Biography

Milos Seyda preparing a violin bassbar

MILOS SEYDA
Musical sensibility, fascination with the diverse colours of sound, and curiosity about the way materials can be artistically transformed are the main elements that make up my work. Established in Cremona in 2015, I focus mainly on the construction of violins, violas and cellos.
ORIGINS
I come from Patagonia, Argentina. I grew up experiencing art and music in natural surroundings, starting to play the piano and the cello at a young age, and, later, to work with materials such as clay, metal and wood.
MUSICAL TRAINING
I graduated from the University of Musical Arts in Buenos Aires, Argentina, and continued my studies at the Academy of Arts in Szczecin, Poland. I was awarded the highest grades possible for both degrees. During my career as a cellist I trained with teachers such as Jorge Perez Tedesco (Argentina), Myriam Santucci (USA), Eduardo Vassallo (UK), Wolfgang Emanuel Schmidt (Germany), Tomasz Szczesny (Poland), and Paulo Gaio Lima (Portugal). I studied the main solo repertoire for this instrument and actively participated in orchestras such as the Amadeus Radio Orchestra of Buenos Aires, the Szczecin Philharmonic Orchestra and the Baltic Neopolis Orchestra.
LUTHIER
My journey as a luthier began in 2010 in Paula Godoy’s workshop in Buenos Aires, who passed on to me the first notions of this art. In 2015 I began studying at the Cremona International Violinmaking School in the restoration class of maestro Alessandro Voltini. In 2017 I received my diploma. Since then I’ve worked to further my knowledge of making and restoring stringed instruments, specializing with world-renowned luthiers such as Patrick Robin, Francis Kuttner, Antoine Cauche, Fréderic Becker, Loeiz Honré, Claire Mollimard, and others.

MY WORK
Just as my training as a musician and my path as a luthier complement each other, so music and the substance of sound are fundamental parts of my work. I’m committed to understanding the acoustics of musical instruments, and try to shape their character by paying particular attention to sound quality. My instruments are completely handmade, and every step in their construction is important. To achieve the sounds I’m looking for, I use carefully selected materials and pay special attention to the mechanical and structural properties of the sound box, as well as the elasticity of the varnish, using a self-made recipe. I also ensure that I meet frequently with musicians in order to be aware of new developments and to exchange views and cooperate with them. Seeing my works come to life in the hands of a satisfied musician client is my greatest reward and is what gives my art meaning.

I regularly participate in exchanges with other luthiers, expanding my range of knowledge, staying abreast of the various research topics that make violin making a constantly evolving art.

Studying, through copies, the instruments of great masters of the past has given me a deeper understanding of the fundamental principles of this art, and also allowed me to continuously develop my work and use new elements in it, giving each instrument a more personal character.

I currently play the role of master luthier of Liuteria Bizzi Milano, where I am responsible for the construction of both the Liuteria Bizzi instruments and my own.

Stradivari model cello f-hole by Milos Seyda