All Fine-Contemporary articles
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Premium ❘ FeatureBuying the right instrument for you
Whatever your needs, whatever your budget, there's an instrument out there for you. Laurinel Owen suggests some ways to find it
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From the Archive: a viola of the Gofriller School, Venice c.1700-10
An illustration of a viola of the Gofriller School published in The Strad, February 1962
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Debate
Bows of the 18th century have been ignored by string players for too long
Long neglected by the majority of string players, the bows of the 18th century make a huge difference to the way the music from that period is played, argues Jérôme Akoka
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Focus
I shy away from copying models that are too individual, says violin maker Sam Zygmuntowicz
The luthier's favourite instruments provide ideal models for his own making
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From the Archive: a violin by Giuseppe Guarneri 'filius Andreae', Cremona, 1712
This illustration of a violin by Giuseppe Guarneri 'filius Andreae' was published in The Strad, April 1973. The following text is extracted from the article accompanying the photographs
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What to play when trying out a new stringed instrument
Buying a new instrument is as much about rigorous auditioning as it is about falling in love...
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From the Archive: a violin by Benjamin Banks, Salisbury, late 18th century
This illustration of a violin by Benjamin Banks was published in The Strad, May 1970. The following text is extracted from the article accompanying the photographs
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From the Archive: a violin by Luigi Fabris of Venice
This illustration of a violin by Luigi Fabris of Venice was published in The Strad, October 1938. The following text is extracted from the article accompanying the photographs
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From the Archive: a cello by Gennaro Gagliano of Naples
This illustration of a cello by Gennaro Gagliano was published in The Strad, March 1938. The following text is extracted from the article accompanying the photographs
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From the Archive: a violin by Antonio Gragnani
This illustration of a violin by Antonio Gragnani was published in The Strad, January 1938. The following text is extracted from the article accompanying the photographs
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From the Archive: a violin by Francesco Rugeri, Cremona, 1678
This illustration of a violin by Francesco Rugeri was published in The Strad, November 1937. The following text is extracted from the article accompanying the photographs
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From the Archive: a Maggini violin
This illustration of a violin by Giovanni Paolo Maggini was published in The Strad, September 1912. The following text is extracted from the article accompanying the photographs: The principal measurements of this violin, as supplied by the owner, are: Length of body, 37 cm; width of upper bouts, 17.1 ...
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From the Archive: a violin by Giovanni Tononi, 1699
This illustration of a violin by Giovanni Tononi was published in The Strad, July 1923. The following text is extracted from the article accompanying the photographs: This fine violin is essentially a lady’s instrument in every way, being of the small Amatise type in build. It was made in ...
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From the Archive: a violin by G.B. Rogeri, large pattern, 1697
This illustration of a violin by Giovanni Battista Rogeri was published in The Strad, February 1914. The following text is extracted from the article accompanying the photographs: The larger violins of this great maker are exceedingly scarce. This Rogeri’s ordinary fiddles are, relatively speaking, numerous enough, and are about ...
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Can you tell a fake instrument from the genuine article?
With more and more instrument forgeries finding their way on to the market, how do experts, dealers and buyers stay wise to deception? Femke Colborne finds out
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From the Archive: a violin by Giovanni Grancino, Milan 1714
This illustration of a violin by Giovanni Grancino was published in The Strad, April 1914. The following text is extracted from the article accompanying the photographs: Of the various Grancini, the instruments of Giovanni (1675-1737) are probably best known. Those of his father, sons, and various other relatives are ...
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Life out of balance
While many luthiers are happy making stringed instruments to the standard form, others are keen to explore the possibilities of alternative patterns. Peter Somerford discovers how asymmetric designs can affect tone quality, projection, acoustics and player comfort
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Stringed instrument myths exposed
Have you heard the one about checking an instrument crack by spitting on it? What about washing your bow hair in hot soapy water? We separate fact from crackpot theory
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Ask the Experts: purchasing the right Baroque bow
A trio of Baroque bow makers give their thoughts on what to look for when making the leap into historically informed playing
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Blogs
'He handed me the Black Violin and said, try this one – it was love at first sight'
Violinist and composer Edward W. Hardy remembers his first encounter with a unique instrument he is now raising funds to purchase
