The Guardian article reports on Italian research finding that antique and higher-quality violins produce stronger and more audible phantom tones when two notes are played together. It notes these bell-like third sounds may be more discernible on older instruments. The piece quotes Linda Geddes, science correspondent, and discusses Stradivari violins and the value placed on antique instruments.
The article reports that a Lauterbach Stradivarius violin, dated 1719, looted from the National Museum in Warsaw in 1944, was tracked down by Pascale Bernheim and featured on the front page of Le Parisien. Pascale Bernheim's Musique et Spoliations aims to restore the looted instrument to its rightful owner; the hunt for the rightful owner has begun.
The Times reports that a violin in France has been tentatively identified as the Lauterbach Stradivarius, a Stradivarius made in 1719 and looted from the Warsaw National Museum in 1944. Corinne Hershkovitch suggests strong presumption the instrument is the long-lost Lauterbach Stradivarius, with wood analysis supporting its manufacture date.
TwoSetViolin members Brett Yang and Eddy Chen receive loaned Stradivari violins, the Empress Caterina (1708) and the Regent, Superb (1708), from Tarisio. They will debut publicly playing these instruments with the Singapore Symphony Orchestra on November 16.
The article reports that the Lauterbach Stradivarius, looted from the National Museum in Warsaw in 1944, may have been found in France after 78 years. It involves a potential match confirmed by experts and tracked by Musique et Spoliations, with coverage mentioning the instrument’s history and restitution efforts.
The Independent reports that a Norwegian Hardanger violin nicknamed the Rohan Fiddle, owned and played by Dermot Crehan, will be auctioned in Corsham, Wiltshire by Gardiner Houlgate for £3,000 to £6,000. The instrument was used in the Lord of the Rings film trilogy and featured in the scores conducted by Howard Shore.
The article discusses the 1734 Guarneri known as the Violin du Diable, famed as one of the finest Guarneri instruments. It mentions Fritz Kreisler, Alfred Hill, and J. B. Vuillaume praising the instrument, and notes its sale by Tarisio to a private collector. The piece also explains the name arising from the ballet Le Violon du Diable and provides historical context about the ballet and its figures.