Violin Maker Jan Špidlen on the 1715 “Emperor” Stradivari Violin
Strings asked violin maker Jan Špidlen, "Of all the violins that inspire you, which one do you most wish you could keep? What makes it special?"
shop talk
Sara Caswell on What It’s Like to Play Her Norwegian Hardanger D’amore
It has a warmth to it and an age and a wisdom to its sound.
Johannes Moser on His 1694 Andrea Guarneri Cello
Cellist Johannes Moser discusses the voice of his 1694 Andrea Guarneri cello, which “has a dark varnish, several procession holes in the back, and was cut smaller and then enlarged.”
Anne Akiko Meyers’ Thoughts on the 1741 “ex-Vieuxtemps” Guarneri del Gesù
By Anne Akiko Meyers | From the November-December 2022 issue of Strings magazine We asked violinist Anne Akiko Meyers, "Do the spirits of the people who hav... Read More...
Fancy Rib Inlays Are a Satisfying Bit of Extra Work in the Violin-Making Process
Carving fancy rib inlays on a violin isn’t a sound requirement. It is extra work. It has little bearing on the functionality of the violin. But it is artistically satisfying.
Remembering Legendary Louisiana Fiddler Edius Naquin’s Unique Instrument
Legendary Louisiana Fiddler Edius Naquin's violin not a notable instrument, a cheaper Strad copy textured with decades of patina, but it had a real presence.
Luthier David Wiebe Reflects on the Amati Brothers’ Instruments
Luthier David Wiebe reflects on the contributions of Andrea Amati, the "father of the modern violin," and his brother, Girolamo.
Bow Maker Matt Wehling Reminisces About His Lost Copy of a Gibson Firebird
By Matt Wehling | From the November-December 2021 issue of Strings magazine Strings Magazine recently asked bow maker Matt Wehling: Of all the instruments t... Read More...
Restoring a Remarkable 1776 Gagliano Violin
Strings magazine recently asked Mark E. Russell of all the violins that have passed through his hands, which one does he most wish he could have kept?
Violin Maker William Stapp on Efficiency and Simplicity
Efficiency in instrumental practice is essential, and this practice can be broken into two parts: building time and performing time.