Stradivari | A Violin's Life A Violin's Life Stradivari Antonio Stradivari and the Lipiński violin 1715, the year in which the “Lipinski” Stradivari violin was built, stands at the apex of the arc of classical string instrument making from the early part of the 16th century until the death of Carlo Bergonzi in 1747. For over three decades leading up to 1700, Antonio Stradivari (1644-1737) applied his inspired instinct, vision and innovation with ferocious attention to detail and rigorous business acumen, to the artistic and commercial challenges of running an international high-art workshop from his base of operations in Cremona, Italy. Lipinski Strad 1715 The challenges of catering to the elite patronage of the late Renaissance in Europe would have been substantial, with all of the attendant problems of transportation, communication, currency exchange in addition to acquiring materials, managing accounting and staffing, and sustaining a productive workshop at a high technical level.

Stradivari was clearly up to the tasks and the Stradivari atelier’s success was so overwhelming that it remained the dominant force in bowed string instrument building in Europe from 1700 until Stradivari’s death in 1737. Somewhat lower production levels from the Stradivari workshop after 1727 left a gap in Cremona that was filled in the main by Bartolomeo Giuseppe Guarneri “del Gesu” (1698-1744). Nonetheless, both in terms of quantity and especially in terms of the quality of material and finish the output from the Stradivari workshop from 1700-1737 dwarfed that of all of the makers in Cremona combined. The commercial success of the Stradivari workshop was manifest enough that contemporaries used the analogy, “Rich as Stradivari” to denote wealth. The relative lack of contemporary work emanating from Cremona raises the possibility that Stradivari’s dominance had effectively monopolized Cremona and Italy, all but neutralizing most of the potential competition.

Whatever the commercial realities, the overwhelming artistic success of the Stradivari designs as well as the instruments themselves changed the course of history for instrument makers, composers, and performers. Production from the Stradivari workshop began to accelerate toward a historical high point after 1700. Between 1709 and 1717 or so, the workshop produced instruments based on Stradivari’s most esteemed designs combined with extraordinary levels of execution and finish in the realization of those designs, and an almost incomprehensible quantity and consistency of production. By 1714 through the end of 1716 the workshop was producing as many as 16 instruments or more annually, using the most lavish materials available anywhere and designed along the boldest patterns ever conceived of for bowed string instruments. Stradivari instruments represent a synergistic fusion of a bold and powerful conception with uncompromising attention to materials, and finishes.

The level of refinement in the execution of such a bold concept is, in itself, remarkable but the Stradivari atelier in 1714-1716 produced these objects en masse with blinding consistency to a degree that is arguably without parallel in the world of hand-crafted art objects. Maggini Violin, c.1620 The origins of the Stradivari production are not always readily apparent: That Stradivari would have encountered the earlier violin forms of the Amati and Rugeri families in Cremona, is to be expected and the influence of traditional Cremonese methods is in evidence even in his earliest works. That Stradivari may have encountered other instruments, and how they may have influenced future designs is largely a matter of speculation. Whether by direct influence or inventiveness on his own, Stradivari remained restlessly experimental in pursuit of improvements to the forms with which he began his career.

In the last decade of the 17th century Stradivari began experimenting with a longer form than that of contemporary makers in Cremona that may have been informed by larger modeled instruments from the Brescian makers such as Giovanni Paolo Maggini c.1580-c.1630, that would have already been coveted antiques in Stradivari’s day. Functionally, the so-called “Long Pattern” instruments from this period recall some of the deeper sonority produced by the Brescian patterns and the increased body length bears out the comparison. No historical record indicating reception of older forms by Stradivari one way or the other has come to light so for the time being we can only guess at what may have influenced Stradivari directly with the development of his designs. Stradivari discarded the long pattern sometime around 1699 but the “Long Pattern” experiments were to serve him well a decade later when he returned once again to forms of larger dimensions.

Hochstein Strad 1715 The larger violins that begin to appear around 1709 are of similar length to the “Long Pattern” instruments but these are generally broader throughout creating an unprecedented volume of airspace within the violin. The arching on the fronts and backs of the large form violins from the period 1709-1718 are optimal for power and color and these remain some of the most powerful, sonorous, and brilliant violins ever created. The power and brilliance of the mature works of Stradivari make the presence of solo violin in a modern, 3000 seat concert hall practical in a way it wouldn’t have been with earlier forms. Stradivari was substantially ahead of his time with his creations: the large performance venues that are the norm today were unheard of in the 18thcentury, but one can wonder what course music performance might have taken had these forms never been invented.

In the decades and centuries after they were built, violins like the Lipiński and its close cousins, the Hochstein and “Il Cremonese”, also large model violins built in the year 1715, must have helped blaze the trail for music to be available to a broader class of citizens beyond just the aristocracy, at concerts in increasingly large public venues. In terms of utility, Stradivari instruments have proven demonstrably superior to all attempts at replication: although it has been some 300 years since their creation, Stradivari instruments remain in use in modern concert halls as the choice of contemporary artists and to the benefit of audiences, as a living testament to their enduring qualities. For this confluence of factors Stradivari instruments are unique among art objects and there is no artisan more worthy of the unchallenged reputation and mystique that Antonio Stradivari enjoys.

© Stefan Hersh 2013 Violin Makers: Nicolò Amati (1596–1684) and Antonio Stradivari (1644–1737) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Violin Makers: Nicolò Amati (1596–1684) and Antonio Stradivari (1644–1737) See works of art Essay The Violin in the Sixteenth Century The violin family appeared in essentially its modern form in northern Italy , specifically in Brescia and Cremona, about 1550. Andrea Amati (ca. 1511–1580) of Cremona was among the first generation of makers to add a fourth string to the violin and to create the standard sizes of cello, viola, and violin in their classic modern shapes. His instruments, which show an elegance of line and more delicacy and lightness than many later examples, are exceedingly rare; eight small and large violins, three violas, and five violoncellos are all that survive.

Eight of these bear the coat of arms of Charles IX of France , and so were probably completed before the French king’s death in 1574. (The authenticity of these instruments has recently been challenged, possibly making authenticated instruments by Andrea Amati even more scarce.) The Museum’s example by Andrea Amati is a large violin ( 1999.26 ), 354 mm (13.9 inches) long, highly decorated, with the Latin motto QVO VNICO PROPVGNACVLO STAT STABIQ(ue) RELIGIO (“By this defense alone religion shall stand”) inlaid on its ribs or sides. It is one of a matched set of two large violins and a viola built for an unidentified Italian marquis. The sixteenth-century violin was played primarily by professionals, as opposed to the viol ( 1990.223 ), which was the bowed stringed instrument preferred by amateurs. The violin’s lively attack was particularly suited to dance accompaniment. Consorts consisting of a violin, two violas, and a cello became among the most popular choice of professional instrumental groups in the sixteenth century.

The violin’s more brilliant tone suited playing for dance, but the more refined tone and appearance of Cremonese violins led to their acceptance by aristocratic amateurs. Nicolò Amati (1596–1684) By 1600, Cremona was the undisputed center of violin making in Europe. During the sixteenth century and into the seventeenth, a new music aesthetic emerged in western Europe, emphasizing the soloist’s ability to express emotion and to dazzle with virtuosity. The growing importance of the violin played a significant role in this change, both as a solo instrument and as a component of the nascent string orchestra. Nicolò Amati, grandson of Andrea Amati, son and nephew of two other Amati instrument builders, is today considered the finest craftsman of this family of luthiers. This is fortunate, because he was the only member of his family and indeed the only violin maker in Cremona to survive the famine and plague that devastated that city in the years around 1630. In a very real sense, Nicolò single-handedly passed down the tradition of fine Cremonese violin making to subsequent generations.

His violins ( 1974.229 ) were somewhat wider than other makers’ instruments (a design we now call the “Grand Amati”), with a unique, beautifully shaped soundhole and a strong sound. During Nicolò’s working life, the Amati workshop was one of the finest violin ateliers in Europe, training many apprentices who went on to careers as important instrument builders, possibly including the young Antonio Stradivari. Antonio Stradivari (1644–1737) A century of violin making in Cremona culminated in the instruments from the workshop of Antonio Stradivari. Violins are judged by their tone, responsiveness, elegance of design, visual appeal, and precision of their craft, and the instruments of Stradivari are superlative in all categories. From his extraordinary seventy-year career as a luthier, 650 instruments survive, a testament both to his productivity and longevity, and to the high value placed on his instruments.

During the 1680s, Stradivari moved away from Nicolò Amati’s style, experimenting with his own soundhole shapes, softer varnish, wider purfling (the inlaid border near the edges of the violin’s back and front; 1990.7 ), and a stronger tone. During the 1690s, he worked to perfect a “long pattern” violin, with a longer, narrower body and a darker tone than most Cremonese strings. Two of the Museum’s Stradivari violins are of this type ( 55.86a-c ; 34.86.1 ). Beginning about 1700, Stradivari reverted to a shorter, wider design, his “grand pattern,” and embarked on the two decades that many writers call his “golden age.” The third of the Museum’s Stradivari violins ( 34.86.2 ) dates from this period.

After 1700, Stradivari also experimented with building smaller violoncellos ( L.2013.71a–g ), influenced by the instruments of the Brescian maker Giovanni Paolo Maggini (ca. 1581–ca. 1632) and later Cremonese makers; these smaller instruments aided in the rise of the cello as a virtuoso solo instrument. Stradivari also made violas and a number of stringed instruments, including viols , lutes, mandolins, guitars , and harps. At his death, Stradivari’s business passed into the hands of his son, Francesco (1671–1743). Stradivari’s Posthumous Reputation and the Modernization of His Instruments While the instruments of Stradivari were certainly appreciated during his long lifetime, it was not until the late eighteenth century, when several violin virtuosi publicly favored instruments by Stradivari and Bartolomeo Giuseppe Guarneri (“del Gesù”) (1698–1744), that his work was seen as the epitome of the luthier’s art.

Throughout the 250 years since, professional violinists have considered the best instruments of the seventeenth and eighteenth centuries, by Stradivari and others, to be the most highly valued. During the same time, the demands on the violin have grown and changed. As a result, nearly all of the extant Stradivari violins have been modernized to accommodate later virtuosi’s musical demands. While the body of a Baroque violin is essentially the same as a modern instrument, other traits differ. The Baroque neck is a bit shorter and thicker, and projects straight out of the body, rather than bending back. The fingerboard has gradually lengthened as the instrument’s range has grown higher. The Baroque sound post (a wooden stick wedged inside between the belly and back of the violin under the treble foot of the bridge) was slimmer, and the bass bar (a piece of wood glued inside under the bass foot of the bridge) was thinner and shorter, changing the tone of the instrument. Modern violin strings are made of steel, not gut, and are strung about 50 percent tighter than Baroque strings. The Baroque bridge was lower and flatter.

Violin chin rests were not used until the nineteenth century, and so shifting the left hand from position to position was audible. All three of the Museum’s Stradivari violins were modernized at some point, but “The Gould” ( 55.86a-c ) has been restored with a Baroque-style neck, fingerboard, bridge, tailpiece, bass bar, and gut strings. Bows have changed as well. Eighteenth-century bows, many built by French makers, were differently shaped, with hair not as tightly strung as later models. The older bows had a more pronounced difference between up- and down-strokes. Wendy Powers October 2003 Citation Powers, Wendy. “Violin Makers: Nicolò Amati (1596–1684) and Antonio Stradivari (1644–1737).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2003) Additional Essays by Wendy Powers Dobney, Jayson Kerr, and Wendy Powers.

“ The Guitar .” (September 2007) Antonio Stradivari | Tarisio Antonio Stradivari Violin maker (c. 1644 – 1737) Antonio Stradivari is almost universally regarded as the greatest violin maker in history, and the value of his instruments reflects that exalted status. He was born in or around Cremona in 1644, and his 71-year career is a vivid account of early mastery, fluid and ingenious innovation, and indelible craftsmanship and artistry. With the help of his sons Francesco ...Read More and Ombono , Stradivari made nearly a thousand instruments, of which about 650 survive. They are distinguished equally for their exquisite craftsmanship, materials and unsurpassed tone quality. Stradivari may initially have worked as a woodcarver, but his earliest known label is dated 1666.

There is no evidence of a direct connection between Stradivari and Nicolò Amati , but Amati's dominant role in the Cremonese tradition is evident in the work of numerous makers of the period, and the early works of Stradivari show the marked influence of Amati's models and methods. In 1680 he moved to the Piazza San Domenico in Cremona, and began to work more consistently building instruments, which over the next 20 years began to depart from the Amati school in conception. In the 1690s Stradivari introduced a new form known as the "Long Pattern" in an effort to equal the sound quality of earlier Brescian instruments. The pinnacle of Stradivari's career is known as the Golden Period and lasted roughly from 1700 to 1720. Numerous superlative instruments that stand as emblems of the Stradivari legacy were constructed during this period, beginning with the 'Lady Tennant' and 'Lady Blunt' . Special qualities of Golden Period violins include increased breadth, flatter arches, beautifully flamed maple backs, and a lustrous red varnish.

Stradivari's sons were active in their father's shop throughout this period, but their influence is not readily detectable before about 1720. The late period is marked by further design modification, evident especially in fuller arches and less spectacular materials. The violins of this period are lauded less highly than those of the Golden Period but remain equally popular with players and command high prices. While most of the remaining Stradivari instruments are violins, he also built violas and cellos. The violas, of which only about 11 remain, are almost all built on a contralto model of about 40cm in length. Early cellos are built on the larger dimensions of the 17th century, and most have been cut down, but starting around 1707 Stradivari adopted a new model known as 'forma B', which he used for the prized 'Duport' and 'Davidov' cellos. About 20 'forma B' cellos survive, and they are among the best examples of the craft, rivaled only by those of Montagnana .

Read Less Price History Antonio Stradivari Biography - life, family, children, death, wife, son, book, old, information, born Antonio Stradivari Biography Cremona, Italy Italian violin maker I talian violin maker Antonio Stradivari created instruments that are still considered the finest ever made. The new styles of violins and cellos that he developed were remarkable for their excellent tonal quality and became the basic design for all modern versions of the instruments. Family of violin makers There are no records of Antonio Stradivari's birth, but based on the documentation of his age that accompanied his signature on some of the instruments he created late in his life, it is assumed that he was born in 1644. There is also little known about his youth. He was probably born in Cremona, Italy, the city where his family had been established for five centuries, and he was the son of Alessandro Stradivari. Cremona was a town that had been renowned for its master violin makers for nearly one hundred years.

Its leading craftsman during Stradivari's early life was Niccolo Amati, who represented the third generation of his family to contribute to the development of the traditional violin style popular at the time. Stradivari was probably apprenticed (worked to learn a trade) to Amati by the early 1660s and under Amati's direction learned the craft of violin making. Experimented with violin design By 1666 Stradivari was producing instruments independently as well as continuing to work at his mentor's (an advisor and guide) shop, which he probably did until Amati's death in 1684. In 1667 he was married to Francesca Feraboschi and set up his own household and shop. The couple eventually had six children and two of their sons would follow in their father's footsteps as violin makers. In the decade or so before 1680 Stradivari created a wide variety of stringed instruments, including guitars, harps, lutes, and mandolins. He continued to follow Amati's basic design for violins, but during this time he began experimenting with improvements in tone and design.

The Stradivari family moved to a new house at No. 2, Piazza San Domenico in 1680, and the building would serve as the violin maker's home and workshop for the rest of his Antonio Stradivari. Reproduced by permission of Archive Photos, Inc. life. Here he matured in his art and created his greatest works, most notably the violins that set the standard for perfection in the music world. In the 1680s he continued to develop his own style, moving away from Amati's design to create a more solid-looking violin made of new materials and finishes. The resulting instruments during this time created a more powerful sound than earlier violins, and musicians from outside Cremona began to seek out instruments from his workshop as his fame grew. Upon Amati's death in 1684, Stradivari was considered the city's greatest violin maker. Despite Stradivari's considerable success with his designs, he continued to look for ways to improve his violins. He succeeded in finding a deeper, fuller tone that was quite distinct from the lighter sounds of other Cremona instrument makers.

Stradivari's wife died in 1698, and she was honored with a large funeral. In the summer of the following year, the craftsman married his second wife, Antonia-Maria Zambelli. He had five more children from this marriage, but none of them ever entered the instrument-making business. Created finest works in "golden period" The years from 1700 to 1720 were the greatest of Stradivari's career, and the era was often referred to as the craftsman's "golden period." It was during this time that he perfected his violin design and created his finest instruments. Not only was his design revolutionary, but the materials he used also helped to create his unique effects. He selected excellent wood, such as maple, for his violins and developed the orange-brown varnish that became a trademark of his work. His works from this period were so magnificent that some violins created at this time have developed individual identities and reputations.

Some of the most famous include the 1704 "Betts" violin, now in the United States Library of Congress; the 1715 "Alard," which is considered the finest Strativarius in existence; and the 1716 "Messiah," an instrument that Stradivari never sold and is now in the best condition of any of his surviving pieces. After 1720 Stradivari continued to produce violins and other stringed instruments, but the number of items decreased through the years. While his work maintained a high level of quality, it began to show the effects of failing eyesight and a less steady hand. Stradivari continued producing instruments on his own until his death at the age of ninety-three on December 18, 1737. Stradivari's violins remain as some of the most sought-after instruments in the world. In May 2000 a Stradivari violin sold at a New York City auction for $1.3 million. In September of that year experts laid to rest speculation that a Stradivari violin on display at the Ashmoleon Museum in England was a forgery (a fake).

The handcrafted 284 year-old Stradivari violin is considered the most valuable in the world, worth nearly $15 million. For More Information Balfoort, Dirk J. Antonius Stradivarius. Translated by W. A. G. Doyle-Davidson. Stockholm, Sweden: Continental Book Company, 1947. Henley, William. Antonio Stradivari, Master Luthier, Cremona, Italy, 1644–1737; His Life and Instruments. Sussex, England: Amati Publishers, Ltd., 1961. Hill, W. Henry, Arthur E. Hill, and Alfred E. Hill. Antonio Stradivari: His Life and Work, 1644–1737. London: William E. Hill and Sons, 1902. Reprint, New York: Dover Publications, 1963. User Contributions: Stradivarius Violins Stradivarius Violins Related Links Antonio Stradivari (1644?

- December 18, 1737) was an Italian luthier (maker of violins and other stringed instruments), the most prominent member of that profession. The Latin form of his surname, "Stradivarius" - sometimes shortened to "Strad" - is often used to refer to his instruments. Where are Stradivarius Violins today? Find out with our new Stradivarius Violin tracker! Antonio Stradivari violin (1703). On exhibit at Musikinstrumenten Museum, Berlin Antonio Stradivari was born in the year 1644 (by some sources also in 1649 or 1650) in Cremona, Italy to Alessandro Stradivari and Anna Moroni. Probably in the years 1667 through 1679 he served as a pupil in Amati's workshop. In 1680 Stradivari set up for himself in the Piazza San Domenico, and his fame as a instrument-maker was soon established. He now began to show his originality, and to make alterations in Amati's model.

The arching was improved, the various degrees of thickness in the wood were more exactly determined, the formation of the scroll altered, and the varnish more highly coloured. His instruments are recognized by their inscription in Latin: Antonius Stradivarius Cremonensis Faciebat Anno [date] (Antonio Stradivari, Cremona, made in the year ...). It is generally acknowledged that his finest instruments were manufactured from 1698 to 1725 (peaking around 1715), exceeding in quality those manufactured between 1725 and 1730. After 1730, some of the instruments are signed sub disciplina Stradivarii, and were probably made by his sons, Omobono and Francesco. Apart from violins, Stradivari also made harps, guitars, violas, and cellos — more than 1,100 instruments in all, by current estimate. About 650 of these instruments survive today. Antonio Stradivari died in Cremona, Italy on December 18, 1737 and is buried in the Basilica of San Domenico in Cremona.

His instruments are regarded as amongst the finest stringed instruments ever created, are highly prized, and still played by professionals today. Only one other maker, Joseph Guarneri del Gesu, commands the same respect among violin soloists. The highest price paid at a public auction for a Stradivarius was £947,500 ($1.6 million) for the "Kreutzer Strad" at Christie's in London, 1998. Private sales are often double that, or more, for the best examples. Other famous Stradivarius instruments are the Davidov Strad, a cello currently owned and played by Yo-Yo Ma, and the Duport Strad cello owned by Mstislav Rostropovich. The Soil Strad of 1714 is owned by virtuoso Itzhak Perlman, and many consider it amoung the finest of all strads.

The world's two largest publically-accessible collections of Stradivari instruments belong to the King of Spain, consisting of two violins, two cellos, and a viola, exhibited in the Music Museum at the former Royal Palace (Palacio Real) in Madrid, and the U.S Library of Congress' collection of three violins, a viola, and a cello. Edgar Bundy (1862-1922) painting of Antonio Stradivari in his workshop.1893 Stradivarius vioins where the Harrison is presently located. I took these additional photographs for varnish colors, reflections of contours, etc.. Notice the "pinched" contour on the lower F-hole wing The back surface is very "rippled" across the flames One of the most beautiful examples of Stradivari's varnish (in my opinion) is the Harrison's left C-bout The varnish here is as "deep," "clear," and "colorful" as it gets. In later years, Antonio's sons helped carve many of his scrolls. This one though, in my opinion, is "all Antonio." Stradivari tended toward round heels on the bottom of his scrolls.

Notice how shallow Antonio dug the side fluting compared with most other makers (even his own sons) Notice the small radius at the sides of the back fluting ("normal" photographs without reflections never show this) The 1727 "Cassavatti" Viola There are less than twenty Stradivari violas still in existence. The 1727 Cassavatti is one of the finest in overall condition If you look closely, you can still see remains of ink on the chamfer of the eye An extremely wide pegbox makes changing strings easier but also hinders playing in the half position Scroll, bass side Not a typical shape f-hole for Stradivari. (His sons also helped carve many of his later instruments.) This instrument was made when Antonio was 83 and showing the signs of old age. Also notice the cracks caused by the poorly fitting purfling A rare cello style scroll for this late of viola, but Stradivari was not beyond "breaking the rules" for a special customer Another view showing the depth and contours of the scroll heel The dichroic properties of Stradivari's varnish. Left is in diffused light, right is in direct light.

(All master varnishes, new or old, will do this.) The 1701 "Servais" Cello is presently housed at "The Smithsonian" and considered by many to be the finest cello ever made, though the point may be argued (especially by average sized players) because of its "larger than standard" size which makes it more difficult to play. The "Servais" is a very large and impressive instrument A truly rare specimen with deep, widely flamed maple Even the finest cellos have "wolf notes," yet with a master instrument it is always "worth it." Though over 300 years old, a typical and very "clean" example of the Master's work. One of the finest examples of Stradivari's wood and varnish The 1709 "Greffuhle" (One of the finest inlaid Stradivaris.) Pardon the quality of these photographs. After playing the instrument for two days, I realized that I hadn't taken any pictures until it was almost time to go. It really was a dream to play, but when I first picked up the Greffuhle, the sound was a complete disappointment.

But who can blame it; it had a gut E-string, a steel A string, a Dominant D and a G-string that was old and unrecognizable. But after I adjusted the soundpost to where it should be and replaced all the strings, it instantly came to life and became the dream that it truly is. You can't judge any instrument's true value unless it is set up properly. Stradivari made very few inlaid instruments and always charged "dearly" for them even though some of their voices were compromised by the thicker wood necessary for the inlay work The "Greffuhle" is a "Golden Period" example and is the best sounding inlaid instrument I have ever heard or played upon How the light hits a master instrument is everything. Right = the Greffuhle in subdued light. All of Stradivari's inlay designs are his own (original) and many of his templates still survive in private collections and at the Stradivari museum in Cremona, Italy. An angle that no ordinary pictures ever show. The ribs are elaborately inlaid and were made slightly thicker than his normal instruments Closeup of the ivory diamonds and circles.

Compare with the "Rawlings" guitar below Stradivari chose less flamed wood for his inlaid scrolls so the patterns would stand out more This violin has a full neck graft and a simple fingerboard but the originals were believed to have been quite elaborate Stradivari used a mixture of inlaying techniques on this instrument because he was always experimenting for a better way I believe he discovered it on the back of this scroll and it is the same technique that I use on my own instruments because it requires no compromise in sound quality 1700 "Rawlings" Guitar (Again, one of Stradivari's finest) Guitars, like violins, violas and cellos are made of spruce (for the belly) and maple (for the ribs, scroll and back). The inlay of ivory diamonds and circles are almost identical to those used on Stradivari's inlaid violins (See Greffuhle above) Though not considered to be one of the finest guitar makers who ever lived, Stradivari used the finest materials and did very well A closeup of the varnish (one of his finest examples) Another closeup.

$45 Million Stradivarius Would Set New Record Price for Instruments - Bloomberg Bloomberg the Company & Its Products Bloomberg Anywhere Remote LoginBloomberg Anywhere Login Bloomberg Terminal Demo Request Bloomberg Connecting decision makers to a dynamic network of information, people and ideas, Bloomberg quickly and accurately delivers business and financial information, news and insight around the world. Customer Support Advertising Bloomberg Connecting decision makers to a dynamic network of information, people and ideas, Bloomberg quickly and accurately delivers business and financial information, news and insight around the world. Customer Support A $45 Million Viola? The World's Newest Most-Expensive Instrument by @VTSilver More stories by Vernon Silver U.S. violist David Aaron Carpenter plays the 'Macdonald' Stradivarius viola created in 1719 by Antonio Stradivari at Sotheby's auction house in Paris on April 15 Photograph by Bertrand Guay/AFP via Getty Images John Cage would be pleased: If you listen very carefully, you may hear a world record shatter.

In sealed bidding expected to end this week, auctioneers Sotheby’s and Ingles & Hayday have been taking offers for the “Macdonald” viola by Antonio Stradivari, the king of strings. They’ve estimated it to sell for more than $45 million—about three times the auction record for an instrument, currently held by a Stradivarius violin that sold for about $15.6 million in 2011. Is that multiple a sign that a booming instrument market is reaching frothy levels along with prices for contemporary art? Not exactly. In fact, earlier this month a Stradivari violin valued at as much as $10 million went unsold at Christie’s after it was found in the Manhattan home of a reclusive American heiress. Ingles & Hayday As for the “Macdonald” instrument, this 1719 Strad commands its premium because it’s a viola, the slightly larger and deeper-toned sister of the violin. While hundreds of known Stradivari violins are in circulation, only 10 of his violas are known to have survived, according to Sotheby’s research.

Of those, only two are in private hands: one in the Library of Congress in Washington and the one that is up for sale. The most important business stories of the day. Get Bloomberg's daily newsletter. Stradivarius - The Violin | stradivarius.org - Stradivarius.org Stradivarius Violins • Antonio Stradivari Stradivarius Violins & Antonio Stradivari For more than three hundred years, Stradivarius instruments have been played, heard and admired by millions of people around the globe. Stradivarius.org celebrates Antonio Stradivari (1644-1737) and his masterpieces, most notably his violins and cellos. We also provide information about Stradivarius violins for sale, prices, the history of the violin, other famous violin makers , violin sizes , the difference between the fiddle and the violin, and much more. Explore Stradivarius.org to learn just why this 17th century Italian luthier is considered the best violin maker in the world. Stradivarius.org is proud to honor the continuing superiority of Stradivarius instruments.

This website is for all who have an interest or passion in Stradivari violins including amateurs, students and professional musicians. Stradivarius Violins Handcrafted centuries ago by Italian luthier Antonio Stradivari, Stradivarius violins are regarded as the finest ever made. He was dedicated to perfecting his craft, constantly experimenting with design which are unmatched even today. His best violins and instruments were made during what is considered his golden period from 1700-1725. Stradivari made more than a thousand violins during his lifetime, around 650 of which exist today. His most famous violins include the 1715 Lipinski and the 1716 Messiah. Learn more about: Stradivarius Violins . Antonio Stradivari Born in 1644 in Cremona Italy, Stradivari was a genius luthier showing signs of his violin-making talent at the early age of twenty-two. A passionate and skilled craftsman, Stradivari designed and made impeccable violins and other instruments, earning fame and prominence during his lifetime and long after his death.

He has been attributed to perfecting the violin and setting a standard that is unmatched even today. His violins continue to be the standard in violin-making and are played by top musicians around the world. Learn more about: Antonio Stradivari . Violin versus the Fiddle Many people wonder if there is a difference between a violin and fiddle. To the eyes of a novice, both instruments may look the same. But to the musician, there is a big difference. Many believe it is the style of music. According to famous fiddle players, the violin sings but the fiddle dances. Learn more about the difference between the violin and fiddle and why some of the stereotypes may just be true. Learn more about the Stradivarius Violin Vs. Fiddle . Violin The smallest member of the violin family, the first signs of the modern violin appeared in Italian art around 1508. Throughout the centuries, hundreds if not thousands of violin makers crafted these instruments, however only a few contributed to its design and sound, including the Amati Family, Antonio Stradivari and the Guarneri Family. Learn more about the history of the violin. Learn more about the Stradivarius Violin .

Question: Antoni Stradivari is associated with the design and building of what instrument?
Answer: Violin