Lipo is a childhood nickname that stuck when a small Italian boy could say only Lipo, instead of Filippo.
I spent most of my childhood in the central part of Italy. There, made my first violin in the shop of a wonderful French violin maker, at the age of 13. Here is an interesting article from the Minneapolis St. Paul Magazine, 2004, about the shop where I later studied as well. You can read a PDF document here.
In 1997 I moved to Minneapolis and began apprenticeship with Andrew Dipper. He outlined a program which was based on his research and experience. I was assigned reading and various goals to meet within three years. After this time, I was given a diploma, like it would have been done in 17th century Cremona.
I worked in this shop for another three years, and learned techiques for violin restoration, and continued violin making. I have been truly fortunate and privileged.
At other points in my life, I worked in the studios of Michele Ashley, and also John Terry.
Since the birth of my first daughter in 2004, I've continued to work and build my own shop at home.
There is great tradition of music, art, and craft in my family. There is a famous wood engraver, Timothy and his children: a painter, a glass blower, a violinist, and his grandson (a cellist) Orlando, and most people I come in touch with are in some way artists. Both my parents are great musicians, and my sister is restoring famous paintings.
Although, a violin is not only a beautiful creation of art, such as a sculpture or painting, it is also an instrument. Musicians work as hard as any other artist, and their instruments have high stress demands as much as tools do. Violins are as much engineered as they are dreamed up.
I try to keep a wholesome attitude, to see a big picture, through detailed study and attentive response to musicians. Still, I can only build my own instruments, in the best way that I know how.
