This double bass was born from a direct dialogue between artistic needs and craftsmanship: it was built for me by Marco Corrado at Liuteria Jonica Corrado, in Montegiordano (Calabria), in the Ionian area between sea and mountains. It is a place where tradition is not a slogan but a method—handwork, attention to materials, and a listening-driven approach in which every choice serves sound and playability.
In my case, the goal was clear: an instrument able to combine depth in the low register with clarity and definition, offering a stable, focused core while remaining flexible in colour. The result is a double bass that feels alive—quick to respond, reliable in intonation, and capable of moving naturally between an expansive orchestral presence and the intimacy of chamber music, without losing identity.
Its voice is warm but articulate, with a clean attack and a resonance that carries. The setup was tailored to my playing, making the instrument equally convincing under the bow and in pizzicato, and allowing phrasing to remain free even in technically demanding repertoire.
This instrument is by Fratelli Sirleto — Liuteria Sirleto, Naples — a family workshop with a long artisanal lineage. The Sirleto brothers (Ciro, Riccardo, and Fortunato) established Liuteria Sirleto in 1980, dedicating their work to the handcrafting of string instruments, with a special connection to the Neapolitan style, alongside professional restoration activity.
Their workshop is located in central Naples (Via Costantinopoli), an area historically associated with artistic and musical life of the city. Within Italy’s professional lutherie ecosystem, Fratelli Sirleto are also listed among makers/technicians/restorers in sector directories and institutional resources.
On a practical level, I consider this Sirleto instrument an important part of my setup: it represents a clearly identifiable Italian craft tradition and offers a reliable musical “voice” that complements my work across repertoire and contexts.