All Lutherie articles – Page 23
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Focus‘The first maker of what is unambiguously a double bass’
In this extract from the December 2021 issue, Thomas Martin, George Martin and Martin Lawrence examine the beginnings of bass making in Venice
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Premium ❘ FeatureThe Venetian double bass: Venetian splendour
Many of the great Italian double bass makers lived and worked in the city of Venice. Thomas Martin, George Martin and Martin Lawrence tell the stories of some of the leading names in the trade, with commentary on a number of their instruments
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FocusThe Strad Calendar 2022: Giuseppe Antonio Rocca violin 1844
The Rocca is clearly modelled after the most famous Stradivari violin, the ‘Messiah’
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Premium ❘ FeatureAmerican Master: William Salchow
With a career spanning six decades, William Salchow has had a huge influence on bow making in America. In this November 2012 interview conducted by former student Sue Lipkins, Salchow talks about everything from Wurlitzer’s and Mirecourt to creating the perfect head
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FocusPierre Aloysius Josephs: the first bow maker of the San Francisco Bay Area
In this extract from the November 2021 issue, Raphael Gold profiles the bow making work of Pierre Aloysius Josephs and his family
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FocusThe Strad Calendar 2022: Carlo Ferdinando Landolfi double bass c.1770
Landolfi’s choice of wood ranges from plain maple scrolls to highly flamed backs
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NewsBulgarians and Italians take top awards at ANLAI violin making competition
The contest saw a hundred instruments by luthiers from ten countries assessed, with the award ceremony taking place in the historic Church of Santa Maria della Neve
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NewsA tribute to violin maker and restorer Hans Luthi (1979–2021)
Trained in Switzerland, the luthier worked in London, Europe and South Korea
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Premium ❘ FeatureMy Space: Sam Zygmuntowicz
The luthier’s workshop, based in Brooklyn, New York, is spread across two floors, and includes a ‘salon’ where customers can test their instruments. From May 2015
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FocusThe Strad Calendar 2022: Pietro Guarneri of Venice violin 1725
Known as the ‘Reine Elisabeth’, this is the most expensive instrument bought by the Dutch Musical Instruments Foundation
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Premium ❘ FeatureIn Focus: Team Player
Sam Zygmuntowicz examines the large proportions of this 1796 Mantegazza viola, which give it a powerful sound that makes it ideal for string quartets. From December 2003
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FocusThe Strad Calendar 2022: Giuseppe Guarneri ‘filius Andreae’ cello 1715 ‘ex Navarra’
The Guarneri ‘filius Andreae’ must be the most impressive Cremonese cello in terms of maker’s marks
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FocusSeeing red: Stradivari’s special instrument varnish
In this extract from September 2018, Joe Robson examines the history and prestige surrounding the colour red and how it began to feature in Stradivari’s instrument varnish
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FocusThe Strad Calendar 2022: Jean-Baptiste Vuillaume viola 1867
This viola is regarded as an exceptionally pure and unique specimen among Vuillaume’s work
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FocusThe components of violin varnish
In this extract from November 2007, Joe Robson explores the history and methods of making violin varnish
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FocusThe Strad Calendar 2022: Santo Serafin violin 1750
Santo Serafin’s refined style can be particularly seen on the scroll
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FocusDiscovering the composition of historical varnishes
In this extract from the October 2021 issue, Balthazar Soulier, Stefan Zumbühl and Christophe Zindel introduce their study of minerals historical varnishes
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FocusThe Strad Calendar 2022: Hendrik Jacobs cello 1696
One of the very few cellos made by Hendrik Jacobs himself, and the only Dutch instrument in the Calendar
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Premium ❘ FeatureRecipe for success: Stradivari’s varnish
The search for Stradivari’s varnish formula has continued since the 18th century, but there have been few scientific analyses of the varnish itself. Stewart Pollens reveals the results of his recent study of the varnish on five of Stradivari’s instruments, in this feature from May 2009
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Premium ❘ FeatureStradivari’s varnish: a chemical analysis
Jean-PhilIppe Echard and Balthazar Soulier reveal the results of their seven-year research into Stradivari’s varnish, using five of the master’s instruments from Paris’s Musée de la Musique. From April 2010