Lutherie – Page 25
-
FocusPierre Aloysius Josephs: the first bow maker of the San Francisco Bay Area
In this extract from the November 2021 issue, Raphael Gold profiles the bow making work of Pierre Aloysius Josephs and his family
-
FocusThe Strad Calendar 2022: Carlo Ferdinando Landolfi double bass c.1770
Landolfi’s choice of wood ranges from plain maple scrolls to highly flamed backs
-
Premium ❘ FeatureSound Sculptor: Sam Zygmuntowicz
Ten years on from Strad3D, project co-developer Sam Zygmuntowicz talks to Chloe Cutts about the impact of the groundbreaking study of violin form and function within the context of the story of American lutherie and his own journey as a maker and researcher. From January 2017
-
NewsBulgarians and Italians take top awards at ANLAI violin making competition
The contest saw a hundred instruments by luthiers from ten countries assessed, with the award ceremony taking place in the historic Church of Santa Maria della Neve
-
NewsA tribute to violin maker and restorer Hans Luthi (1979–2021)
Trained in Switzerland, the luthier worked in London, Europe and South Korea
-
Premium ❘ FeatureMy 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
-
FocusThe Strad Calendar 2022: Pietro Guarneri of Venice violin 1725
Known as the ‘Reine Elisabeth’, this is the most expensive instrument bought by the Dutch Musical Instruments Foundation
-
Premium ❘ FeatureIn 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
-
Premium ❘ FeatureIn Focus: From Strad to Slava
The ’Duport’ cello is a fine example of Stradivari’s ‘Form B Piccola’. Samuel Zygmuntowicz examines Rostropovich’s own instrument, in this article from October 1997
-
FocusThe Strad Calendar 2022: Giuseppe Guarneri ‘filius Andreae’ cello 1715 ‘ex Navarra’
The Guarneri ‘filius Andreae’ must be the most impressive Cremonese cello in terms of maker’s marks
-
Premium ❘ FeatureBay Area bow makers: Bows on the bay
With a large and growing music community, the San Francisco Bay Area became a hotbed of violin and bow making talent in the early 20th century. Raphael Gold tells the stories of the most prominent bow makers of the day
-
Premium ❘ FeatureIn Focus: A 1926 violin by John Friedrich
Bruce Babbitt details an instrument by the German-American maker
-
Premium ❘ FeatureTrade Secrets: Making a custom cutter for a Parisian-eye ring
A necessary piece of equipment to tackle an uncommon problem in bow repair
-
Premium ❘ FeatureMaking Matters: Fifth harmonies
If 5ths are driving you nuts, it may be to do with your violin nut. Itzel Ávila explains how luthiers can help by customising the piece at the top of the fingerboard to the player’s hand
-
Premium ❘ FeatureFrom the Archive: November 1911
Regular columnist Towry Piper bewails the notorious practice among dealers of switching labels in instruments to make them more attractive to buyers
-
FocusSeeing red: Stradivari’s special instrument varnish
In this extract from September 2018, Joe Robson examines the history and prestige surrounding the colour red and how it began to feature in Stradivari’s instrument varnish
-
FocusThe Strad Calendar 2022: Jean-Baptiste Vuillaume viola 1867
This viola is regarded as an exceptionally pure and unique specimen among Vuillaume’s work
-
FocusThe components of violin varnish
In this extract from November 2007, Joe Robson explores the history and methods of making violin varnish
-
Premium ❘ FeatureStradivari varnish: Scarlet fever
How did Antonio Stradivari achieve the special deep red varnish colour that makes his later instruments so attractive? Joe Robson believes he has discovered both the composition and method for making it – and cracked one of the most enduring mysteries of the master maker. From the September 2018 issue
-
Premium ❘ FeatureCremonese varnish: Shining example
A close look into the history and chemistry of varnish making can shed new light on the mysteries of classic Cremonese varnish, as Joe Robson explains, in this lutherie feature from November 2007