Lutherie – Page 3

  • Fig.1  Among the oldest views of Monte San Savino, Luigi Cavallini's birthplace. The picture dates back to the end of the nineteenth century.
    Premium ❘ Feature

    Luigi Cavallini: A maker in the rough


    Tuscany in the 19th century was home to numerous luthiers, some of whom were carpenters who turned their hands to instrument making. Florian Leonhard examines the career of Luigi Cavallini, a lesser-known self-taught maker whose work, while unusual in parts, displays a surprisingly high level of craftsmanship

  • Untitled design (2)
    Premium ❘ Feature

    Game, set and match: quartets of instruments


    Four instruments from the same tree, varnished from the same pot, played by a single quartet. Is this the way to perfect harmony? Katherine Millett investigates in this article from August 2008

  • 12
    Premium ❘ Focus

    My Space: Orest Putsentela, Lviv


    In March 2018, Orest Pusentela invited us into his workshop in Ukraine’s cultural capital. Now in 2022, he updates The Strad with his current situation in Ukraine

  • luth
    Premium ❘ News

    'You raise me up': Women in Lutherie


    An online community founded by and for women in lutherie has grown in leaps and bounds over the past three years. What are the benefits for the female contingent? By Harry White

  • 4
    Premium ❘ Focus

    Female luthiers: And justice for all?


    In light of the #MeToo movement, women from all walks of life have been reporting incidents of sexist behaviour in their workplaces. Is a violin workshop any different? Femke Colborne discusses the question with a range of female luthiers – and gains a grim perspective of the industry

  • 3
    Premium ❘ Feature

    Early lutherie experience: The journeyman years


    The time spent between finishing at violin making school and striking out on your own can be critical to a luthier’s learning experience. Peter Somerford finds out what makers should expect from their first jobs in a workshop – and how they can make the most of their time

  • Figure 2, MS21 mould, HD picture
    Premium ❘ Feature

    Cremonese violin moulds: The well harmonised mould


    The logic governing the structure of Stradivari’s violins remains a mystery. André Theunis and Alexandre Wajnberg take a fresh look at his moulds to find an intriguing system of proportions, utilising the tools and measuring systems of his day

  • Lead image - figure 1 (1)
    Premium ❘ Feature

    Copying the ‘Titian’: A study in scarlet


    Jesús Alejandro Torres reports on a study by the Violin Making School of Mexico, in which three copies of Stradivari’s ‘Titian’ violin were made using wood of varying densities, to examine their signature modes and player preferences

  • cover drag
    Premium ❘ Feature

    The 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 

  • Salchow three quarter
    Premium ❘ Feature

    American 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

  • Zygmuntowicz workshop corner
    Premium ❘ Feature

    My 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

  • Mantegazza viola front view
    Premium ❘ Feature

    In 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

  • Adjusting Zyg copies 2-1
    Premium ❘ Feature

    Making copies: Sounds like a match?


    If someone makes an exact copy of a Stradivari, will it sound like a Stradivari? Sam Zygmuntowicz attempts to answer the question by making duplicates of the ‘Titian’ and ‘Willemotte’ Strads, as well as the ‘Plowden’ Guarneri ‘del Gesù’

  • Alard Strad
    Premium ❘ Feature

    Recipe 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

  • Five Strads
    Premium ❘ Feature

    Stradivari’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

  • The Strad Calendar 2022 - Cover
    Premium ❘ Feature

    The Strad Calendar 2022: Dutch treasures


    The Strad Calendar 2022 showcases twelve of the finest instruments belonging to the Dutch Musical Instruments Foundation. Head of collection Frits Schutte outlines its work, while Hubert de Launay gives a tour of the riches 

  • 1702 Strad
    Premium ❘ Feature

    Optical effects in Lutherie: Reflected Glories


    Why do some instruments look completely different in varying kinds of light? In this lutherie feature from August 2013, Michael Molnar explains how an understanding of wood, varnish and their optical interactions can produce magical results

  • Vuillaume full length
    Premium ❘ Feature

    Between the Baroque and modern age: Vuillaume’s ‘Messiah’ Strad


    Stefan-Peter Greiner examines Vuillaume’s unorthodox method of fastening and extending the neck in his copy of the ‘Messiah’ Strad. From November 1996

  • main
    Premium ❘ Feature

    Viola sizes: Size does matter


    Viola players everywhere know the difficulty in finding the perfect instrument – but how many realise the differences that size, shape and weight can make to playability and tone? William Castle gives a step-by-step guide to finding the one that’s right for you

  • Leslie Wyatt Cover March 1990
    Premium ❘ Focus

    The geometry of violin outlines: Proportional representation


    In this article from March 1990, Leslie Wyatt offers a rational and coherent geometrical method for the construction of an inner form outline and for sizing and positioning the f-holes, to break free from the traditional slavish reproduction of classical instruments