Stradivarius Violins refers to the string instruments, particularly violins, produced in the 17th and 18th centuries in Cremona, Italy, by the luthier Antonio Stradivari (1644-1737) and his family. These instruments have attracted intense interest from musicians and researchers throughout history due to their tonal qualities and craftsmanship. The concept of a "secret," proposed to explain the tonal qualities of Stradivarius violins, has been the subject of scientific research in many fields, including wood properties, chemical treatments, varnish components, and structural designs. However, there are also counter-arguments that this "secret" is a myth shaped by historical and economic factors and that modern instruments can possess similar or more advanced tonal qualities.
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Historical Development and Formation of the Myth
Antonio Stradivari may have begun his career in the workshop of the Amati family, prominent representatives of the Cremona school, particularly that of Nicolò Amati (1596-1684). During the first period of his career, from 1666 to 1690, the aesthetic and structural influences of the Amati school are visible in his instruments. The period between 1690 and 1700 is considered an experimental phase, during which he produced longer-bodied violins known as the "long pattern". In his "golden period," from 1700 to 1720, the violins he produced feature a lower arching, a design believed to have been developed to provide greater sound projection in large concert halls.
The myth of the "secret" and superiority of Stradivarius instruments became widespread in the 19th century through performers, dealers, and luthiers such as Jean-Baptiste Vuillaume (1798-1875). During this period, copies of Stradivarius violins were produced in large numbers, while the original instruments began to be collected by museums and investors, which further reinforced their mythical status.
Scientific and Theoretical Approaches
Research aimed at explaining the unique tonal characteristics of Stradivarius violins has produced various theories spanning multiple disciplines.
Wood Properties
Dendrochronology and the Maunder Minimum
According to one hypothesis, the period in which the spruce trees used by Stradivari grew coincided with a cold climate phase known as the "Maunder Minimum" (1645-1715), a time of low solar activity. It is suggested that the cold climate conditions of this period caused the trees to grow more slowly, resulting in wood with narrower and denser annual growth rings, which possessed acoustically distinct properties. It is thought that these characteristics may have contributed to the tonal quality of the instruments.
Density Differentials
In a study using computed tomography (CT) scans, the wood densities of classical Cremona violins, such as those by Stradivari, were compared with modern violins. While the study found no significant difference in average density, it showed that the density differential between the early growth (spring) and late growth (summer) portions of the wood was lower in Cremona instruments compared to modern ones. It was noted that this could affect the vibrational properties of the wood, thereby contributing to the tonal quality. The reasons cited for the low density differential include the slow and balanced tree growth during the Maunder Minimum or chemical treatments applied to the wood.
Chemical and Aqueous Treatment of Wood
Ponding
Another area of research is whether the wood was soaked in water before being used to make the instruments. Soaking wood in water, especially saltwater, can alter its acoustic properties by dissolving pectin in the cell structure and reducing the stiffness across the grain. However, an examination of spruce samples from old Italian violins using a scanning electron microscope (SEM) showed that the bordered pits between the wood cells were intact and undamaged. This finding was interpreted as evidence that the wood was not soaked for a prolonged period, although the researchers also noted that if the wood had been aspirated (air-dried) beforehand, these membranes might not have degraded.
Chemical Analyses
Chemical analyses of wood samples from Stradivarius violins have revealed the presence of minerals and elements not naturally found in wood or found in different proportions. In studies conducted by researcher Joseph Nagyvary, traces of chemicals that could be used as preservatives against insects and fungi, such as borax, fluoride, chromium, and iron salts, were found in the wood. It has been suggested that these chemical treatments were applied to protect the wood from pests like woodworm, and that the difference in tonal quality might be an unintentional side effect of this process. Other studies have found high concentrations of elements such as aluminum, calcium, copper, sodium, and zinc in Stradivarius wood. It has been stated that these chemicals altered the cell structure of the wood, causing about one-third of the hemicellulose to decompose, which in turn affected the material's vibrational properties.
Varnish
Varnish is one of the longest-standing topics of research related to the Stradivarius secret. Research by Joseph Nagyvary suggests that Cremonese-era varnishes, unlike modern oil-based varnishes, contain hard polymers such as chitin (the main component of insect skeletons and wings). It has been claimed that such a hard varnish could enhance rather than dampen the wood's vibrations, helping to produce a clearer and larger sound.
Acoustic and Structural Properties
Formant Frequencies
Vibroacoustic analyses have identified a measurable characteristic that distinguishes the sound of Stradivarius violins from others. Studies have shown that Stradivarius violins exhibit higher formant frequencies, similar to those of female singers. In contrast, other old and modern violins tested were found to have formant structures more akin to male voices, such as baritones and basses. The greater vowel frontness in Stradivarius violins has been associated with the "brightness" often attributed to these instruments.
Structural Evolution and Modernization
The original instruments of Stradivari were designed according to the musical and spatial needs of the Baroque period. However, over time, significant structural modifications were made to these instruments due to factors such as the increasing size of concert halls and the expansion of orchestras. These changes include lengthening the neck and altering its angle, using a higher bridge, and fitting a heavier bass bar to increase sound power. Therefore, it is accepted that the Stradivarius sound heard today is different from the sound originally intended by Stradivari.
Counter-Arguments to the "Secret" Concept and Modern Interpretations
Some researchers and luthiers argue that the concept of "The Secret of Stradivarius" is no longer valid or is a myth. According to this view, the mystique surrounding Stradivarius instruments is largely kept alive by economic interests, concert marketing, and historical prestige. The value per gram of a Stradivarius violin can exceed that of gold, turning the instruments into financial investment vehicles.
A significant piece of evidence supporting this thesis comes from double-blind sound tests. In experiments conducted between 2010 and 2013 in Indianapolis, Paris, and New York, professional violinists were asked to play both old Italian instruments, including Stradivarius, and modern-made violins while blindfolded. The results showed that the violinists and the audience often could not distinguish between the old and new instruments and, in many cases, preferred the sound of the modern ones. These experiments have demonstrated that modern luthiers are capable of producing instruments with tonal quality equal to or higher than those from the Stradivari era.
According to this approach, the goal of contemporary lutherie is not to imitate the models of the past but to produce more powerful and high-performing instruments required by today's large concert halls, expanded orchestras, and modern repertoire. Indeed, Stradivari himself was in a constant search for innovation throughout his career, developing his models and using at least 12 different violin forms.
