Master Luigi Lanaro was born to Mason (Vi) 4 -12 - 1920, his artistic formation begin in 1935 in the school of art and works and laboratories of carving and sculpture of wood "Pietro Selvatico" of Padua under the guide of the Master carvers Umberto Businari (said Boni) and Guido Dandolo. Contemporarily it studies music with the intent to play the violin, instrument that disclosed his true vocation, such that to investigate it under the functional and physiological aspect, analysing the structure and the physical phenomenons on it. He studies violin with the Prof. Eugene Brancaleon of Padua, frequents courses of physics and technology of the wood and at the same time receives practical orientations of luthery from Ferruccio Graziani of Albignasego PD that, not practising the profession for health reasons, had acquired also notions to make violin from the well known Luthiers Pietro Meneghesso of Padua and from Andrea Bisiach of Milan.From 1946 to 1949 attends the violin maker laboratories of Mastrers Giuseppe Pedrazzini of Cremona, Milan and Brescia, and Gaetano Sgarabotto of Vicenza. At the same time manages the activity of violin maker, restore and creator in Padova and his works are appreciated by famous musicians and from experienced Luthiers. At the same time, addresses his brother Umberto to the art of Luthery. Umberto will follow him later on to Buenos Aires in Argentina.Introduces some works in two contest only: to Cremona, where a special prize is assigned to him in 1947 and in the review of Bagnacavallo in 1981 where receives the first, third and fourth prize; "unique" case because gives more importance to the diffusion of his fame, derived by the sound of his instruments, that the ones coming from contests or reviews. In 1949 he is transferred and works to Buenos Aires.In 1955 he is invited to Mexico city as official expert to make violins, requested by the Government, founds the first school of luthery in the American continent that directs for over 20 years and from which professionals that operate in Mexico have gone out, in the U.S.A. and in France (Paris), besides his son Roberto that, grown under his experienced guide, currently work in Padova with authoritative professionalism. In Mexico city he studies cello with Prof. Ralph Norman, and in collaboration with university teachers, he performs searches on the mechanics and dynamics of the acoustic vibrations in the bow instrument, studying botany and technology of the tropical woods.Re-entered in Italy in 1973, he works one year in Siena and following in Padua, continuing the activity of violin maker and researcher on the physical principles that involve the bow instruments and on the technique and the methodology of the ancient luthery in Italy.In 1975 he publishes the first book of didactic " La liuteria classica e il liutaio moderno " edit from G. Zanibon, PD; in 1987 he publishes the brochure " norme orientative per il giovane musicista" (G. Zanibon, PD) and finally in 1993 a synthesis in preliminary form "The check-up in liuteria ". In synthesis, Master Lanaro’s operational activity includes the study of some phonogeni phenomenos and combined problems related with the classical style to make violins, the teaching and the technical consultation, the construction of a conspicuous number of instrument and bows, (over 380 instruments between violins, violas, cellos, bass, violas of love and bows of every type and style), the restore of bow and ancient and modern instruments, theoretical and practical seminars of luthery and organology, as in the American Continent as in Italy.In 1983 withdrawn the activity leaving his laboratory of court S. Clemente 12, PD, to his son Roberto and he is transferred to Abano Terme (PD) to devote to the searches exclusively on mechanics and energetic dynamics working in the bow instrument, which constitute the matter of this treatment.
INDEX-Introductory considerations-First partChap. 1Plan of the workChap. 2The origins and the evolution of the bow instrumentsChap. 3New approach on the physical-acoustics problems of the violinChap. 4The static energetic potential (in the rest instrument) and kinetic (in the stimulated instrument)-Second partChap. 5Choice and use of the wood assigned to the construction of the bow instruments. Anatomy and technology elements of the wood- The cell and his functions in the vegetables- Elements that composed the vegetable cell- Dimensions of the vegetable cell- Vegetable physiology- Metabolism of the plants- Tissue vegetable (xylem and phloem) and mechanic tissue- Annual rings of growth- Inside morphology of the woody stem or trunkChap. 6Vegetable kinds used in LUTHERY- The coniferous- The angiospermsChap. 7Physical characteristics of the wood- Specific weight of some woods- Basal density of the wood- Limit of elasticity- Variations from the hygrometrics changes- Anomalies, degradation and merits of the wooden tissueChap. 8The temperament of the wooden tissue- The ( D T ) in the bow instrument stimulated to emit sound6Chap. 9Thicken on the wooden tissue: Causes and effectsChap. 10Brief reflections on the varnish-Third PartCap. 11Sound and succession of the oscillatory motion- Production and propagation mechanisms of the sound- Characteristics of the sound- Pure sound and complex sound- The sound propagation- Reflection of the sonorous waves- Resonance- Vibration of the foils or plates- Dynamics of the oscillatory motion in the bow instrumentChap. 12The parabolic curves evolution in the bow instruments- Model types- Conclusive considerations-Fourth PartChap. 13New method finalities for the CHECK-UP on ancient and modern bow instruments- The check-upChap. 14Intervention’s possibilities related to the interactions between bridge, bass-bar, and sound-post- Corrective interventions- From the theory to the practical application-Fifth PartChap. 15Specific acoustic phenomenons in the bow instruments- Modern science and ancient empiricism- Harmonicas combinations and interference effects of the differential resultantChap. 16The baroque violin- The sound of the baroque bow instrument- Considerations on the normal evolution of the baroque and modern violin- Energetic differential relationships between baroque and modern bow instrument-Conclusive considerations-Bibliography