How did you fare in our February New York highlights quiz? Full questions and answers here

Two fine Neapolitan makers of the 20th-century: Giovanni Pistucci and Vittorio Bellarosa

The story of Beethoven’s quartet of instruments, which was recently reunited at the Beethoven-Haus museum in Bonn

Gioffredo Cappa part 2: Julian Hersh discusses his style, which blends the Amati aesthetic with Piedmontese influences

Gioffredo Cappa part 1: what do we know about the life of this elusive Piedmont maker? By Julian Hersh

Why the Carlettis are among the most interesting makers of the traditional modern Italian school, by Dmitry Gindin

Jason Price presents two highlight violins from the November 2019 auction by Giovanni Francesco Pressenda and Carlo Giuseppe Testore

Why is there such a price discrepancy between Vuillaume and his talented contemporaries, asks Marie Turini-Viard

Jason Price introduces a fine Vuillaume cello, highlight of our October auction

Capicchioni and Fracassi part 2: Dmitry Gindin explains why their making styles are quite different

Jason Price explores the violas of Guarneri, including the superb c. 1690 ‘Josefowitz’

Andrea Amati part 2: John Dilworth examines his surviving instruments

Jason Price examines the fine 1856 Giuseppe Rocca violin owned by Maud Powell

How Giuseppe Pedrazzini built a successful career in early 20th-century Milan, by Dmitry Gindin

Jason Price examines the Panormo viola bought by Adolf Busch in 1934

The fairytale story of the ‘Sleeping Beauty’ Stradivari violin, by Alessandra Barabaschi

Jason Price introduces the ‘ex-Sinzheimer’ Guadaganini and other June 2018 highlights

The British cello, part 2: the role of the village band in the rise of the instrument

The British cello, part 1: why the instrument became so popular with 18th-century makers

The history of Guilhermina Suggia’s prized 1717 Stradivari cello, by Alessandra Barabaschi

The violins of Henryk Szeryng – and why he gave most of them away, by Tully Potter

The ‘Sun-Law’ Vuillaume donated to the Tarisio Trust by its late owner, Eric Sun

Jason Price and Carlo Chiesa examine the ‘Lachmann Schwechter’ Guadagnini of 1776

Dmitry Gindin examines the place of Giulio Degani in the Veneto violin making school

The history of the only Stradivari with a Latin inscription, the ‘San Lorenzo’ from 1718

Two fine examples of Santo Serafin’s mature work – a c. 1743 violin and 1740 cello

Late-period Stradivari cellos part 1: the shorter model ‘Bein, Fruh’ of c. 1727

Jason Price takes an Amati to Italy to find out about a 3D scanning process

Jason Price discusses the Tecchler cello played by Guy Johnston

Camilla Wicks talks about her love for the Arthur Smith violin that Ruggerio Ricci gave her

Violinist Alexi Kenney on playing the ‘Joachim, Ma’ Strad; with commentary from Jason Price

Carlo Chiesa examines a rare violin by Giuseppe Caleffi of Modena

Jason Price examines the ex-Enescu Guarneri ‘del Gesù’ c. 1725

Tim Ingles examines a fine 1788 violin by Tommaso Balestrieri of Mantua

Stradivari’s ‘Archinto’ viola and its noble owner, Count Giuseppe Archinto

The young Stradivari part 2 – John Dilworth analyses the master's earliest instruments

The story of the 'Pawle, Benvenuto' Stradivari cello, a petite model from c. 1730

The life and work of Alfred Lanini, who brought Milanese style to California

Alessandra Barabaschi charts the history of Stradivari's 'Lady Inchiquin' violin of 1711

How did G.B. Guadagnini produce such successful cello models? John Dilworth investigates

Danish violin making part 3: lines of influence in the 20th century

Part 2 of Jens Stenz's Danish making survey: the golden era during the 19th century

Jens Stenz on the early Danish violin makers, who survived wars, wood shortages and bankruptcy

Highlights of Canada's Musical Instrument Bank and how it supports young musicians

A recent dendrochronology test that led to a highly exciting set of results

One of the finest 17th-century Stradivari cellos: the 1689 ‘Archinto’

Stradivari Medici quintet part 3: the two instruments that left Florence

Part 2 of our history of the Stradivari ‘Medici’ Quintet: the three instruments in Florence

A mysterious commission: part 1 of a series on Stradivari’s ‘Medici’ Quintet, by Alessandra Barabaschi

How the pioneering Monteverdi opera L'Orfeo paved the way for the cellos of Goffriller

Ten stolen instruments and some dramatic recoveries, including the ‘Ames, Totenberg’ Strad

Stradivari's sons part 2 – detecting their hands in Antonio's work

Highlights from the Paris Musée de la musique’s 7,000+ collection of instruments

Alberto Giordano investigates Paganini's intriguing ‘Il Cannone’ violin

Guarneri 'del Gesù' Part III: the late violins, by John Dilworth and Carlo Chiesa

In Part 2 of their 'del Gesù' survey, John Dilworth and Carlo Chiesa examine his middle period

The later prolific years of Leandro Bisiach, by Dmitry Gindin, Part 2

The life and work of Guarneri ‘del Gesù’ by John Dilworth and Carlo Chiesa, Part 1

Part 1 of Philip J. Kass's survey of the Turin school: the city's earliest violin makers

Jan Strick examines a fine violin by one of the many Matthijs Hofmans of Antwerp

Take a virtual tour of the Museo del Violino in Cremona, with Philip J. Kass

John Dilworth continues his survey of the Stradivari workshop’s violas, part 2

John Dilworth examines Stradivari's violas and asks why he made so few, Part 1

Florian Leonhard shares some recent discoveries about the Gragnani family

Serge Stam examines an elegant Cuijpers violin from 1767

Two instruments from the Guillami family of Barcelona

Who was who in the Tononi family? Roberto Regazzi shares the latest research

The late-Turin Guadagnini violin owned by US teacher Dorothy DeLay

Philip J. Kass examines a Pressenda violin from 1838, a momentous year for Turin's luthiers

A fine and characteristic 1701 cello from Giovanni Grancino of Milan

A violin by the exiled Girolamo Amati II, showing the maker at his strongest

Gregg Alf recalls the experience of copying Ruggiero Ricci’s Guarneri, the ‘Huberman’

An 1828 violin from Pressenda reveals a possible connection to Luigi Tarisio

We examine the influence of Scarampella on the modern Mantuan school, part 2

A typically rugged violin by Stefano Scarampella, who was founder of the modern Mantuan school, part 1

A rare and charming pair of instruments from 19th-century Copenhagen

This c. 1690 Grancino cello was formerly a highlight of the Cooper Collection

Does this 1897 Voller Brothers’ copy of the ‘Vieuxtemps’ Strad include deliberate mistakes?

A characteristic Aldric violin, blending Stradivari’s influence with a French aesthetic

Message in a violin: the intriguing inscription inside a c. 1766 Deconet

An impressive copy of the 'Servais' Stradivari cello by Nicolas Vuillaume of Brussels

Two rare Genoese violins from the early 18th century

A rare and hastily made violin by Modena maker Angelo Soliani

An 1803 Forster cello made on a Stainer model for the Reverend A. Hole

A rare violin by the expert and restorer Simone Sacconi

A fine example from Mantuan maker Camillo Camilli, showing the influence of neighboring Cremona

A 1997 Frédéric Chaudière violin played by Ruggiero Ricci to celebrate his 80th birthday

How a £50 violin by Daniel Parker turned into a ‘Stradivari’

A late-period Amati nicknamed the ‘Spagnoletti’ after an Italian-turned-Spanish virtuoso

Why the ‘Primrose’ Guarneri viola has inspired both players and makers for centuries

The astonishingly well-preserved ‘Lady Blunt’ Stradivarius of 1721

When the 'Lady Blunt' met the 'Messiah' in Oxford

A spectacular example from the supreme exponent of French making, Nicolas Lupot

The ‘Molitor’ Strad, the French socialite and the Napoleon General who gave the violin its name

This handsome Francesco Rugeri takes its name from the Italian child prodigy Maria Milanollo

Two fine Neapolitan violas d’amore in superb condition

Hollywood music mogul George E. Stoll’s fine Amati violin

A petite c. 1760 violin that shows C.F. Landolfi’s excellent capabilities as a maker

The composite 1717 Stradivari cello played by Amaryllis Fleming

A rare violin by the 18th-century Venetian master Francesco Gobetti