COPIED
14 mins

TAILPIECE Sting in the tail

FEATURED PRODUCT

An acoustically impressive substance with the highest strength-toweight ratio of any pure metal, titanium has recently become a favourite material for instrument fittings. ‘It’s widely recognised as an excellent conductor – for both the wide spectrum of frequencies and the speed at which they are able to pass through it,’ says Liang Li of Stradpet, a Beijing-based fittings manufacturer established in 1997.

Stradpet’s range of titanium products includes fine tuners, chin rest screws, tailguts, buttons and endpins, and has recently been expanded to include tailpieces for violin and cello. ‘The metal’s superior sonic characteristics mean that tailpiece made from titanium can make a significant improvement to the quality of an instrument’s sound,’ Li continues. ‘Very little acoustic energy is lost when it passes through titanium, and it continues to vibrate for longer than comparable alternatives.’

Like most manufacturers working with titanium, Stradpet uses ‘Grade 5’ titanium alloy – 90 per cent titanium with 6 per cent alumnium and 4 per cent vanadium. Li claims the Grade 5 tailpieces are up to 45 per cent lighter than those made of ebony, but the minimal weight and high tensile strength that draw makers to this and other titanium alloys come at a cost.

Like carbon fibre, another light and durable substitute for more traditional materials, titanium is extremely hard and therefore difficult to mill – one of a number of factors that often pushes the price of titanium fittings well above those of their competitors. Stradpet’s tailpieces, however, are made using a vacuum casting process, reducing the need for labour-intensive working of the metal and bringing down manufacturing time and costs. Once moulded, the metal is anodised to create a matt black coating designed to mimic the appearance of ebony.

The violin and cello tailpieces measure 109mm and 236mm and weigh 11g and 55g respectively. They are compatible with fine tuners for loop- and ball-end strings, both of which Stradpet also manufacture in titanium.

Stradpet titanium tailpiece from $139 (violin) $359 (cello)

email stradpet@stradpet.com

webwww.stradpet.com

CELLO STAND On safe ground

Designed to allow cellists to lay their instrument securely on its side, the Cello Gard uses two neoprene-covered supports to hold the instrument in place. Now available is a singlepiece folding version, which can be packed away into the carry case provided for greater convenience when travelling.

Cello Gard foldable cello stand $29.95

email cellogardllc@gmail.com

webwww.cellogard.com

BAG Excess baggage

For players looking to increase the carrying capacity of their case to include a music stand, for example, this pouch is designed to thread along its strap and sit on top of the main body. Black with a brown trim, the ‘caddy’ weighs just over 100g and measures 40 x 7.5 x 5cm.

Musafia case caddy $55

email info@musafia.com

webwww.musafia.com

This article appears in December 2019

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December 2019
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Editor’s letter
Each great instrument has a story to tell. Waiting
Contributors
CELIA COBB
SOUNDPOST
Letters, emails, online comments
Brain training
Can learning a musical instrument have a positi ve eff ect on a child’s mental health? Players and teachers give their thoughts on the psychological benefits for young people
Lighting up the sky
An aerial journey for double bass and strings
TAILPIECE Sting in the tail
Titanium continues its rise as a material for instrument fittings
Life lessons Laura van der Heijden
Seven years after winning the BBC Young Musician competition, the British cellist discusses how different forms of music making inspire her
History in sound
This year’s Krzy?owa-Music event marked several anniversaries, among them the festival’s own fifth birthday. Tully Potter attended a wealth of chamber concerts featuring young musicians and established artists, each staged in venues of historical significance
A MASSIVE ACHIEVEMENT
Made in 1677, the ‘Romanov’ Nicolffati viola is one of the maker’s late masterpieces. Alberto Giordano and Rudolf Hopfner investigate its turbulent history and examine how it fits into the Amati family’s oeuvre
A TREASURY OF SOUND
The Royal Danish Orchestra has been adding to its collection of fine stringed instruments for centuries – but there is revolution as well as evolution behind its distinctive string sound, which is unmistakable whatever the repertoire and whoever the conductor, finds Andrew Mellor
LIGHTS, CAMERA, ACTION
As the founder of Music in Vision, Kathleen Ross has built a business from supplying professional musicians for on-camera roles. Introducing instrumentalists to the world of film and TV can be challenging, but, she writes, ensuring that musicians in background parts are convincingly portrayed is well worth the effort
Into the light
Rebecca Clarke’s 1923 Rhapsody for cello and piano was never publicly performed during the composer’s lifetime, and has only recently received proper attention in the hands of champions of British music Raphael Wallfisch and John York – who makes the case for the forgotten masterpiece as its score is finally published
Like fathers, like sons
This year marks the 50th anniversary of the death of Emile Auguste Ouchard, as well as the 40th of his son Bernard – both regarded as among the 20th century’s finest bow makers. Thomas Martin, Andrew McGill, Martin Lawrence and George Martin examine the legacy of the Ouchard dynasty, particularly focusing on their double bass bows
A CONDUCTOR’S TALE
Music director Manfred Honeck has brought a distinctly European flavour to the Pittsburgh Symphony. Gavin Dixon spoke to him at his summer festival in Wolfegg, Germany, as he prepared to embark on a tour of Europe with his Pittsburgh forces – and discovered how his time as a violist in the Vienna Philharmonic helped him to become the conductor he is today
DAVID STIRRAT
A close look at the work of great and unusual makers
Flattening planes
A sadly necessary task for all luthiers, which should have been taken care of by the manufacturer in the first place
HONORATA STALMIERSKA
A peek into lutherie workshops around the world
A phoenix from the ashes
Points of interest to violin and bow makers
BERG VIOLIN CONCERTO
ln the first of two articles, Leila Josefowicz explores ideas of feverishness, hallucinati on, death and resurrecti on in the second movement of a great 20th-century concerto
Teaching rhythm and bowing to beginners
How to inspire very young musicians to learn new cello playing skills
Reviews
Your monthly critical round-up of performances, recordings and publications
From the Archive
The pseudonymous ‘L.H.W.’ gives his thoughts on teaching, in an article he might himself call ‘profuse and extravagant in expression’
IN THE NEXT ISSUE
The violinist has taken over as artistic director of
LINUS ROTH
Weinberg’s Violin Concerto is a work of passionate intensity, as the German violinist found – even though he hadn’t encountered the composer unti l eight years ago
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