The work we do on Paganini's Cannone is exclusively for conservation purposes, not restoration. When you are dealing with an asset of this type, which is perhaps also one of the most precious that we have in Italy, instinct must take a step back in favour of an organisation and a collection of information that is essentially scientific.

The construction, of course. I draw inspiration from studying the history of violin making. I started replicating the Cannone at the age of 40, taking inspiration from the instruments made by Genoese luthiers in the 19th century.

It depends. Stradivari achieved almost incredible numbers, which demonstrates the efficiency and organisation of his workshop. Personally I have handmade more than 150 violins and 20 cellos, which is not bad because I have done many other things including publications, research, books, lectures, and the conservation of Il Cannone.

The history of violin making abounds with false myths and ancient fake news: one concerns supposed “magic” wood seasoning techniques to obtain the ideal sound. It is now proven that many Cremonese luthiers of the classical period actually used unseasoned wood from freshly cut firs.