Lutherie – Page 15
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Premium ❘ FeatureThe hidden treasures of Pietro Guarneri of Mantua
Pietro Guarneri of Mantua was an undisputed master luthier, even though very few examples of his work remain. Andrea Zanrè examines three ‘violettas’ that until now have been overlooked
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Premium ❘ Article‘Centuries ago, Stradivari had no idea ivory would be subject to legal issues’: Letters to the editor September 2022
A selection of letters The Strad receives each month from its readers around the world: September 2022 issue
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Premium ❘ FeatureTrade Secrets: Making a Baroque cello bridge
A method that allows the luthier to create their own design rather than rely on a pre-cut template
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Premium ❘ FeatureMaking Matters: How six bow makers crafted a bow in three days
Making a bow in three days is a tall order for anyone – but for six bow makers together? Pierre Nehr explains how April’s ‘Bow Rush’ event in Paris became an educational experience for all concerned
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Premium ❘ FeatureMy Space: Martin Krause
The luthier, based in Saarbrücken, Germany, invites us into his workshop
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Premium ❘ Feature‘Interventions led to an almost total removal or retouching of the original materials’ - Comparing three 1734 Guarneris
Giacomo Fiocco explains the technical methods used to analyse a trio of 1734 Guarneris
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Premium ❘ FeatureRevealing Sartory's secrets: A look at one of the 20th century's finest bow makers
Often called the finest bow maker of the 20th century, Eugène Sartory was a fastidious artisan whose work shows efficiency and reliability. Richard Morency examines a bow from Sartory’s middle period to reveal his working methods
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Premium ❘ FeatureIn Focus: A 1766 cello by Carlo Ferdinando Landolfi
Philip Brown looks at the Milanese maker’s mid-century instrument
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Premium ❘ FeatureIn Focus: An 1875 viola by Domenico Degani
Ernst Fuchs details an instrument by the accomplished maker, now best-known as the father of Eugenio Degani
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Premium ❘ FeatureFrançois-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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Premium ❘ FeatureIn Focus: A 1762 violin by Gennaro Gagliano
Yuri Pochekin examines the Neopolitan maker’s 18th-century instrument
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Premium ❘ FeatureIn Focus: A c.1680 double bass by Girolamo Amati II
René Zaal details an instrument by the son of the more well-known Nicolò Amati, and the grandson of his namesake Girolamo Amati I
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Premium ❘ FeatureMy Space: Elisa Scrollavezza & Andrea Zanrè
The Parma-based makers take us on a tour of their workplace
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Premium ❘ FeatureMaking Matters: Set the records straight
Acoustic testing can generate a huge amount of data on a single instrument. Rainer Beilharz shows how to record it in a meaningful way for visually oriented people
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Premium ❘ FeatureLong read: Salted Soundboards and Sweet Sounds
‘Salt improves the voice of all sorts of instruments,’ wrote scholar Bernard Palissy in 1580, and analysis of several samples of wood has shown that ancient masters did treat wood with substances which were then defined as salts. In our June 1991 issue, Rémy Gug investigated the subject of salt-impregnation ...
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Premium ❘ FeatureTrade Secrets: Designing and making a ferrule
This small part of a bow frog can have a huge effect on the bow’s final overall style
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Premium ❘ FeatureMaking Matters: Change and decay?
Matthieu Besseling argues we are currently seeing a ‘second transition period’ in instrument and bow making, analogous to the changes at the end of the 18th century – but are they all to the good?
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Premium ❘ FeatureIn Focus: A 1904 violin by Erminio Montefiori
Alberto Giordano looks at the self-taught Italian luthier’s 20th-century instrument
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Premium ❘ FeatureFluorescence: Reflected glories
Viewing instruments in different kinds of light has become standard in documentation and assessment. Leonhard Rank explains how, in addition to ultraviolet light, researchers can now use infrared, and even parts of the visible spectrum, to reveal even more secrets
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Premium ❘ FeatureBaroque 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
