Lutherie
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NewsPartial success for Newark violin making students as one-year courses announced
The new courses will cost £4,000 and students will receive certificates of competency on completion
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Premium ❘ FeatureMaking Matters: constructing a quartet from one maple tree
Hans Jóhannsson reflects on the experience of making a quartet of instruments using maple sourced from a single tree
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Premium ❘ FeatureMy Space: Alan Beavitt’s Scoraig workshop
Take a tour of the maker’s Scottish shop
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Premium ❘ FeatureIn Focus: A 1942 violin by Arturo Fracassi
Leonardo Cella examines the mid-century instrument by the Italian maker
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Premium ❘ FeatureCharles Beare: 1937–2025
One of the world’s most renowned violin experts died on 26 April this year. Anne Inglis looks back at his life, while friends and colleagues share their memories
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Premium ❘ FeatureTrade Secrets: Creating neck graft sockets – part one
The first of two articles on this topic gives a full and thorough account of casting a scroll and pegbox
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FocusIlya Finkelshteyn: Playing the Domenico Montagnana ‘Farina’ cello 1730
Cellist Ilya Finkelshteyn shares his experience of playing the ’Farina’, the cover instrument of The Strad’s July 2025 issue and poster. He is principal cellist in the Cincinnati Symphony Orchestra, a faculty member of the University of Cincinnati College Conservatory of Music, and a frequent performer at the Mostly Mozart ...
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Premium ❘ FeaturePower and majesty: Domenico Montagnana ‘Farina’ cello 1730
Made by Domenico Montagnana in 1730, the ‘Farina’ cello is a stunning instrument with a rich, powerful sound. John Waddle and Steve Sirr delve into its history and show how CT scans helped gather measurements for this month’s poster
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Premium ❘ Feature‘A man of originality, power and striking individuality’ - From the Archive: July 1895
The eminent violin dealer William Ebsworth Hill died on 2 April 1895. William Hardman (‘Lancastrian’) pens a tribute to his friend and colleague
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Premium ❘ FeatureTrade Secrets: Sharpening gouges
A practical method for maintaining the sharpness of this essential tool for all makers
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Premium ❘ FeatureTrade Secrets: Tips for tricky bow rehairs
Practical techniques to overcome common challenges in bow rehairing
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Premium ❘ FeatureMaking Matters: A Manchester project to repair and upcycle instruments
Helen Michetschläger reports on a project to repair old, damaged instruments so they can be used by Manchester schoolchildren, rather than just be thrown away
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Premium ❘ FeaturePatent pending: instrument innovations in the 18th century
The 18th century saw an explosion in creativity from inventors trying to find the ‘next big thing’ in stringed instrument innovation. Rachael Durkin examines some of the artefacts from the dawn of the industrial age
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Premium ❘ FeatureMy Space: Bruno Stefanini’s Bologna workshop
The maker presents his workshop in Bologna, where he has worked as a luthier for over 40 years
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Premium ❘ FeatureIn Focus: An 1859 violin by Gulbrand Enger
Jens Stenz takes a look at the Danish maker’s 19th-century instrument
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Premium ❘ ArticleAuction Report June 2025: Mysteries, masterpieces and memorabilia
Kevin MacDonald examines an eclectic array of lots at the London spring sales, where some fascinating curiosities found buyers
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Blogs‘This sacred art is under tremendous threat’: Guy Johnston on the Newark School of Violin Making
Cellist Guy Johnston recalls his experience interacting with Newark student Julius Hennicke in 2018, and why the school needs support in continuing its craft
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Premium ❘ FeatureBottesini’s bass makers: the Rossi family
The development of the double bass in 19th-century Milan owed a lot to the Rossi family. Thomas and George Martin investigate the lives of its members, and the innovations they brought to double bass design
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GalleryGallery: ‘Save Newark Violin Making School’ challenge goes viral
The petition in support of the Newark School of Musical Instrument Crafts has reached almost 10,000 signatures
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Premium ❘ FeatureTrade Secrets: Replacement of pearl eyes in a bow
Sarah Bystrom shares a method for a common task in bow restoration that respects the intention and style of the maker
