Violins built by Italian master luthier/stringed instrument maker Antonio Stradivari (1644–1737) have a special mystique in the classical music world. Antonio established a shop in Cremona where he remained active, all his life. The earliest known Stradivarius violin was made in 1666, when the lad was only 22. He may have been an apprentice of Nicolo Amati, grandson of C16th violin-maker Andrea Amati. Or he was a woodworker by trade, perhaps explaining his genius in design and drafting.
Stadivarius’ interpretation of violin-design served as a model for violin makers for 250+ years. In the 1680s, he designed and crafted full-bodied violins with rich physical and tonal characteristics. Although he continued to use Amati’s basic structures, Stradivari eventually felt free to create his own violin models. His 2 sons joined the family business in c1698 but neither showed the same passion as their dad.
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Stadivarius’ interpretation of violin-design served as a model for violin makers for 250+ years. In the 1680s, he designed and crafted full-bodied violins with rich physical and tonal characteristics. Although he continued to use Amati’s basic structures, Stradivari eventually felt free to create his own violin models. His 2 sons joined the family business in c1698 but neither showed the same passion as their dad.
Antonio Stradivarius examining an instrument,
1860s, Wfmt
1860s, Wfmt
In his 60-year career, Stradivari made c1,200 instruments, mostly violins plus violas, cellos, guitars, mandolins and harps. He started creating violins in the classic Amati style, handed down over the generations. And even by using traditional techniques, his skill was impressive eg his Hellier Violin (1679) showed an ability to create better than any other maker then.
Stradivari manufactured his best instruments from 1700-25. It was in this era that he designed and perfected his violins, setting the standard for artisans of the future. During his golden period, Stradivari created violins whose sound boxes are unmatched even today. Along with the final redesign of the soundbox, his violins also introduced a unique deep red varnish, black edging, broad edges and wide corners.
c500 of his musical instruments survive today, showing how he was credited with some design innovations that helped bring the violin to its modern form. Stradivari was considered a master craftsman in his own time and in the decades that followed, but his reputation as the best solidified in the early C19th, when violin performances shifted to larger concert halls, where the better projection of the instruments was fully appreciated.
Stradivari manufactured his best instruments from 1700-25. It was in this era that he designed and perfected his violins, setting the standard for artisans of the future. During his golden period, Stradivari created violins whose sound boxes are unmatched even today. Along with the final redesign of the soundbox, his violins also introduced a unique deep red varnish, black edging, broad edges and wide corners.
c500 of his musical instruments survive today, showing how he was credited with some design innovations that helped bring the violin to its modern form. Stradivari was considered a master craftsman in his own time and in the decades that followed, but his reputation as the best solidified in the early C19th, when violin performances shifted to larger concert halls, where the better projection of the instruments was fully appreciated.
His instruments were sought for both their historical value and visual beauty. Musicians spoke of the C17th and C18th violins’ sound as having special brilliance and depth. But musicians are still searching for an explanation of what made the Stradivarius special, violins that were superior to any other instrument for a unique, brilliant, deep sound.
One suggestion focused on the wood itself. The wood that his violins were made of, mostly spruce and maple trees, grew in the Little Ice Age, a cooling era (c1300-1850) in which Europe was badly hit. Since it would have caused the alpine trees used for the up-facing front of the violin to grow more slowly, leading to denser wood and better sound. The reduced solar output, in normally warmer regions, limited tree-growth. Tree rings were composed of a light spongy portion that was produced in rapid growth in spring, and a dark dense portion produced in autumn and winter. Stradivarius violin wood had a less pronounced difference between the 2 portions and was denser overall. The wood’s density affected how sound vibrations travel through, ?explaining the high sound quality of his violins.
Thousands of violins were made in the C19th, based on Stradivarius’ model and bearing labels that read Stradivarius. These violins were made as inexpensive copies of the great C17th-C18th Italian master’s work. Affixing a label with the master’s name was not intended to deceive the purchaser; at that time the buyer knew he was buying a cheap violin and the label was just a reference. Better still, copied labels made after 1891 may also have had a country of origin printed in English on the label, identification that was required by U.S rules on imported goods from 1891 on.
Authenticity could only be determined through comparative study of design, wood characteristics and varnish texture. This expertise was gained through examination of thousands of instruments. But the Smithsonian Institution, as a matter of legal and ethical policy, does not determine the monetary value of musical instruments.
The Smithsonian's National Museum of American History-NMAH has the 1701 Servais cello made by Stradivarius, famous for its preservation and musical excellence. It takes its name from the C19th Belgian, Adrien Francois Servais (1807-66), who played this cello. The Herbert Axelrod Stradivarius Quartet of ornamented instruments is also housed in the NMAH. Some of his most famous violins created during his golden period include the 1715 Lipinski and the 1716 Messiah. Never sold or given away, the Messiah remained with his maker until his death.
These instruments can be heard in concerts. The Smithsonian Chamber Music Society's exhibitions, concerts, tours, broadcasts, recordings and educational programs brought the Smithsonian’s priceless collection alive.
Value
One suggestion focused on the wood itself. The wood that his violins were made of, mostly spruce and maple trees, grew in the Little Ice Age, a cooling era (c1300-1850) in which Europe was badly hit. Since it would have caused the alpine trees used for the up-facing front of the violin to grow more slowly, leading to denser wood and better sound. The reduced solar output, in normally warmer regions, limited tree-growth. Tree rings were composed of a light spongy portion that was produced in rapid growth in spring, and a dark dense portion produced in autumn and winter. Stradivarius violin wood had a less pronounced difference between the 2 portions and was denser overall. The wood’s density affected how sound vibrations travel through, ?explaining the high sound quality of his violins.
Thousands of violins were made in the C19th, based on Stradivarius’ model and bearing labels that read Stradivarius. These violins were made as inexpensive copies of the great C17th-C18th Italian master’s work. Affixing a label with the master’s name was not intended to deceive the purchaser; at that time the buyer knew he was buying a cheap violin and the label was just a reference. Better still, copied labels made after 1891 may also have had a country of origin printed in English on the label, identification that was required by U.S rules on imported goods from 1891 on.
Authenticity could only be determined through comparative study of design, wood characteristics and varnish texture. This expertise was gained through examination of thousands of instruments. But the Smithsonian Institution, as a matter of legal and ethical policy, does not determine the monetary value of musical instruments.
The Smithsonian's National Museum of American History-NMAH has the 1701 Servais cello made by Stradivarius, famous for its preservation and musical excellence. It takes its name from the C19th Belgian, Adrien Francois Servais (1807-66), who played this cello. The Herbert Axelrod Stradivarius Quartet of ornamented instruments is also housed in the NMAH. Some of his most famous violins created during his golden period include the 1715 Lipinski and the 1716 Messiah. Never sold or given away, the Messiah remained with his maker until his death.
These instruments can be heard in concerts. The Smithsonian Chamber Music Society's exhibitions, concerts, tours, broadcasts, recordings and educational programs brought the Smithsonian’s priceless collection alive.
Value
Stradivarius originals are very expensive. In 2011 an anonymous buyer paid $16 mill for the Lady Anne Blunt Violin (1716) named after a previous owner. Experts considered it to be the second best-preserved of Stradivarius’ creations. The best Stradivarius, called The Messiah (1716) in the Ashmolean Museum Oxford, was valued at $20 mill. The Vieuxtemps Violin was owned by C19th French composer-violinist Henri Vieuxtemps. It became one of the most sought after instruments in 2016, selling for $16 mill. Clearly his violins are still the standard in form, sound and beauty.
Violin display, Museo Stradivariano Cremona
The Strad
Statue of Antonio Stradivari, Museo Stradivariano Cremona
Stars and Stripes
Stars and Stripes
Today artisans and scientists still try to recreate what can only be the beauty and sound of a Stradivarius instrument. Stradivarius violins and instruments are prized possessions housed in museums and personal collections around the world. At the Museo Stradivariano in Cremona/now called Museo del Violino, visitors can see how violins are made. They can also hear a Stradivarius violin played by going to the Palazzo del Comune.