Metadata And Guitar Organology Lineages

Discussion in 'Plans, Designs & Software' started by Massimo Maddaloni, Dec 17, 2019.

  1. Massimo Maddaloni

    Massimo Maddaloni New Member

    Dec 13, 2019
    Likes Received:
    Florida, USA
    Hello all.

    Thank you for accepting me in this forum even if I am not a luthier.
    We recently published a research that may be of interest here because it applies an unusual method to improve our understanding of guitar organology lineages. By presenting these ideas to a larger and competent audience, we hope to validate and expand our conclusions.
    We applied this novel approach to the work of a poorly known luthier, Luigi Digiuni (1878-1937), and we show that the Cremonese lutherie of the “dark ages” in actuality had maintained a remarkable inventive capacity. In fact Digiuni's guitar design is visually and statistically unique when compared to Baroque as well as de Torres guitars. We believe that the ancient knowledge of the Golden Age never went lost, but it has been passed down through generations by word of mouth between masters and their pupils or between the members of the guilds. What changed was the market perception of Cremonese lutherie, fueled by the competition from mass produced instruments made all over Europe, including the Officina Claudio Monteverde [sic], by Aristide Cavalli in Cremona. In support of this point of view is the consideration that Andrea Guarneri (1626-1698), founder of the Guarneri dynasty of luthiers), his grandson Bartolomeo Giuseppe Guarneri del Gesu’ (1698-1744) and Luigi Digiuni were all born in the Cremonese village of Casalbuttano. Francesco Bissolotti (1929-2019) was born in Soresina (3 Km/1.5 miles to the north of Casalbuttano). I know the place because my mom was born there: at the time, we are probably talking about few souls tending thousands of cows). Both Digiuni and Bissolotti began as woodworkers suggesting that there was a carpentry milieu within which the ancient and deep knowledge of lutherie was being kept alive. What is the likelihood that all these top luthiers were born in a place like that just by chance? All of them eventually gravitated into the larger Cremonese lutherie, which undoubtedly raises the question of what “Cremonese lutherie” actually means. Digiuni made a wide array of instruments and it would be interesting to find out if his violins are Strads or Guarneri.
    A further application of our statistical analysis shows that de Torres guitars do not appear to be connected to guitars that are commonly believed to link the Baroque guitars to the de Torres ones. A corollary of this observation is that de Torres developed his signature guitars from either non-mainstream traditions or from his own completely novel genius idea.
    This is not the Gospel and criticisms and comments are welcome. Regardless we believe it may generate an interesting debate and it may circulate new ideas.
    Kind regards

Share This Page