A Foundation for the Future
The Antonio Stradivarius Foundation is born

After over 30 years of activity, any association should take a look at its institutional structure to see whether it is still up to speed or needs a thorough overhaul. This is what we have been doing over the course of these past two years, and we found that our bylaws, dating back to the nineteen eighties, were steeped in dust, due both to our outdated designation as an “Ente Fieristico” (Trade Fair Organization), and to the fact that the concept of “Ente” has been wiped off the statue books. Even though it took slightly longer than we had hoped, the outcome is the birth of a foundation that, being in Cremona, could only by named after the best violinmaker of our tradition – Antonio Stradivarius. However, we wanted to retain the term “La Triennale” in the name, since over the years it has become an internationally recognized brand, linked to the prestigious International Triennial Contest, which takes place in Cremona every three years and remains the core business of our institution.
The Foundation fits squarely within the realm of not-for-profit cultural associations, and will maintain the mission of promoting and sponsoring violin making in general – not just that which takes place in Cremona. Supporting violin making means promoting awareness and the study of its historical and scientific aspects, but it also implies sustaining contemporary violin making, stimulating enhancements in quality that – we believe – are based on expansion of the knowledge base in this fascinating and complex field. The general rule of what is called “knowledge society” also applies to the realm of violin making: those who know more can achieve greater added value in their work. Our role, therefore, is to be of service to the master violinmakers as well as others who are interested in this field. This is the reason for organizing exhibitions, conventions, roundtables, and musical events that bring attention to the instruments that are being played, and to publications dedicated to violin making. It can only be done in an international context, due to the role that Cremona plays in this field.
There is also the important news that the Foundation will be able to deal not only with bowed stringed instruments, but also with other high quality artisan instruments that can be “linked to violin making”, based on the definition in the bylaws. This will enable the foundation to broaden its field to other kinds of instruments, such as plucked ones, but also, if the members so choose, to other fields.
The Foundation is a legal instrument that is modern and flexible in terms of its internal organization and is open to the participation of the private sector, which we plan to involve in the near future in a stable, collaborative and significant way. Indeed, public-private partnerships are one of the most innovative tools for effective programming in the cultural field, and we hope that further fiscal advantages will be granted to those who invest in culture in our country. The new organizational structure will grant us new and more effective operating tools, which will help in our ongoing efforts towards an increased capacity to communicate our activities and further internationalise our programming. This is a challenge, and we want to succeed.
I can only conclude my remarks for this issue of Cremonaliutaria by expressing my deep satisfaction with the outcome of these three years of activity dedicated to Andrea Amati, which ended with the wonderful exhibition on his Opera Omnia. It was a crescendo of quality, competence and scientific analysis that brought us enhanced appreciation and credibility at the international level. This is why I want to thank all of the staff and in particular our Director, Virginia Villa, the Presidents and members of the scientific Committees that have been active over the three years, and all the institutions and organizations that cooperated with us, helping us to achieve these results.

Paolo Bodini
Foundation President