All Lutherie articles
-
BlogsHow a flight-damaged Edward Lewis viola da gamba rose from the ashes
After being seriously damaged in an Alitalia flight, a historical viola da gamba made by Edward Lewis was amazingly brought back to life by Shlomo Moyal. Here is the story of the instrument, to tie in with this month’s Making Matters
-
Premium ❘ Feature
Making Matters: a phoenix from the ashes
Luthier Shlomo Moyal explains how he restored a 1685 viola da gamba that had been almost destroyed, in a project that took a whole year of patient reconstruction
-
-
Premium ❘ Feature
Trade Secrets: Flattening planes
A sadly necessary task for all luthiers, which should have been taken care of by the manufacturer in the first place
-
Gallery
Violin Society of America: 2019 Convention
Dallas, Texas, was the setting for the VSA’a annual congress, where Sam Zygmuntowicz gave the keynote speech
-
Premium ❘ Feature
In focus: an 1819 violin by David Stirrat
David Rattray examines an instrument by the Edinburgh maker
-
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
-
Feature
Stradivari and the sharkskin sandpaper
This microscope image of what looks like a shark’s tooth embedded in a 1711 cell is evidence of dogfish skin, writes Joseph Campanella Cleary
-
Premium ❘ Feature
A Massive Achievement
Made in 1677, the ‘Romanov’ Nicolò Amati viola is one of the maker’s late masterpieces. Alberto Giordano and Rudolf Hopfner investigate its turbulent history and examine how it fits into the Amati family’s oeuvre
-
Premium ❘ Feature
Like Fathers, Like Sons
This year marks the 50th anniversary of the death of Émile Auguste Ouchard, as well as the 40th of his son Bernard – both regarded as among the 20th century’s finest bow makers. Thomas Martin, Andrew McGill, Martin Lawrence and George Martin examine the legacy of the Ouchard dynasty, particularly ...
-
Premium ❘ Gallery
From the Archive: the ‘General Kyd’ Stradivarius violin, Cremona, 1714
This illustration of the ‘General Kyd’ Stradivarius was published in The Strad, January 1962. The following text is extracted from the article accompanying the photographs
-
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
-
Premium ❘ Gallery
From the Archive: an ornamented violin believed to be the work of J.B. Vuillaume
This illustration of a violin by J.B. Vuillaume was published in The Strad, February 1974. The following text is extracted from the article accompanying the photographs
-
Feature
Why do violin bridges have a waist?
In this extract from his investigation of the acoustical role of the violin bridge, Joseph Curtin sets up an experiment with a waistless prototype
-
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
-
Premium ❘ Gallery
From the Archive: a Joseph Rocca violin, 1836
This illustration of a Joseph Rocca violin was published in The Strad, May 1938. The following text is extracted from the article accompanying the photographs
-
Premium ❘ Gallery
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
-
News
Influential Italian luthier Renato Scrollavezza has died
Born in poverty and initially self taught, he went on to mentor generations of violin makers at his lutherie school in Parma
-
Premium ❘ Feature
In focus: a 1929 violin by Paolo Guadagnini
Richard Ward examines an instrument by the last member of the Guadagnini dynasty
-
Premium ❘ Feature
Trade Secrets: Arching, channelling and edgework
A method that unites all three parts of the making process, for a more coherent and efficient way of working
