Lutherie – Page 24
-
FocusThe Strad Calendar 2022: Antonio Stradivari violin c.1716 ‘Paul Godwin’
One notable feature of the Stradivari is the angled grain when looking at the side of the scroll
-
Premium ❘ FeatureHistorical lutherie methods: Salts of wisdom
Remy Gug examines the treatment of wood described in several manuals of the 16th to 18th centuries, in this article from July 1987
-
Premium ❘ FeatureDouble Bassist magazine: Matteo Gofriller c.1708 bass
Barrie Kolstein marvels at a magnificent 18th-century instrument by Matteo Gofriller, in this feature from the Autumn 2001 issue of our now-discontinued sister publication, Double Bassist
-
GalleryPhoto gallery: The decorated instruments of ‘Violino d’Autore’
Italian luthier Ezia Di Labio has crafted numerous instruments that have been decorated by various artists
-
FocusThe Strad Calendar 2022: G.B. Guadagnini cello 1750
The Guadagnini cello has intense deep reddish-brown varnish to spare
-
Premium ❘ FeatureDouble Bassist magazine: The Master’s Voice - Bottesini's bass
Made in 1716 by Carlo Antonio Testore, this stylish double bass was once the companion of Giovanni Bottesini. Stefan Krattenmacher examines the instrument and its history, in this Summer 2000 article from our now-discontinued sister publication, Double Bassist
-
FocusAlchemy and wood treatment in Cremonese instruments
Wenjie Cai and Hwan-Ching Tai discuss the possible influence of alchemy in Cremonese wood treatment, in this extract from the December 2021 issue
-
Premium ❘ FeatureWood treatment: Choosing resonant wood
Rémy Gug examines a method of selecting wood for making instruments. From January 1991
-
FocusThe Strad Calendar 2022: Michele Angelo Bergonzi violin c.1750
Bergonzi used plain maple for the ribs but opted for a beech scroll with widely projected eyes
-
Premium ❘ FeatureDouble Bassist magazine: The Merchant of Venice
Taken from our now-discontinued sister magazine, Double Bassist, this Winter 1996 article sees Barrie Kolstein admiring a beautiful bass by the maligned 18th-century luthier Francesco Gofriller
-
Premium ❘ FeatureLutherie in the US: An American Dream
Violin making in the US was built on the aspirations of a few woodworkers with talent – and in two centuries it has evolved into a multimillion-dollar industry. Ahead of the publication of a new book, The American Violin, co-author Philip Kass traces the advancement of American lutherie and shows ...
-
FocusThe Strad Calendar 2022: Gennaro Gagliano cello 1734
The Gagliano scroll is a perfect example of the Neapolitan style
-
Focus‘The first maker of what is unambiguously a double bass’
In this extract from the December 2021 issue, Thomas Martin, George Martin and Martin Lawrence examine the beginnings of bass making in Venice
-
Premium ❘ FeatureThe 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
-
Premium ❘ FeatureWood treatment: The magic touch
New research has revealed how Stradivari, Amati and Guarneri ‘del Gesù’ all used tonewood that had been heavily treated with chemicals prior to carving. Wenjie Cai and Hwan-Ching Tai explain the study’s findings, and suggest it could indicate that the Cremonese makers were influenced by the contemporary alchemical beliefs
-
Premium ❘ FeatureIn Focus: An 1807 violin by William Ferguson
David Rattray details an instrument by the Scottish maker
-
Premium ❘ FeatureTrade Secrets: Making an invisible neck graft
A procedure that takes a little longer than the standard method, but results in an almost undetectable fitting
-
Premium ❘ FeatureMaking Matters: The imitation game
In 1927 a cache of documents came to light, purportedly from the Stradivari workshop – and fooled some of the leading experts of the day. Carlo Chiesa explains how the case turned out to be an elaborate forgery
-
FocusThe Strad Calendar 2022: Giuseppe Antonio Rocca violin 1844
The Rocca is clearly modelled after the most famous Stradivari violin, the ‘Messiah’
-
Premium ❘ FeatureAmerican 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