L’ATELIER
PROFILO
Our atelier has been exclusively making classical concert guitars since 2010, the year in which the atelier was founded by Marco Sellitto, engineer and classical guitarist.
Passion for music, scientific competence, great craftsmanship, continuous technological research and a strict selection of materials are the prerequisites to create a Marco Sellitto guitar.
Our atelier rejects any assembly-line production philosophy and pursues the goal of uncompromising quality, perceiving the realization of each instrument and – in our case – the sound that it will generate, as a form of artistic expression of the author. Our instruments are all unique pieces.
vision
Bringing the perfect sound to the world of classical guitar
mission
The Marco Sellitto atelier was born from a challenge, to demonstrate that:
1) like any other work of human ingenuity, the classical guitar can and must be subject to an artistic and – at the same time – to a technical-scientific development, without ever failing to respect that glorious past which at the core of its history. That past is the basis that can never be set aside in the course of its continuous evolution. As a result
2) The classical guitar is the musical instrument with which the perfect sound may be achieved.
Ever since since its foundation, through the work of Marco Sellitto, its founder and researcher, the atelier has consistently carried out its own acoustic and consequently constructive mission, which can be summarized in a few but fundamental points:
• To create its own model of classical concert guitar (the only model made and therefore, proposed by the atelier), intended for the professional market of the great concert performers.
• To rule out any imitative process and pursue its very own idea of a “Sellitto sound”, inspired by the sounds of the instruments of the Spanish tradition and, in particular, by those of masters Torres and Simplicio..
• To manufacture each instrument individually (one instrument only is made at a time, the result of the inspiration of the master, consequently each guitar in the atelier is unique), rejecting any industrial process and any kind of replication.
• To bring about an uncompromising implementation of its principles
• To use only the best materials
• To unceasingly carry on with scientific research, through an internal department of “Research & Development”, which has thus far uninterruptedly raised the bar of its acoustic performance higher and higher. It has reached the highest possible levels thus far, attaining the final goal of creating a classical concert guitar which the atelier offers to professionals and for which it has obtained patents for some of its components.
Conclusioni :
After about ten years of research and innovation, and the achievements stemming therefrom, the Marco Sellitto atelier believes it has consistently fulfilled its mission, bringing new stimuli to the entire world of the classical guitar, both for concert performers and composers. With its original model of classical concert guitar, and in particular by virtue of its original and characteristic sound, it has made available:
The continuity of the classical tradition
and the
innovations made thanks to a tireless passion for sound and know-how in the field of acoustic engineering.
In summary:
I innovated by first enhancing the features of the historical lutherie, especially that of masters like Antonio de Torres and Francisco Simplicio, on which I later on grafted my own innovations and research activity, thus embedding in my instruments the continuity of classical tradition as well as the innovations brought about by my tireless passion for sound and my know-how in the field of acoustic engineering
tradizione
La tradizione rappresenta le nostre radici, la nostra storia, quel passato la cui conoscenza non rimane confinata nell’ambito della nozione, ma diventa nutrimento, linfa vitale per il nostro modo di essere, di sentire e di vivere oggi. Anche la chitarra pensata da Antonio de Torres non sorgeva dal nulla, nel deserto: era l’evoluzione, il culmine di una tradizione che affondava le sue radici nella liuteria andalusa, i cui maestri e le cui opere certamente Torres conobbe, e che mise alla base del suo lavoro, aggiungendovi la sua genialità. A mia volta, ho trovato la mia ispirazione e il fondamento del mio lavoro nella sua opera, come anche in quella delle chitarra sperimentale a doppia semi buca di Francisco Simplicio, ho poi cercato di procedere lungo una strada che scoprivo nel momento stesso in cui muovevo un passo avanti: non c’era un percorso libero già tracciato, c’era solo l’esigenza di proseguire. Come dice Antonio Machado: “Viandante, non esiste sentiero: si fa la strada nell’andare ”.