Violin maker Noémie Viaud in her workshop in Denmark, filmed by Nikolaj Lund. Viaud is featured in the Strad’s February 2019 ‘My Space’ column, discussing her workshop and career to date:
In the April 2019 issue of The Strad, Rudolf Hopfner explains how the neck root and top-block of a Jacob Stainer violin made after 1650 gives insights into his working methods – and solves a mystery about the maker’s training in the process.
The Hill’s trained bow maker made a vital contribution to the trade during a long career, writes John Milnes
California-based electric violin maker John Jordan introduces us to some of his most exotic woods, ranging from the pricey Tasmanian tiger rose myrtle to the Swamp Kauri, which is dug up from bogs in New Zealand and is certified to be a minimum of 30000 years old.
The School of Violin Making’s ‘Hope’ competition will see four violins and two guitars sold in aid of a charity providing refugees with tools to restart their trades
In this video Tim Duerinck demonstrates how to make a cello from carbon by hand. The music to the video is also performed on the carbon cello. To read his article investigating the possibilities of flax, carbon, aramid and more in violin making click here.
The ‘Gibson, Huberman’ Stradivari now owned by Joshua Bell has a history worthy of a blockbuster thriller. Stolen twice in the 20th century, the second time it remained undiscovered for nearly 50 years despite being played in public regularly by its thief. In this article from January 1998, Carla Shapreau ...
One of two by the maker owned by Adolph Brodsky, it has a good claim to being the one on which he premiered the Tchaikovsky concerto, writes Stewart Pollens
Benjamin Hebbert on the ethical tightrope of campaigning for exemptions to the Ivory Act while supporting its aim to put a stop to the slaughter of elephants
From a Turinese maker with a relatively short but successful career, from which only a handful of instruments survive, comes this elegant cello. Article by Simon Morris
In this video, Frank Peter Zimmermann describes what it means to have a long-term relationship with your instrument, and how you know which violin is right for you.