This Master give you all knowledge about the stylistic balance of the Grand Masters with the technical perfection of contemporary violin making. 



Master Program

To make a new violin look old is not a common thing, however well appreciated among musicians. To make a copy is not to imitate, is a form of expression and a way to keep passing on the history. From Vuillaume and beyond, makers have built careers on making it.

We use the word antique as a verb meaning to make the violin look old, wear, shade, scratch, patina and so on. We never intend to be better than the great masters but to be inspired by them.


To make a copy goes beyond craftsmanship; it reflects the maker’s own artistic style. It gives new degrees of freedom regarding the subtle mistakes done along with the making. Sometimes, there is no need to hide the tool marks or to be exceptionally symmetrical; all details increase the appealing expression of the unique handmade instrument.

The copy will highlight its details, scratches, and dirt-filled pores, rather than the impeccable woodwork, color effect, and that bright orange varnish appearance. It hides all the perfections to enhance the (im)perfections.


For years Amorim has been developing the technique of antiquing to replicate old instruments in an artistic way. The goal is to make new instruments look old not fake old. Amorim copies are known for their character, accuracy and yet originality.  

The goal is to make each instrument better than the previous one. It must be in the maker’s nature to be always concerned about searching ways to make the instruments more and more exceptional.

We are convinced that the instrument is for the musician an extension of his/her body and how they express their art.

We make them with all the qualities that are essential to meet the needs and expectations of an excellent musician. We follow the traditional Italian school, considering that this characteristic is fundamental for the conception of an unparalleled instrument.


Amorim’s work with copies started due to the appreciation of the expressiveness in Guarneri’s instruments, especially at the end of his carrier, when he managed to demonstrate, as in a work of art, his identity. Guarneri did not produce an instrument like the other, and this clearly shows his inventive and free character, placing his singularity in each one of them. It is essential to have this freedom of expression and not to be tied to the aesthetic form. He was an artist, and we identify ourselves a lot for that.


All kind of artists varies on visual effects, to mix textures and colors are commonly seen in the world of art. Why shouldn’t the violin makers? To pursue the quality of the varnish and the signs of wear transforms the attempt to antique an instrument into a piece of art.

The purposeful antiquing of an instrument is a form of expression. On many occasions, what is made is the recreation of historical instruments for clients who want that particular violin/viola/cello, with the identity and character of the contemporary maker impressed in those instruments.

The growing demand for old instruments together with the scarcity of good specimens and an ever-higher price in recent years, help to increase the demand for good contemporary instruments. Due to good acceptance, copies of instruments by ancient makers facilitate this transition.

Not to mention the musicians who are in hold of a fine old instrument, but due to stringed instruments fragility, choose not to travel or take them into places with extreme conditions. Its high value is also a reason for a musician commission a copy and preserves the original.

The growing demand for old instruments together with the scarcity of good specimens and an ever-higher price in recent years, help to increase the demand for good contemporary instruments. Due to good acceptance, copies of instruments by ancient makers facilitate this transition.

The course of replicas is designed for aspiring luthiers who have good artistic skills and love to observe and study the beauty of classical instruments, share new ideas and get to interpret the Great Masters of the past.

During this Master, students will learn the huge difference between faithfully replicating an instrument and creating a masterpiece that encompasses all the brilliant choices of the luthiers who inspire us but also to emphasize the marvelous details created by time.



Mandatory documents: 
- Official undergraduate degree/diploma in violinmaking, engineering or architecture, technical engineering and technical architecture or, for foreign qualifications, the equivalent qualification awarded by an accredited higher education institution). Qualifications can be in the following academic areas: Violinmaking, Fine Arts, Design, Music, Engineering, History of Art, Languages and Literature, History, Education Sciences and Architecture.
- Academic transcript of the accredited official training with the average grade at the university of origin
- Curriculum Vitae in English or Italian
- A study proposal in English or Italian (600 to 800 words)
- Language skills declaration 
- Identity Card or Passport

Optional documents:

- A letter of recommendation
- Professional experience in any of the fields related to the master’s programme
- Research experience
- Teaching experience
- Additional academic training in areas related to the master’s programme
- Additional professional experience


In addition, the Departments’ selection committee may decide to interview the candidate


- Enhance all the phases of the violinmaking process by:
                           - The application of traditional techniques
                           - Players-centered design solutions

                           - Creation of a personal method

- Develop an eye that recognizes key details in historical instruments

- Know the current situation of contemporary violinmaking, participating in the course through some of the most relevant international masters.

- Experience the knowledge acquired through the realization of professional instruments and participate to competitions.

- Learn about the technological properties of the wood and the production costs of an instrument to take the best decisions in the course of its development.

- Study and evaluate the concrete decisions that are made on a product development project through the exposure and discussion of real projects made by the Greatest Masters.

Transversal competences:

- Ability to work with several teachers to focus on different aspects of violinmaking.

- Ability to identify various methods and styles.

Specific competences:

- Ability to create an instrument with a personal style, from the conceptual phase to the technical development.

- Ability to apply the knowledge acquired from the selection of materials, from the transformation and simulation processes, to the project of redesign or optimization of a product.

- Ability to use the instruments built at school as a validation tool for personal projects.


Whether you are interested in a career in traditional, as well as in contemporary violin making, employers in all areas appreciate our graduates for their rigorous academic training, broad perspective and well-developed practical skills in organizing, teamwork, workshop work and equipment maintenance. Our graduates have an excellent reputation for securing adequate employment and developing successful careers.

We offer each candidate a wide range of modules and teach a flexible and diverse set of skills on which they can draw on in almost any career.

A Master in Replica Violinmaking can help prepare you to be a:

  • Independent Luthier.

  • violin making teacher at professional violin making institutes in the world.

  • Maintainer of private collections and Museums.


Course details

Teachers: Luiz Amorim & Gaian Amorim







8:00 am TO 1:00 pm

2:00 pm TO 4:00 pm