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One particular result of this work is the discovery that several instruments come from the same trunk.ĭr. ![]() In addition we also included the instruments from the first four volumes in this examination, leading to encouraging results that support our research. What occurred more on the basis of this analysis was having to redate instruments to a later year of manufacture in other cases an earlier date was probable. Fortunately there were only very few cases in which preexisting doubt was corroborated by this method of examination. We submitted each instrument to this procedure in order to exclude from this publication any instruments that have obviously been falsely assigned. It is presented in a separate article by our expert Arjan Versteeg. We had a few examples made and have the results available on our homepage and on the attached DVD.Ī special highlight of this publication is the use of dendrochronological study. By means of the unique modular turntable system of for 360-degree imagery, we were also able to depict the instruments in three dimensions. This allowed us to document the instrument with even more precision. He used Phase One’s top-rated model IQ180 in full format with a resolution of 80 megapixels. With regard to the quality of the pictures we could rely on Jan Röhrmann’s expert knowledge again. In our present volumes V–VIII we were able once more to make use of the newest technological advances. Without his sons’ devoted cooperation, it is unlikely that Antonio Stradivari could have created such a comprehensive œuvre. This task was handled by musicologist and luthier Johannes Loescher in close cooperation with the above-mentioned experts.įinally I asked John Dilworth to make his essay on Antonio Stradivari’s sons available for this publication. For instance, the nicknames of several instruments had to be corrected.īesides the art historical perspective, the technical quality of the instruments was to be described, the level of preservation as well as special features were to be detailed, reductions or incoporations were to be tracked. He was able to add several facts and connections to this publication that had not been discovered before. Of specific significance was the contribution of historian Dr. We decided to round them up in later volumes. In our research we came across several instruments whose tops or bottoms were unfortunately the only remaining original pieces. ![]() Of course, it remains our goal to depict the complete œuvre and even to capture specific sub-areas. Thus these volumes represent another several steps towards a more complete review of Stradivari’s œuvre. We gladly catered to her request to use her own photo material in this case. Anne-Sophie Mutter’s approval to include her instrument, the 1710 “Lord Dunraven”, in this publication. In this context we were especially happy to receive Prof. Still the undertaking was a major effort for all of us once more, and sometimes a good deal of persuasion was necessary in order to obtain some owners’ approval for such a publication. Many owners were ecstatic in offering their support. So now more than 300 instruments have been depicted and documented, which should amount to roughly two-thirds of the Antonio Stradivari instruments that remain today. ![]() Five years have passed since we published Volumes I–IV on Antonio Stradivari in 2010, and my team and I have used this time to track down another 152 Stradivari instruments. |
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