Antonio Stradivari, born in Cremona between 1643 and 1649, was a renowned luthier specialized in the creation of string instruments of exceptional quality, including violins, violas, cellos, guitars, and harps. Universally regarded as one of the greatest luthiers, his instruments were played by famous musicians such as Niccolò Paganini and Giovanni Battista Viotti, who helped make them appreciated in both France and Great Britain.
The instrument discussed in this study is one of Antonio Stradivari's last creations; in fact, in 1737, when the instrument was built, the master was already 93 years old.
The violin is currently owned by the Staatskapelle Dresden.
After being severely damaged in two separate incidents—the first in 1800 and the last in 1910, when two people accidentally sat on it—the instrument, following its most recent restoration, is once again fully operational.
In 1737, Antonio Stradivari was 93 years old and a very elderly man, especially considering the times. It is said that Stradivari crafted more than a thousand instruments during his lifetime, but it is implausible to think that he always worked alone. Among his children, Francesco and Omobono established themselves as luthiers and most likely worked for a long time in their father's workshop. It is possible, therefore, that some instruments built by Antonio but not completed were finished by his sons when their father was very old or after his death. And it is likely, though not certain, that the Stradivaris dated 1736 and 1737 were completed in his workshop but perhaps not by the master himself.
In 1737, Antonio Stradivari was 93 years old and a very elderly man, especially considering the times. It is said that Stradivari crafted more than a thousand instruments during his lifetime, but it is implausible to think that he always worked alone. Among his children, Francesco and Omobono established themselves as luthiers and most likely worked for a long time in their father's workshop. It is possible, therefore, that some instruments built by Antonio but not completed were finished by his sons when their father was very old or after his death. And it is likely, though not certain, that the Stradivaris dated 1736 and 1737 were completed in his workshop but perhaps not by the master himself.
The ƒƒ(effe) holes are a type of sound hole found on the soundboard of various musical instruments, such as those in the violin family and archtop acoustic guitars. The name comes from their shape, which resembles the cursive letter ƒ. Through one of the ƒ-holes of this violin, it is possible to see Antonio Stradivari's signature inside the instrument.
Among Stradivari's last instruments, there are some that bear both his signature and his age. In particular, the Muntz violin (1736), which is considered one of the very last instruments made by the master, bears the inscription d'anni 92. In this violin, the work of the master, already old by then, is evident: his principles and construction techniques are still clearly recognizable, but the execution clearly reflects a less steady hand.
However, when observing this 1737 instrument, particularly the work done by the master on the corners, one can see a precision in the inlay that is certainly much higher than that seen in the Muntz violin. This difference in the execution of the two violins, just one year apart, can have several explanations. The first is that the violin in question was constructed earlier by the master and only refined and completed in 1737. Another explanation is that the violin, previously built by Antonio Stradivari but not yet finished, was completed by some of the people who collaborated with him, by which time the master was already very old.
In any case, this instrument certainly does not exhibit the signs of the master's advanced age in its construction, as is clearly evident in other earlier instruments.
The ƒƒ(effe) holes are a type of sound hole found on the soundboard of various musical instruments, such as those in the violin family and archtop acoustic guitars. The name comes from their shape, which resembles the cursive letter ƒ. Through one of the ƒ-holes of this violin, it is possible to see Antonio Stradivari's signature inside the instrument.
Among Stradivari's last instruments, there are some that bear both his signature and his age. In particular, the Muntz violin (1736), which is considered one of the very last instruments made by the master, bears the inscription d'anni 92. In this violin, the work of the master, already old by then, is evident: his principles and construction techniques are still clearly recognizable, but the execution clearly reflects a less steady hand.
However, when observing this 1737 instrument, particularly the work done by the master on the corners, one can see a precision in the inlay that is certainly much higher than that seen in the Muntz violin. This difference in the execution of the two violins, just one year apart, can have several explanations. The first is that the violin in question was constructed earlier by the master and only refined and completed in 1737. Another explanation is that the violin, previously built by Antonio Stradivari but not yet finished, was completed by some of the people who collaborated with him, by which time the master was already very old.
In any case, this instrument certainly does not exhibit the signs of the master's advanced age in its construction, as is clearly evident in other earlier instruments.
The scroll is the end part of the neck of instruments belonging to the string family, such as the violin, viola, cello, and double bass. There are no particular remarks to be made about the scroll of this violin.
The scroll is the end part of the neck of instruments belonging to the string family, such as the violin, viola, cello, and double bass. There are no particular remarks to be made about the scroll of this violin.
Inside the soundbox is Antonio Stradivari's signature: Antonius Stradivarius Cremonensis / Faciebat Anno 1737.
Inside the soundbox is Antonio Stradivari's signature: Antonius Stradivarius Cremonensis / Faciebat Anno 1737.
The experimental lutherie of Montecastelli Pisano is involved, among other things, in the "Science and Music" project, which aims to study music from a scientific perspective. It is indeed possible to take a scientific approach to the violin, particularly by studying the sound waves emitted by violins and using neuroscience to investigate how these waves are perceived by the ear and subsequently processed by the brain.
In the scientific approach to the violin, the Montecastelli group encountered a fundamental problem early on: the definition of "beautiful sound." One listener may appreciate a certain sound, while another may prefer something different, indicating that there is no absolute reference point for defining a beautiful and pleasing sound. To overcome this limitation, the original approach used in Montecastelli was to identify instruments that are objectively considered prestigious for their sound quality and use them as reference points for evaluating other instruments and sounds. For this reason, the Montecastelli lutherie sought out valuable and diverse instruments to use as a "baseline" for their research activities. The 1737 Stradivari violin is one of these.
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