All Lutherie articles – Page 57
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FocusHeart and soul: Anima Nova adjustable carbon fibre soundpost
An adjustable, carbon-fibre alternative designed to offer enhanced control to the luthier and superior sound to the player
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FocusMakers reveal their favourite technical solutions to common lutherie problems
Although new items for luthiers are always appearing on the market, violin making involves many tasks for which there is no perfect tool. Here, six makers describe the devices they’ve created for themselves
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NewsNew record set for G.B. Guadagnini at London auction
The ‘Sinzheimer’ violin pushes past $2m mark in Tarisio auction, breaking previous record for maker set in 2016
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GalleryIn focus: violin by G.B. Rogeri
In this article from the October 2009 issue, Philip Kass untangles Rogeri, Rugeri and the last Amati in taking a closer look at a late 17th-century violin by the first
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FocusMaxim Vengerov: Me and my Strads
In conversation with Sota Nakazawa, Russian virtuoso Maxim Vengerov explains his love for Stradivari instruments, and his long relationship with them
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GalleryThe ‘Sabionari’ Stradivarius guitar, 1679
Of the five or six Stradivari guitars still extant, it is also, thanks to a recent restoration, the only one that is currently playable. Violinmaker Gregg Alf takes a closer look[click + to zoom]
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GalleryCremona Triennale: the Olympics of violin making
Virginia Villa, director of Museo del Violino, previews the 15th edition of Cremona’s Triennale competition, which begins in September. Photos from the 2015 edition
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FocusFrom the archive: Violin by Santo Serafin c.1740
In the January 2013 issue, John Dilworth examined this fine example of the great Venetian craftsman’s work [click + to zoom in]
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VideoClarissa Bevilacqua plays Bach on the 1669 'Clisbee' Stradivarius
Seventeen-year-old violinist Clarissa Bevilacqua performs the Andante from Bach’s Sonata no.2 on the 1669 ‘Clisbee’ Stradivari from the collection of the Museo del Violino, Cremona. Clarissa Bevilaqua’s biography: She started playing the violin at age five, and debuted at the Pritzker Pavilion in Chicago in front of ten thousand people ...
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VideoSheku Kanneh-Mason gets his Amati serviced by Florian Leonhard
Cellist Sheku Kanneh-Mason, who was recently seen by millions playing at the internationally televised royal wedding, in this video from Classic FM takes the Amati which is on loan to him to have its soundpost adjusted by Florian Leonhard. Read: 17-year-old cellist Sheku Kanneh-Mason receives 400-year-old Amati on permanent loan ...
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FocusTitanium: the perfect material for instrument fittings?
Tough and light, titanium is thought to be the leading material for stringed instrument adjusters and fixtures, but does the metal have acoustic benefits too? Peter Somerford investigates
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FocusFrom the archive: the 1697 'Molitor' Stradivarius
This article by Philip Kass was first published in the December 2010 issue, soon after the instrument had been sold to Anne Akiko Meyers for a then-record $3.6m
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NewsTen Stradivarius instruments brought together for D.C. concert
Library of Congress collection joined by ‘Paganini’ quartet for special event. Philip J. Kass reports
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FocusLeila Josefowicz: on choosing to play a new violin
The violinist talks about giving up on old Italian instruments and opting for a bespoke violin by maker Sam Zygmuntowicz
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VideoWhy Stradivarius violins are worth millions
From Vox comes a video exploring some of the mystique behind Stradivari violins. Featuring violinists Philippe Quint and Michelle Kim, luthier Joseph Curtin. Produced and presented by Dean Peterson for Vox.com.
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FocusA beginner's guide to identifying a Stradivarius
Figuring out the maker of an unknown violin takes a trained eye and a detective’s skill, says luthier John Dilworth. Here he gives his personal perspective on the clues and processes of elimination that help experts pinpoint an instrument’s origins. From the July 2010 issue
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VideoThe 5+1 common types of violin maker
Oslo based violin maker Jacob von der Lippe has a go at impersonating some of the violin maker types he’s come across.
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GalleryFrom the archive: a c.1720 violin by Carlo Bergonzi
John Dilworth examines an early violin by the Cremonese maker, which used to belong to Paganini. First published in the April 2006 issue
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FocusBuilding bridges: a photo essay
Have you ever wondered who makes the world’s stringed instrument bridges, and how? In this gallery, we follow the process from tree trunk to blank bridge
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Premium ❘ FocusDid the Cremonese have access to wood with unique special qualities?
Were the old Cremonese luthiers really using better woods than those available to other makers in Europe? In this article from 2013, Terry Borman and Berend Stoel presented a study of density that suggested otherwise
