Luca Giardini studied modern violin in Milan and Lugano with Carlo Chiarappa. He then devoted himself to study further the historically informed practice of the violin music between 17th and 19th century, under the guidance of specialists such as Catherine Mackintosh, Monica Huggett, Nicolette Moonen and Peter Hanson in London and Anton Steck.
After working with many chamber and symphony orchestras in Milan, in 1998 he started to collaborate on a regular basis with the most important European Early Music groups, playing at some of the major concert venues all over the world. Luca regularly performs with ensembles such as: Europa Galante, Accademia Bizantina, Il Giardino Armonico, Complesso Barocco, Ensemble Zefiro, Modo Antiquo, Ensemble Concerto, Il Rossignolo, Aglaia, La Venexiana; I Barocchisti, The Orchestra of the Age of Enlightenment, The Bach Ensemble, Al Ayre Español, Ensemble Matheus, La Cetra-Basel, Marini Consort-Innsbruck, Divino Sospiro, Collegium 1704, Ensemble Baroque de Limoges. Among the renowned conductors and soloists he works with are Simon Rattle, Frans Brüggen, Philippe Herreweghe, Cecilia Bartoli, Ian Bostridge, Giuliano Carmignola, Ottavio Dantone and Christoph Coin.
He took part to the recording of more than 70 CDs for the most prestigious record companies: Philips, Sony, Decca, Emi, Emi-Virgin, Harmonia Mundi, L’ Oiseau Lyre, Naxos, Brilliant classics, Naive; he also recorded for the most important radio/tv broadcasters in Europe, USA and Asia. He’s regularly part of audio/video projects and DVD recordings. He also took part to important recordings of musical discoveries of the Seventeenth and Eighteenth Centuries, receiving full acclaim from the critics: Grammy Award, Diapason d’ Or, Choc de la Musique, 10 Repertoire, Premio Fondazione Cini – Venezia, Premio Abbiati.
Luca Giardini is professor of Baroque Violin at the Conservatory “Maderna” in Cesena and Conservatory “Boito” in Parma.
Always very active in the field of chamber music, he constantly dedicates himself to ensembles from duos to quintets on period instruments with a particular predilection for the solo violin repertoire with harpsichord or fortepiano.
To better support the most correct organological adherence to the repertoire, he switches between various historical violins, including a Don Nicola Amati (Bologna 1720); and some original bows or copies, including a Nicolas Leonard Tourte from 1775.