ANGELA LYONS
Each great instrument has a story to tell. Waiting to be discovered in its lines and curves are the secret practices of its maker and beyond this the economic and political circumstances of its time. For some instruments more than others, the people who have owned and played them also define their identities. The Romanov Amati subject of this months poster for subscribers is one such example. Constructed in 1677 by Nicolo, grandson of Andrea, the viola can count among its owners the Princes Romanov. Saved from the Russian Revolution by Prince Vasili Alexandrovich Romanov, nephew of Tsar Nicolas II, the instrument was spirited to the US and eventually found its way into the hands of the esteemed Max Aronoff of the Curtis Quartet.
More than this, the viola also represents the skill and philosophy of the Amati dynasty. Nicolo was 81 when the instrument then a large tenor was made, and as such it bears much evidence of the handiwork of his son Girolamo. On page 26 Alberto Giordano takes an in-depth look at the violas distinguishing features, while Rudolf Hopfner examines evidence of its resizing using micro-CT scans.
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December 2019
 
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