HAPPENED TODAY - On December 6, 1953, the composer Andrew Violette was born in New York

Marta Lucchi


The good smell of wood brings my mind to the mountains and for a moment I am enchanted. Marta Lucchi is talking to a girl. Among them a bow for violin. I turn my eyes around the room and am fascinated by bunches of horsehair hanging under a neat row of arches, which are put on display, behind a cello. In a corner, a double bass wait lazy. As my thoughts fly away, Marta calls me back to reality, with her smile and her kind welcome.

Let’s we go to see the school?

Between Emporio Lucchi, in via Monteverdi 18, and Palazzo Mina-Bolzesi, home of the Cremonensis Academy, there are only a few steps. Marta start telling me about her father: studies at the Conservatory, the double bass , the work in the Theater in Bologna, the teaching, the transfer to Cremona of the family …

We are five brothers. The first, Massimo, was born in Verona. I was born here in Cremona. It was often difficult for my mother to be able to do everything by herself: she had no relatives to rely on, and dad was always busy with work and teaching. He liked a lot to teach because he liked to sharewith others what he had learned and was always curious to learn from others. Then, just before my father died, the professional course fo bow-makers, which had been entrusted to him in 1976, was closed, and for my father it was a cause of great suffering … so after his death, we brothers, collected the legacy of his dream, and we opened the Academia Cremonensis to keep his school alive.

We enter Palazzo Mina-Bolzesi, a beautiful example of neoclassical architecture. On the right, we saw the access to the school. A young man grappling with a cello is welcoming us. So there are not only courses for bow-makers?

In fact, the school for bow makers is our most specific sector: here we teach in particular the Lucchi method, that is the method developed by my father for the construction of arches. But we also have a course for luthiers.

On the ground floor a course and another on the first floor?

No. Spaces are exploited in a very flexible way, adapting them to the needs of the moment. A ground floor, we have a larger space, usually we welcome school children eager to discover the secrets of a bow but, when we need it, we put work tables here too.

On the first floor, in absolute silence, the students are all intent on their work. Everyone has his own table, but why are they all doing different things?

The students who follow our courses come from all parts of the world, at different times of the year.

[to be continued⇒]