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Contributors
IAGOBAFANLO (Technique, page 78) is professor of cello at the Conservatorio Superior de Música de Aragón in Spain. He is also an associate of London’s Royal Academy of Music and teaches at the Alfonso X El Sabio University in Madrid. He plays a 1746 cello by Juan Guillami and another by Ignacio Fleta from 1933.
GIACOMO FIOCCO (Three 1734 Guarneris, page 34) is the research activities supervisor at the Arvedi Laboratory of the University of Pavia. He specialises in non- and micro-invasive investigations for the study of cultural heritage, with a particular focus on the materials of musical instruments.
RICHARD MORENCY (Sartory bows, page 46) is a French Canadian bow maker and owner at Archèterie Morency in Quebec City and Montreal.He formerly worked with Jean-François Raffin in Paris, and his work is focused on copying and restoring old French bows.
PIERRE NEHR (Making Matters, page 68) is a bow maker based in Paris. His bows are entirely hand-made according to French traditions and his work is influenced by the great French masters of the 19th century.
SARAH PECK (Trade Secrets, page 62) is a graduate of the Early Stringed Instrument Making programme at West Dean College in the UK. She is located in Philadelphia, PA, US, and has spent the last 15 years working with musicians who focus on historical performance and practice.
BERENICE BEVERLEY ZAMMIT (Musicians and exercise, page 40) is a performance consultant, a PhD candidate in performance science (Royal College of Music), lecturer and violinist. Her present research investigates pre-performance routines, performance anxiety and physical exercise.