Antonio Stradivari looms large in the life of any violinmaker working with traditional design and process. How does one deal creatively with this 800-pound gorilla in the room?
In order to study, learn from, and react to all his work has to offer in an orderly way, I have undertaken a series of 300th anniversary instruments; copies of Strad violins made 300 years before, i.e. in 2013 making copies of Strads from 1713. An added bonus is that Strad’s birth year is almost exactly 300 year before mine, so I can imagine how we was looking at the world and his work at a similar stage of life.
Eric Rosenblith, 1920 – 2010
In 2013 I reconsidered a violin and pattern with which I have a deep history. Eric Rosenblith’s Stradivarius violin of that year is one I have copied many times, and a form I have adapted many times for special projects, such as a Storioni copy with identical body shape.
With Eric’s passing in 2010, the original violin was not available to me for a refresher course and I had to rely on my extensive photographs, measurements, notes, and recollections.
I often find it helpful in learning as much as possible from a making project to make one copy as much like the original as my skill and understanding allow, and then make another applying what has sunk into me as spontaneously and organically as possible.
This is what I did this time, paying close attention to measurements and photos on #806, and having fun with #807. The results are not that different — I have internalized so much over the years, and at best my work is always some approximation of a 50/50 balance between the inspiration and my execution.
About these instruments
#806 “Rosenblith” 1713 Strad
The violin bears the facsimile label “Antonio Stradivarius Cremonenfis Anno 1713”. It also bears on the treble side the label “Douglas C. Cox, Brattleboro, Vermont, 2013, #806” and is branded and initialed on the inside. It is patterned after a violin by Antonio Stradivari dated 1713 formerly in the possession of Eric Rosenblith. It is built of well aged North American grown wood. The back is cut on the quarter from two pieces of New England maple with medium-narrow flames descending slightly from the center joint. The ribs and neck are of maple similar to that of the back. The table is of two pieces of Engelmann spruce from British Columbia of regular medium-narrow growth. The varnish is of an orange-brown color over a golden ground and is shaded and imitated. The fittings are rosewood with gold trim. The principal dimensions are:
Body Length: 360 mm
Upper Bouth: 169 mm
Middle Bout: 113 mm
Lower Bout: 207 mm
Rib Height: 28-30 mm
String Length: 329 mm
#807 “Rosenblith” 1713 Strad
The violin bears the facsimile label “Antonio Stradivarius Cremonenfis Anno 1713”. It also bears on the treble side the label “Douglas C. Cox, Brattleboro, Vermont, 2013, #807” and is branded and initialed on the inside. It is patterned after a violin by Antonio Stradivari dated 1713 formerly in the possession of Eric Rosenblith. It is built of well aged North American grown wood. The back is cut on the quarter from two pieces of New England maple with medium width flames descending from the center joint. The ribs and neck are of maple similar to that of the back. The table is of two pieces of Engelmann spruce from British Columbia of irregular mostly narrow growth. The varnish is of an orange-brown color over a golden ground and is shaded and imitated. The fittings are ebony with gold trim. The principal dimensions are:
Body Length: 359 mm
Upper Bouth: 168 mm
Middle Bout: 112 mm
Lower Bout: 206 mm
Rib Height: 28-30 mm
String Length: 329 mm