A Large Form Stradivari Cello

Consistent with the 17th century Amati family tradition, prior to 1701 the Stradivari workshop built cellos of large, and by modern standards, impractical, dimensions. Few of the large Amati cellos have survived unaltered, and of the 25 pre-1702 Stradivari examples that are known today, only the "Medici" now residing in the Instituto Cherubini of Florence and the "Castelbarco", housed at the Library of Congress in Washington D.C. have survived intact with their original dimensions.

That so many of these large Stradivari and Amati cellos have been reduced in size at one time or another has more to do with changes in musical style than with any specific flaw in concept of construction. Prior to the advent of more independent and florid bass lines that was to be one of the most exciting and enduring innovations of the classical period, the cello almost exclusively served the musical function of bass alone, without any expectation of solo treatment and typically in the absence of a double-bass. In that context, the rich tone of these large instruments must have provided a highly desirable, deep and colorful foundation for an ensemble.

The greater possibilities of speed and virtuosity presented by smaller cellos were simply not conceived of as a part of the musical lexicon for these instruments; pre-baroque cellists rarely played above third position, and issues of ease of facility and stop length were not nearly as critical as they would become in later repertoire.

Large Form Stradivari CelloBy 1700, an evolving expectation of a greater range for bass parts was beginning to permeate compositional style in Europe. The Rugeri and Guarneri families had already recognized this, and for a decade or two and had been making smaller cellos of just over 28" length. Stradivari's response to these changing demands in performance practice was more gradual, and is in evidence in two cellos: the "Christiani" and the "Spanish", both from 1700. While not as small as later productions from the Stradivari workshop, the "Christiani's" body length of 766 mm marks a radical shift in concept from the 792.5 mm body length found on the "Medici." Such a change would seem to reflect a desire for an instrument that would enable easy mobility into the high positions, even at the ultimate expense of some of the overall sonority of the larger form.

The change was apparently a success, for while the Stradivari workshop did build at least one cello of larger dimensions after the "Christiani" and the "Spanish," the "Servais" of 1701, that is the last known large Stradivari cello. The advantages of a more compact form ultimately prevailed as no large pattern examples exist from 1702 onward. There are no known Stradivari cellos from 1702 to 1707. Was the Stradivari workshop busy with other commissions? Did they build some that have not survived? We can only speculate.

Large Model Strad Cello HeadBy 1707 the Stradivari workshop was constructing cellos utilizing an innovative model notated as the "forma B." Built on a smaller pattern, the forma B model was Stradivari's answer to the quest for a cello that could function as a solo instrument while also producing a rich bass. Ultimately the forma B has come to be the model of choice for this member of the violin family: no other string instrument design has so successfully standardized the concept for dimensions of form. While makers such as Francesco Rugeri, J.B. and P.G. Rogeri, Giovanni Grancino, and Matteo Goffriller also built cellos of smaller dimensions, none were as consistently successful and perfect as Stradivari's forma B model. The graceful curves of the model, and the exquisite details of finish present in all of the best Stradivari instruments are, in their perfection, matched only by the unique and wonderful combination of richness, flexibility, beauty, and power in the tone of these instruments.

Many of the most important forma B cellos have played an integral role in the legacies of top performers: The "Davidoff" of 1712 has been heard all over the world, most recently in the hands of cellist Yo Yo Ma and previously as the primary concert instrument of the late Jacqueline Du Pre. In addition to the distinction of having Napolean's spur marks on the ribs, the "Duport" of 1711 was the favorite instrument of the late Mstislav Rostropovich. In a testament to the enduring supremacy of the forma B design, J.B. Vuillaume used the "Duport" as the model for many of his cellos and the Hills refer to this model as the "ne plus ultra of perfection?.

From 1707 the Stradivari workshop appears not to have deviated from the forma B model until the late 1720s when a small number of cellos of an even smaller size were produced. The "De Munck," made circa 1730, once owned by the legendary cellist, Emanuel Feurmann and currently the concert instrument of Steven Issleris, is built on a mold notated by Stradivari as the "forma B piccola." This narrower version of the forma B has a slender appearance, and the narrow shape provides for great ease of shifting in the higher positions. Famed cellist and teacher William Pleeth performed much of his career on a Stradivari cello with a "sotto disciplina" label of 1732. Built on a shorter version of the forma B, the "Pleeth" is somewhat square in appearance. An example known as the "Josefowitz" is similar to the "Pleeth" but is a full inch shorter. That no other example of this size is known leads us to wonder if the "Josefowitz" was perhaps a special commission.

Stradivari Cello Measurements:

Medici (1690)

Cristiani (1700)

Servais (1701)

Duport (1711)

De Munck (circa 1730)

Pleeth (circa 1732)

Josefowitz (circa 1732)

From the size and the unusual placement of the fully-intact f-holes, we can surmise that the impressive instrument pictured here began life as a characteristic example of a 1690s instrument of the largest possible dimensions. As with the majority of large Stradivari and Amati cellos, at some point during its life its overall dimensions were reduced from the original to facilitate evolving performance practice.

We have no record of who might have done the actual work to alter it, but we can offer observations about some of the choices that drove the concept for the alterations: The most common method by which one would reduce the size of such an instrument would involve first disassembling the whole cello, and then separating the center joint on the top and on the back to allow material to be removed at the center before rejoining the halves. This method would have left the perimeter more or less undisturbed in the center (the upper and lower bouts would be reduced to effect the new length), and the f-hole placement closer together than the original design of the instrument.

The reduction on the cello pictured here was handled differently: rather than removing material in the middle, material was taken from the perimeter, thereby preserving the center joint and the relationship of the f-holes which, as a result, look proportionately large and far apart on the now-reduced body. The remaining size, shape, and placement relative to the center, of the fs are typical of the pre-1700 cellos.

Consistent with other early-period Stradivari cello scrolls, this example is at once majestic and elegant, with a fullness and masculinity that corresponds to the original grand dimensions of the body of the instrument as it was originally built. While the forma b cellos all have backs of maple cut on the quarter, the choice of maple cut on the slab for the back of this one is typical for the early period. The top is of spruce of medium grain and the ribs and scroll of plainer maple. The varnish is of a brown-orange color.

As a playing tool this cello is among the very best we have encountered. Even among Strads, it is a stand out, with unsurpassed complexity and richness, and a thrilling, visceral power. The alterations to its size leave it physically manageable and the combination of tone and playability is as remarkable as it is rare.

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