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Giuseppe Fiorini (1861–1934) was an Italian musical instrument maker.
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Fiorini was born at Bazzano, Emilia-Romagna, the son and pupil of Raffaele it:Fiorini Raffaele. Having inherited his parents' cultivated propensities in arts and sciences, he built his first instrument at the age of 16. After working in Bologna, from 1877 to 1888, he moved to Munich where he established the firm "Rieger and Fiorini" (1889–1914). During World War I he settled in Zurich, returning to his native country in 1923, and settling in Rome. He was honored with knighthood (Cavaliere) in 1927.[1]
Fiorini died in Munich in 1934.
Had many pupils subsequently prominent in Bavaria and Italy, and enjoyed personal friendships with Royalty, opulent patrons of art, and eminent virtuosi in Italy, France, Germany, and Russia. One of the founders of the German Violin-Makers' Society, and occupied the position of President for several years. Contributed controversial articles to journals which exhibited all possible erudition coupled with acute reasoning powers. Incessantly examined the violins of the immortal Stradivari, had opportunities of personally handling the diagrams and tools used by that wondrous creator, humbly but hopefully delved into the secrets and came out of the labyrinth into the sunshine of enlightenment. Built 500 violins, 10 violas, and 10 'cellos up to year 1926. Recipient of the highest medals at Exhibitions in Europe and America. Modeling always in the Stradivarian style, but with an individuality not to be merely exact replicas. No inaccuracies or fanciful extravagancies whatsoever either exterior or interior. Exquisite contour which affords a perfect harmonisation of curvature. Artistry infallibly guided his hand in the execution of scrolls and sound-holes. Finely transparent reddish and golden varnishes, the whole applied skillfully. His list of known pupils includes Ansaldo Poggi, Simone Fernando Sacconi, Paolo Morara and Pietro Messori. – Universal Dictionary of Violin & Bow Makers - William Henley 1970
"Giuseppe Fiorini, son of Raffaele, quickly achieved a solid reputation and today he is certainly considered one of the most important Italian violin makers. Cremona too should be grateful to this scholar who, after forty [sic] years of essays, bought the rest of Stradivari's workshop (shapes, tools, original drawings, models) and donated them upon the city, in order to form a lutherie school which could bring again Italy at the top of the bow instrument making world. – Il Suono di Bologna
Giuseppe, son of Raffaele, approached violinmaking when he was still pretty young. Aged fifteen made his first violin. Opened his own violin atelier in via Santo Stefano and soon obtained good mentions at various exhibits. He won a prize at the Milano Exhibition of 1888, and the same year received the 'Gran medaglia d'oro' at the International Music Exhibition of Bologna. Having married Rieger's daughter, founder of the famous music firm in Munich, he soon left Bologna and quickly well established himself also in Germany, so that he was elected President of German Violin Maker's Association, and then he became the leader at Riegers. In 1915 he moved to Zurich and lived there up to 1923, when he came back to Italy, moving to Rome. Unfortunately starting from 1925 his sight became weaker and weaker up to become almost blind. In 1920 he bought from the Marchesa dalla Valle di Pomaro what remained of Antonio Stradivari's workshop, that is from direct heirs of the count Cozio di Salabue, then he donated the whole quite valuable collection to the City of Cremona. Great personality of the international violin world, and innovator of the technical and esthetics aspects of the profession, among his Italian pupils we list Ansaldo Poggi, Paolo Morara, Turcke Bebie, Giuseppe Castagnino, Pietro Messori and Arrigo Tivoli-Fiorini. – Notes from Il Suono di Bologna Sound of Bologna
Guiseppe Fiorini was amongst the best of the violinmakers working in Italy during the beginning of the 20th century. He was part of a renaissance of violinmaking in Italy which, before then, was nearly a lost art. – Christopher Reuning
Considered one of Italy's great masters of the 20th century. – Gennady Filimonov