In Focus: From Strad to Slava

AIthough Stradivari was not the first maker to design and build moderate-sized cellos suitable for solo playing, once he began building his ‘Forma B Piccola’ around 1707, he produced a group of the finest cellos ever made. These instruments which include the ‘Duport’ of 1711, now played by Rostropovich, the ‘Davidov’ of 1712 (ex-du Pre now Yo-Yo Ma) and the ‘Batta’ of 1714 (Piatigorsky), vary slightly in detail but they all retain the basic design and dimensions.

The ’Duport’ has remained the classic balanced model. It is ideal as a solo instrument, possessing a clear and articulate tone and a fast response with strong projection and full bass register. The first thing one notices is the proportion of the bouts: the upper bouts allow easy access to the higher positions, while the lower bouts are narrow enough to be supported comfortably and the C-bouts are relatively wide and not too curved, still allowing comfortable bow clearance. A striking feature is the low top arch.

With this model and arching, the tonal response is remarkably quick and full, and the ‘Duport’ does not require excess pressure, either in setup or in playing style. Its moderate body stop and string length facilitate the fingering, while the somewhat short corners aid the bow’s clearance of the instrument.

Of all the ‘Form B’ cellos, the ‘Duport’ is perhaps the most acclaimed and has been both influential on and copied by many makers, including Vuillaume. According to the Hill’s book on Stradivari, the ‘Duport was produced at the request of a wealthy amateur who offered Stradivari double his usual price for an extra-special instrument. Even a consistently fine maker can rise to new heights when encouraged and the ‘Duport’ displays the most superlative materials and refined workmanship imaginable, enhanced by its sunny orange varnish which is thinly applied on a rich hazel-gold ground.