Shopping Cart -

Your cart is currently empty.
Upgrade to today
for only an extra Cxx.xx

You get:

plus This issue of xxxxxxxxxxx.
plus Instant access to the latest issue of 410+ of our top selling titles.
plus Unlimited access to 33000+ back issues
plus No contract or commitment. If you decide that PocketmagsPlus is not for you, you can cancel your monthly subscription online at any time. Auto-renews at €11.99 per month, unless cancelled.
Upgrade for €1.09
Then just €11.99 / month. Cancel anytime.
Learn more
Pocketmags Digital Magazines
EU
Pocketmags Digital Magazines
   You are currently viewing the European Union version of the site.
Would you like to switch to your local site?
Read anywhere Read anywhere
Ways to pay Pocketmags Payment Types
Trusted site
At Pocketmags you get
Secure Billing
Great Offers
Web & App Reader
Gifting Options
Loyalty Points
82 MIN READ TIME

ALL SET UP AND READY TO GO

COURTESY JOSEPH CURTIN

The evolution of the violin is often told in heroic terms: a sudden emergence in the early 1500s, an ascent to perfection at the hands of Stradivari and Guarneri ‘del Gesu’, then a rapid decline followed by centuries spent trying to recapture what was lost. A more reasoned view is that the structural and acoustical development of the violin continued and even accelerated throughout the 19th century, with radical changes to the neck, fingerboard, tailpiece, bass-bar and bridge. Granted, these were changes to the set-up rather than the violin proper, but it was just these changes (along with equally radical ones to the bow) that enabled the spectacular flowering of violin music that now forms the bulk of the standard repertoire. This article focuses on the tailpiece and fingerboard. While these are arguably of secondary importance to the sound of the violin, such is the nature of the instrument that studying even its most straightforward components can feel like taking the back off a watch to ponder the jewelled complexities within.

FIGURE 1 Sound radiation measurements for a violin with a lOg lump of modelling clay atop its bridge (blue line), then moved back 2.5mm (red), 5mm (green), and 10mm (purple). Subsequent positions of 20, 30, 40, 50mm, and atop the tailpiece saddle itself, are all in black. Measurements were taken by tapping the bass corner of the bridge horizontally with an impulse hammer, and recording the response from seven different microphone positions. Each curve represents the real average of all seven positions. For clarity, the curves have been smoothed with a quartertone running average. The horizontal lines represent averages over four frequency bands.
READ MORE
Purchase options below
Find the complete article and many more in this issue of The Strad - October 2019 and Cremona 2019 supplement
If you own the issue, Login to read the full article now.
Single Digital Issue
October 2019 and Cremona 2019 supplement
€5.99
This issue and other back issues are not included in a new The Strad subscription. Subscriptions include the latest regular issue and new issues released during your subscription.
Annual Digital Subscription
Only € 4.58 per issue
SAVE
23%
€54.99

View Issues

About The Strad

We mark 100 years of Elgar’s Cello Concerto and examine Sgarabotto’s violins. Plus interviews Boris Kuschnir, Daniel Müller-Schott and Richard Tognetti, and our annual Cremona supplement.

Other Articles in this Issue


The Strad
To mark a centenary is to celebrate the very great
(Technique, page 84) is a jazz violinist and tutor
Letters, emails, online comments
Mayor Gianluca Galimberti explains why the beating heart of the city is represented by its horde of talented luthiers
NEW ENHANCED SUBSCRIPTION PACKAGE AVAILABLE NOW
The Museo del Violino is hosting a special exhibition of some of the National Music Museum’s finest Cremonese instruments while the US institution is closed for renovations
Fausto Cacciatori reports on a Museo del Violino project to analyse and restore a unique collection of instruments from the Ospedale della Pietà, the Venetian orphanage where Vivaldi taught
Fausto Cacciatori previews an exhibition in Croatia that explores the doctor and luthier Franjo Kresnik’s deep connection with Cremona and its violin making tradition
Cremona’s Cultural District of Violin Making brings together violin makers and municipal, academic and scientific institutions to promote lutherie education and research, writes Chiara Bondioni
Museo del Violino general director Virginia Villa celebrates the museum’s latest anniversary, and introduces a newly acquired masterpiece by Lorenzo Storioni
Paolo Bodini introduces an exhibition of Cremonese masterpieces in Puebla, the capital of Mexican Baroque
The Friends of Stradivari project celebrates ten years of hosting great instruments in Cremona
Cremona’s STRADIVARI festival features debut performances by leading violinists as part of a two-week musical feast, writes Roberto Codazzi
The Cremona Musica exhibition, held every year in September, has become an unmissable showcase of contemporary lutherie from around the world
FRONT
With the prospect of a no-deal Brexit looking increasingly likely, what are the real ramifications for musicians - and what steps can be taken to minimise the impact?
Dutch cellist Anner Bylsma died on 25 July at the age
The UK’s Yehudi Menuhin School (YMS) is to set up its
Conjuring a puzzle out of thin air
An instrument with a detachable neck to make air travel easier
The Australian violinist on Crowded House, ‘classical’ music and the importance of the Antipodean perspective
A high-profile premiere might help young composers launch their career, but the story shouldn’t end there, says Tom Stewart
At this year’s quadrennial International Tchaikovsky Competition, the judges awarded the $30,000 first prize in both the violin and cello categories. Tim Homfray attended the violin section in Moscow, while Andrew Mellor visited St Petersburg to hear the cellists - and both were impressed by what they saw
Four of the six finalists in the cello discipline of
FEATURES
To mark the centenary of the completion and premiere of Elgar’s Cello Concerto, cellist Raphael Wallfisch reflects upon the period and circumstances surrounding the work’s creation and subsequent life
Jacqueline du Pré’s 1965 recording of Elgar’s Cello Concerto set the benchmark for every cellist who followed her. Tully Potter explores the enduring popularity of her powerful and iconic performance
At this year’s Suntory Hall Chamber Music Garden festival in Tokyo the Kuss Quartet performed a complete Beethoven cycle on the ‘Paganini’ quartet of Stradivaris, on loan from the Nippon Music Foundation. Gavin Dixon spoke to the players about this very special project – and learnt a little more about the Suntory phenomenon
Gaetano Sgarabotto was renowned for making replicas of old Italian instruments – and left numerous records of his research on their makers’ styles. Focusing on his replica scrolls, Andrea Zanrè examines the secrets of Sgarabotto’s success
Burgundy’s Musique & Vin festival has quickly grown from its humble origins to encompass a rich diversity of elements, not least first-rate performances from international artists and an instrument loan scheme for young musicians. Charlotte Gardner spoke to those involved in this unique project
In the first of two articles looking at instrument set-up, Joseph Curtin examines the acoustic roles played by the tailpiece and fingerboard in affecting vibration, frequency and resonance
REGULARS
A close look at the work of great and unusual makers
Precision and care are prerequisites for this detailed restoration method
A peek into lutherie workshops around the world
The great 19th-century French bow makers had to produce a large amount of stock to make a living. Christophe Landon explores how their working methods differed from ours, as he makes ten simultaneous copies of one Peccatte bow
Daniel Müller-Schott looks at the importance of connection, colour and line in the work’s third movement
Exercises to train your brain and fingers, to help you become a more fluent performer and improviser
New York
BACH Sonatas for viola and harpsichord BWV1027-1029;
ABRSM Initial Grade:
The Strad responds to the declaration of war on 3 September with advice on how cellists can do their bit by programming feel-good standards for troops and civilians
Sarah Chang
For the Austrian violinist, Mozart’s Violin Concerto no.4 in D major K218 brings back fond memories of David Oistrakh - and a less salubrious recollection of the Tibor Varga Competition