Ernesto and the soul of the instruments.

My father, Ernesto

Anyone who knew Ernesto knows well how difficult it can be to explain, in few lines, beyond his merits, even though they were great, the man Ernesto.

Who knows how much more he would have done, what surprises the tools he left incomplete hide. Sometimes I still remain enchanted looking at his unfinished instruments; these naked children of his hands. They are violins without paint, without strings, still there, on her work table, waiting for something, someone that will come to rescue them. To give them a voice. Because sometimes it is not enough to have a good hand and artistic taste to build a good violin, but you need more than that to give them a soul.

You need love, passion and patience.

Sometimes you could perceive the soul of the man through the voice of his operas, the violins.

All the instruments he has built, whether stringed or bowed, have a deep voice, the kind that alone are capable of transmitting a whole world of emotions.


They are young, modern instruments. They have many years of sound ahead of them with which to mature, transform, and become adults. Contemporary lutherie is often set aside, in favour of older instruments, which have already travelled this path, and their sound is strong and bright. And if for most of the instruments, maturity comes with age, and with maturity also a more decisive sound; Ernesto’s instruments are born with a strong and dominant character, certainly still young, but which makes one savour the joy that, in a few decades, it will be able to give.


So I know, that if today I could already delegate to his instruments to talk for him, when the last of his instruments will be brought to the maximum of his musical expression, Ernesto will be in that music and my words and memories will not longer be needed.

dr. Laura de Angelis