The Dies Irae Violin
Quidquid latet apparebit
Dies Irae — An Emblem
This model takes its inner proportions from Dies Irae, the 13th-century hymn attributed to Thomas of Celano — compelling composers from Brumel to Charpentier, Mozart, Liszt, and Ysaÿe to return to it across centuries. This instrument is a tribute to that hymn — given physical form.
Every measurement and proportion is not just a number — it is derived directly from the hymn. In the Dies Irae violin, the work begins with the music itself rather than just number.
Harmony Revealed
The language of music principles becomes explicit when Harmony itself is allowed to lead.
Before wood and tools, projection or personality, there is harmony: proportion and balance
Harmony as Foundation
Sound does not emerge from ignoring natural order. It flourishes by respecting it.
The Instrument — On Stage
On stage, it holds. Across registers, across rooms, across pitch standards, from 382 to 465Hz.
Two voices, same space. A 17th-century Milanese voice and the 2023 Dies Irae. Recorded minutes apart. No balance. No adjustment. A shared purpose.
“If I can’t try it, how do I know this will work?”
When you commission, acoustic predictability and comfort aren’t luck. Your instrument must help you be your best—so nothing is left to chance.
I built Sound Alchemy™ from the masters’ method and from lived stage reality—including years performing with La Petite Bande. The clearest proof is repeated commissions:
Sigiswald Kuijken (6) · Sergey Malov (2) · Ryo Terakado (3).
Witnesses
“I thought it was an antique Italian”
Viktoria Mullova
Concert Violinist
“His instruments have purely Italian character”
Renato Scrollavezza
Luthier, founder of Parma School of Violin Making
Dies Irae Violin
Framed fingerboard and tailpiece, gold leaf Quatrefoil bridge
excl. VAT