amati carry a universal aura, but in the East, this translates into genuine veneration, accompanied by a profound dedication to studying the Italian tradition.
In these countries, manual skill, technical rigor, and the cult of precision are central to artisanal culture, creating strong affinity with our vision of the craft. In recent decades, Japan, Korea, and China have invested heavily in musical education, orchestras, and academies, as well as in acquiring high-level instruments, initially with inevitable mistakes due to inexperience. Today, they represent some of the most mature, demanding, and refined markets in the world: not only do they buy Italian instruments, but they have built museums, collections, and research centers dedicated to classical violin making.
At the same time, many young Eastern luthiers have trained in Italy and maintain close ties with our schools and workshops. This exchange has enriched both cultures: the East has absorbed our artistic tradition, while Italian violin making has found new interlocutors capable of enhancing and promoting it internationally.

Classic Italian instruments from all over the world have passed through your workshop: what do you learn by observing and restoring these masterpieces?
The study of classical instruments is of fundamental importance. Having an antique example in the workshop allows one to analyze the solutions adopted by the maker. It is astonishing to see how luthiers of the past, without modern measuring tools, managed to interpret and enhance the characteristics of the materials, which differ from instrument to instrument. Examining multiple works by the same maker reveals “the hand,” the gestural language that recurs over time and remains readable even with dimensional variations. This type of study greatly refines the luthier’s eye, teaching them to recognize authenticity and the personality of an instrument.

What topics do you most enjoy addressing in lessons and workshops abroad on violin making?
When speaking to an audience of colleagues, I always try to go beyond pure construction techniques. My goal is to share the experience behind each instrument, each new project. The topics I favor are those that combine manual knowledge with theoretical reflection. One of the central subjects is the use of materials and their interpretation.

How do you see the evolution of contemporary violin making, and what are the main challenges for young artisans? Do you believe Italian violin making will maintain its role as a reference in the international landscape in the coming decades?
Contemporary violin making faces significant challenges today, as high-quality instruments are now being produced outside Italy as well. International competition has grown, requiring constant effort to maintain the levels of excellence that distinguish our tradition.
In recent years, the demands of musicians have also changed rapidly. Parameters such as volume, often prioritized in the past, and tonal quality, sometimes sacrificed, are now finding a more stable balance. Musicians seek instruments capable not only of projecting sound but also of offering a wider expressive range, more controllable response, and a more defined sonic personality. This requires luthiers to reflect deeply on construction, material selection, and acoustic research.
Italy remains a global reference point, but it cannot afford to slow down: continued investment in training, research, and collaboration between luthiers and musicians is essential. Only in this way can we maintain the leadership that our tradition deserves.

You also hold an important institutional position as president of ALI. Can you explain what this role entails and what goals the association has set for itself?
The presidency of ALI is not an honorary title but a concrete commitment. It means taking responsibility for representing and protecting a unique cultural heritage: Italian violin making. The association’s main objectives include safeguarding artistic, custom-made violin making and transmitting knowledge between masters and young luthiers. We organize collective exhibitions, participate in international fairs, and support our members in promoting their work worldwide, with a clear vision: Italian violin making must not only be preserved but continue to grow vigorously, demonstrating that it is a living and constantly evolving heritage.

In the photo gallery: Maestro Simeone Morassi in his workshop and the certificate of the “Grand Prix” obtained at the Wieniawski Competition in Poznań in 1996.