Always by my side: what do violinists keep in their case?

Vadim Gluzman, violin

My case holds a great many accessories, all of them surely familiar to my colleagues. I always have three or four new sets of strings (I use Thomastik’s Pi G, D and A), and a dozen of Jargar Forte E – that’s life on the road. I change strings rather frequently: every two to three weeks or so, depending on the repertoire.

I also have a Cecilia Solo rosin (above); microfibre cloth to clean the violin; alcohol pads to clean strings (I like the feel and response of a ‘clean’ string); chinrest key and a few mutes – from a basic plastic Tourte mute to a Wiessmeyer leather mute for performances, depending on colouristic demands of a given work. Not to mention an Ultra Rubber Practice Mute which I use in hotels, backstage and even airports!

A C-clip protector prevents scratches on my Strad’s C-bout in more intense repertoire, and the most recent resident in my case is a Boveda humidity control pouch (above), which I change every few months – my luthier John Becker and I are very pleased with this invention. Countless pencils and erasers complete the list. They get vigorous use as I am constantly learning new and revising old repertoire.

Rachel Barton Pine, violin

I have a varied collection of items in my case. Firstly, I always have a copy of the US Federal Aviation Administration regulations for boarding the plane with my violin case, plus a copy of the regulations of the airline I’m flying on that day.

Next, a small packet of hand soap sheets, because you can’t play the violin without washing your hands first! I also carry Dr Scholl’s Moleskin padding – the fuzzy stuff on my chinrest that soaks up sweat to make sure my head has a firm grip when I perform. Of course, I have the sheet music for this and next week’s concerts, plus copies of all the music my daughter is learning so I can help her practice on FaceTime. And to fix any sheet music last-minute, I have a sticky tape doughnut (in my favourite colour of royal purple).

Then I have a spare shoulder rest (Wolf Forte Secondo with feet from Artino, above), because my brand is so unusual that if anything happens, it’s unlikely that I’ll easily be able to find one in that town. Then a heavy practice mute made out of metal, my medium-weight rubber practice mute, and my concert mute which is a ‘fake Tourte’. For rosin and strings, I use W.E. Hill & Sons’ Dark rosin (above), and Thomastik Vision Titanium Solo for my A, D and G strings, and a Pirastro Gold E string.

And just as important is what’s on my violin case – embroidered patches of all my favourite metal bands!

Carolin Widmann, violin

Apart from the obvious violin, bow and KorfkerRest shoulder rest (above), I carry four different kinds of mutes: a metal hotel mute, an ordinary rubber mute and two very special ones made of horn and wood/metal for a gorgeous sound. Also, string cleaning wipes, a nail clipper, a pencil, earplugs (I often practise with one in my left ear), a chinrest key and peg soap – the lipstick-shaped device for smoothing pegs.

I use Larsen Cannone Soloist strings and Cecilia rosin. And finally, I carry a tiny Buddha statue – a keepsake for good luck from a very dear friend.

Kristin Lee, violin

In my Gewa Oblong Carbon Titanium case, you’ll notice a blue silk cloth to wrap my violin in, accompanied by various bows, including a carbon fibre bow that I use for pieces that require extended techniques. Next to my violin sits a dark grey pouch with all my essentials that I use regularly or as emergency needs.

Firstly, my Leatherwood Bespoke Rosin. It gives the perfect balance of a great grip while still feeling silky in long bow strokes. I carry at least three sets of Peter Infeld A, D, & G strings, along with Optima Goldbrokat 0.26mm loop-end E strings. I also have three to five rubber concert mutes. I buy them in batches of ten and have to replenish them at least once a year because they somehow get lost or I lend them to colleagues.

Other items include peg dope to stabilise slippery pegs when travelling from one extreme climate to another; alcohol swabs to clean fingerboards and chinrests; a microfibre cloth to wipe away the rosin on my strings; a chinrest key; an extra chinrest and a sticky bass rosin for rosining the ‘wood’ of the carbon fibre bow for any col legno or extended techniques.

My case wouldn’t be complete without photos of my teachers, family and friends. I look at them for inspiration and it comforts me to know that they travel with me and my violin.

Ning Feng, violin

I always carry a brand new full set and at least one old set of Peter Infeld strings. These are the strings I have used ever since they were introduced; they give the violin strong power, yet with varieties of colours, and this quality also lasts for quite a long time even when I play the violin very intensively.

I have a Bech violin mute – it has a magnetic holder which can be attached to the tailpiece of the violin, so it keeps the mute from moving up or down and making unwanted noise when it is not being used. I use the Pirastro KorfkerRest shoulder rest. It is light, and it enhances the sound on the violin. I keep a screwdriver for the Dolfinos chinrest, so I can easily adjust the height accordingly and make it comfortable.

I use Bogaro & Clemente rosin. I have not tried many different kinds of rosins, so I can’t speak much about them, but for some reason I liked this one and kept using it. My Ultra practice mute is very important as I don’t want my hotel neighbours to hate me even more than they already do! Last but not least, I keep a nail clipper in my case. This is very practical as unsuitable nail length makes playing feel very uncomfortable.

Subscribers to The Strad receive the 2025 Accessories supplement free with their copy of the June 2025 issue

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