Lutherie
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BlogsWhy I only make violas: luthier Gabrielle Kundert
The maker shares why she has dedicated her craft to the viola, as we take a close-up look at her copy of a 1787 Castello viola commissioned by National Symphony Orchestra principal violist Daniel Foster
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Premium ❘ FeatureMaking Matters: Optimising sound spaces for good acoustics
Any luthier’s workshop requires a room or area with good acoustics to assess an instrument’s sound quality. Gideon Baumblatt and Simon Eberl explain how they optimised their sound spaces
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Premium ❘ FeatureMy Space: Olivier Calmeille’s Montpellier workshop
Examine the Atelier Scordatura in the south of France
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Premium ❘ FeatureTrade Secrets: Purfling and edgework after closing the box
A method that allows for more aesthetic freedom than completing the plates before finishing the soundbox
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Premium ❘ FeatureIn Focus: An 1845 violin by Johann Georg Stauffer
Jakob Nachbargauer and Adrian Elschek examine a mid-century violin by the successful Austrian guitar maker
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Premium ❘ FeatureCentre of attention: centring and alignment
Inspired by the work of the Cremonese masters, David Folland explains his method for finding the centre line of an old instrument
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GalleryPhoto Gallery: Celebrating Women Luthiers at Sapp Violins
The final instalment of the international exhibit took place from 13 to 19 July 2024
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Premium ❘ FeatureA unique pairing: the ‘Paderewski, Wendling’ violin
In the first of a two-part article, Balthazar Soulier examines an extraordinary violin that displays the hallmarks of both Guarneri ‘del Gesù’ and Domenico Montagnana
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News‘Auer, Benvenuti’ Stradivari violin tokenised by digital asset company
A Digital Product Passport has been created with blockchain technology to preserve the violin’s unique provenance, which includes Leopold Auer and Joseph Benvenuti
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NewsViolin maker Ansaldo Poggi to be celebrated in new exhibition
One of the most highly regarded Italian luthiers of the 20th century, he was an apprentice of Giuseppe Fiorini
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Premium ❘ Article‘I have been obliged to deprive myself of the copy of my violin’ - Letters to the editor: September 2024
A selection of letters The Strad receives each month from its readers around the world: September 2024 issue
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BlogsAmati, del Gesù and Gagliano: more beautiful instruments from Music@Menlo
Another impressive spread of historic instruments, played by artists of the 2024 Music@Menlo Summer Festival
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Premium ❘ FeatureIn Focus: A 1796 viola by Sebastian Dalinger
Rainer Michael Cocron examines the Austrian maker’s late 18th-century instrument
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BlogsA Brothers Amati viola to a cello called ’Ginger': more instruments from Music@Menlo
More exclusive images of the fine instruments featured at this year’s Music@Menlo festival, ranging from a 1620 viola to a 2023 double bass
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Premium ❘ FeatureMy Space: Peter & Rory Boardman’s Donaghadee workshop
The father and son duo present their Northern Ireland workshop
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News‘The yellow violin’: Cremona’s Museo del Violino to display Sarasate’s 1724 Stradivari
The exhibition ‘Sarasate, il violino dei virtuosi’ will mark the instrument’s 300th anniversary
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Premium ❘ FeatureWhere science meets art: Positioning the f-holes
Inspired by the work of the illustrious Cremonese masters, Alvin Thomas King presents a practical method for modern-day luthiers to position the f-holes on an instrument
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BlogsFrom Stradivari to Zygmuntowicz: the instruments of Music@Menlo
A mixture of old and new stringed instruments feature at this year’s festival, each with a unique story
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Premium ❘ FeatureMaking Matters: the story and influence of bow maker Joseph Arthur Vigneron
Marking the 100th anniversary of André Vigneron’s death, Hamilton Caswell considers the influence he and his father Joseph Arthur have had on the generations of bow makers that followed, particularly on bass bows
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BlogsHow I made my own cello - Bamberg Symphony’s co-principal cellist Nikola Jovanovic
The cellist and lutherie enthusiast outlines how he learnt the processes the construct his instrument, on which he performs in the orchestra, from scratch