Master violin maker Elisabetta Giordano was born in Cremona, Italy in 1971. After finishing her primary studies, Miss Giordano’s interest in the fine arts, particularly drawing, painting and sculpture, along with her passion for wood, led her to enroll in the International School of Violin Making "Antonio Stradivarius" in Cremona. She graduated in 1991 under the tutelage of Professor Giorgio Scolari. In 1989-90 Miss Giordano attended a course on classical guitar construction. The course was organized by the governing body of the Lombardy region. During the following two years Miss Giordano worked for her former teacher. Here she pursued and advanced in her studies on construction and restoration. Today, Elisabetta Giordano has her own shop at number 23 in Corso Pietro Vacchelli street, a quick walk from Cremona’s cathedral. Here she devotes herself to the construction, restoration, repair and set-up of bowed instruments Miss Giordano’s sensibility, engagement in the construction process, musical knowledge, as well as her friendships with many professional musicians have led to the direct collaboration with the members of several European orchestras. Including the orchestras of: “La Scala” of Milan, “I Pomeriggi Musicali” of Milan, “Guido Cantelli” of Milan, “Arturo Toscanini” of Parma, “Regio Theater” of Parma, “Cagliari Symphony”, “Orchestra of the Italian Broadcasting Corporation” (RAI) of Turin, “Valle d’Aosta Orchestra”, “Italian Philharmonic” of Piacenza, “Engelberg” of Switzerland, “Peniscola” of Spain. Miss Giordano’s instruments have not only been acquired by musicians from various European countries (Austria, Switzerland, France, and Germany) but also by clients from the USA, Japan, China and Taiwan. She has participated in shows and exhibitions in Italy as well as in foreign countries, and always received favorable reviews. Miss Giordano favors models by Stradivari, Nicola Amati, Antonio and Gerolamo Amati, and Giovanni Battista Guadagnini. She is also inspired by models from famous makers of the 20th century such as Ansaldo Poggi, Marino Capicchioni and Ferdinando Garimberti. After my graduation and the workshop apprenticeship with Maestro Scolari, I began to work alone. It was then that I became aware that I was at square one as an independent maker. Therefore I decided to deepen my knowledge, and dedicated myself to the study of acoustics. During those years I built violins, violas and cellos, following the models of the original Cremonese school and of the Italian masters of the early 20th century. I gave special attention to the acoustic characteristics of the instruments; and took into consideration the arching, the thicknesses and the positioning of the bassbar, all aspects of fundamental importance to the production of a good sound. I have also listened to the advice, requests and needs of musicians. I have noted the difficulties at times encountered in performing a particular passage as well as heeded their individual desires. Their criticism and at times my mistakes, all helped prevent my work from becoming something monotonous and mechanical. These experiences have provided me with an enormous stimulus and have always helped improve my work. Today I can proudly say that my days of uncertainty are behind me. I now know for sure and without any false pretense how to make an instrument play. I understand that it is important to make beautiful instruments by trying to respect as much as possible the creative process and harmony of the great Cremonese makers of the 17th century. To me, what is most important is to give life and voice to these instruments, as this is their primary function.