Historical
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Focus
In focus: the ‘Sachs’ Stradivari violin of c.1666
John Dilworth takes a close look at one of the very earliest violins attributable to Stradivari
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Gallery
In Focus: 1778 violin by G.B. Guadagnini
Dorothy DeLay’s favourite instrument comes from Guadagnini’s Turin period, and shows the influence of his patron Count Cozio di Salabue, writes John Dilworth
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Girolamo Amati II violin 1671: Last but not least
Girolamo Amati II was the final violin maker of the illustrious Amati dynasty – and possibly the most overlooked. Barbara Meyer examines a 1671 violin from his early career and contrasts it with another instrument he made 48 years later
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François-Nicolas Voirin: The second Tourte
The bows of François-Nicolas Voirin had more influence than those of any other bow maker after F.X. Tourte. In the first of two articles, Matt Wehling explores Voirin’s life and career, and examines why his bows were so successful with players
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News
Australian Chamber Orchestra acquires ‘ex-Dollfus’ Stradivari violin
The 1732 instrument will be played by ACO principal violin Helena Rathbone
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News
Stradivari’s c.1679 ‘Hellier’ violin to be sold at auction
The inlaid instrument will go under the hammer at Christie’s London on 7 July 2022
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Baroque Set-up: In a Land without Rules
With the growth in popularity of historically informed performance, more players are requesting Baroque-style instruments – but the process of converting an instrument is fraught with uncertainty. Sarah Peck presents an overview of the Baroque set-up process, and corrects some common misconceptions along the way
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Auction Report: June 2022
Kevin MacDonald finds some unusual offerings, including an interesting quartet of bows, at the capital’s March auctions
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August Rau: The old-fashioned way
At a time when bow making in Germany was leaning towards industrialisation, August Rau kept up the tradition of independent craftsmanship. Gennady Filimonov tells the story of his long career and examines several examples of his work
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In Focus: A 1911 cello by Guglielmo Secondo Camillo Mandelli
Lionnel Genovart looks at the Italian maker’s instrument
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Jacob Stainer’s birth: A question of dates
For centuries, historians have tried to settle on a definitive birthdate for Tyrolean luthier Jacob Stainer. Heinz Noflatscher explains how we now have an upper limit for his birth year – and why researchers were foxed by the elegant handwriting of the master
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In Focus: A c.1620–1701 viola by Enrico Catenar
Gabriele Rossi Rognoni looks at the German maker’s oldest-known surviving instrument
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Schroetter and Roth: Two of a kind
With the demand for mass-produced German instruments skyrocketing in the 1920s, enterprising makers sent family members to America to represent them. Clifford Hall explores the careers and legacies of Andrew Schroetter and Heinrich Roth
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Luigi Cavallini: A maker in the rough
Tuscany in the 19th century was home to numerous luthiers, some of whom were carpenters who turned their hands to instrument making. Florian Leonhard examines the career of Luigi Cavallini, a lesser-known self-taught maker whose work, while unusual in parts, displays a surprisingly high level of craftsmanship
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Making Matters: Her dark materials
Why do so many violins from German-speaking countries in the later 18th century have such dark varnish? Michel Lorge advances a theory that makes no assumptions about the luthiers’ abilities
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In Focus: A c.1870 viola by Niels Larsen Winther
Jens Stenz looks at the Danish luthier’s instrument
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News
Violin dealer and expert Norman Rosenberg has died
The London-based dealer was a respected authority on stringed instruments and an occasional contributor to The Strad
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News
Foundation launched to renovate Antonio Stradivari’s house
Founded by violinist Fabrizio von Arx, the Casa Stradivari Foundation aims to reopen the house and workshop by November 2022
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Focus
In Focus: A vihuela de arco
Pablo Soriano explores this mysterious vihuela de arco found in Spain
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Making Matters: The price is right
Could a skilled violinist born around 1700 have afforded a new Stradivari violin? Wenjie Cai and Hwan-Ching Tai examine the economics of Baroque music making, and find that the answer is yes