All violin articles – Page 6
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Premium ❘ GalleryFrom the Archive: a violin by Giuseppe Guarneri 'filius Andreae', Cremona, 1712
This illustration of a violin by Giuseppe Guarneri 'filius Andreae' was published in The Strad, April 1973. The following text is extracted from the article accompanying the photographs
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Premium ❘ FeatureWhat to play when trying out a new stringed instrument
Buying a new instrument is as much about rigorous auditioning as it is about falling in love...
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FeatureShould all viola players practise the violin?
It's the ultimate heresy for some violists: the idea of practising the violin as well as the viola. James Boyd, tongue somewhat in cheek, insists that violists can and should practise both
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Premium ❘ GalleryFrom the Archive: a violin by Nicolas Lupot, Paris, 1809
This illustration of a violin by Nicolas Lupot was published in The Strad, December 1972. The following text is extracted from the article accompanying the photographs
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Focus8 ways to vary your vibrato
Tips from The Strad’s archive for varying vibrato speed, width, pressure and direction to produce an infinite range of colour contrasts
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Premium ❘ FeatureWhen does a violin copy become a forgery?
There's a fine line between copying an instrument and forging a masterpiece. Alan Coggins offers a humorous perspective on the perils luthiers face when interpreting past masters
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Premium ❘ GalleryFrom the Archive: a violin by Benjamin Banks, Salisbury, late 18th century
This illustration of a violin by Benjamin Banks was published in The Strad, May 1970. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: the ‘Doria’ Maggini violin
This illustration of the ‘Doria’ Maggini was published in The Strad, June 1939. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: a violin by Luigi Fabris of Venice
This illustration of a violin by Luigi Fabris of Venice was published in The Strad, October 1938. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: a violin by Antonio Gragnani
This illustration of a violin by Antonio Gragnani was published in The Strad, January 1938. The following text is extracted from the article accompanying the photographs
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Premium ❘ DebateEarly vibrato was one aspect of a vastly different sound world
A response to Beverly Jerold’s article 'Did early string players use continuous vibrato?' by Kevin Class
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Premium ❘ GalleryFrom the Archive: a violin by J.B. Guadagnini
This illustration of a violin by J.B. Guadagnini was published in The Strad, September 1937. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: a violin by Tomaso Carcassi, Florence
This illustration of a Tomaso Carcassi violin was published in The Strad, March 1953. The following text is extracted from the article accompanying the photographs:
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VideoJohnny Gandelsman - Allemande from sixth Cello Suite on 5-string violin
This video captures violinist Johnny Gandelsman in the studio during sessions for his recording of violin transcriptions of the complete Bach Cello Suites. The project is being funded through Kickstarter - click here for the project page
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Premium ❘ FeatureViolinist Reinhard Goebel on adapting to focal dystonia
The condition forced the musician and early music specialist to make a radical career change - he is now a conductor
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Premium ❘ GalleryFrom the Archive: a Niccolò Amati violin, 1654
This illustration of an Amati violin was published in The Strad, April 1913. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: a Bergonzi violin
This illustration of a Bergonzi violin was published in The Strad, February 1913. The following text is extracted from the article accompanying the photographs: This is a really typical specimen of the master’s own model, exhibiting his peculiarities in the matter of outline and other details. Bergonzi varied his instruments ...
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Premium ❘ FeatureWhy historic recordings deserve more air time
Broadcasters routinely neglect and patronise historic recordings made by some of the greatest-ever string players, in favour of modern ones. They're failing in their duties, according to Tully Potter
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Premium ❘ FeatureCan you tell a fake instrument from the genuine article?
With more and more instrument forgeries finding their way on to the market, how do experts, dealers and buyers stay wise to deception? Femke Colborne finds out
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Premium ❘ FeatureShould violin makers embrace cutting edge computer analysis?
Violin maker Sam Zygmuntowicz explores how high-tech ways of analysing violins and their sound could help makers and even influence the future forms of instruments