Cremona’s annual music fair runs from 27-29 September 2019, and as usual forming a meeting place for itinerant violin aficionados from all around the world. What more can we say… http://www.cremonamusica.com

British Violin Making Association 2019 Oxford Conference: Early Violin Making in Northern Europe, 1560-1725. This year’s conference brings together experts on the seventeenth-century Northern European schools of making from around the continent, and celebrates the interrelationships and stylistic commonalities that exist between French, Dutch, British, Flemish and Belgian makers. Taking place at the usual venue of the Catholic Chaplaincy in Oxford, the two day event will include round table discussions and an informal exhibition of instruments.

Over seven days (56 hours), François will cover the theory and practice of preparation and varnishing wood for violin making. Participants will investigate methods using classical materials (particularly focussing on the recreation of historical practice) as well as techniques using modern materials. The course includes the study of the use and effect of light on each stage of the life of an instrument, including evaluation of historical instruments. Seventy percent of the course time is spent on practical work.

Over seven days (56 hours), François will cover the theory and practice of preparation and varnishing wood for violin making. Participants will investigate methods using classical materials (particularly focussing on the recreation of historical practice) as well as techniques using modern materials. The course includes the study of the use and effect of light on each stage of the life of an instrument, including evaluation of historical instruments. Seventy percent of the course time is spent on practical work.

Held from July 13th – 20th 2019 at The Scots School in Bathurst, NSW, Australia, this is promising to be a illustrious gathering of some remarkably talented and internationally renowned minds. The congress is the first international Luthier and Archetier gathering in the southern hemisphere. It is hoped that the congress will inspire, inform, connect and maintain the creativity and professionalism of all participants. Visit www.alacongress.com

Over seven days (56 hours), François will cover the theory and practice of preparation and varnishing wood for violin making. Participants will investigate methods using classical materials (particularly focussing on the recreation of historical practice) as well as techniques using modern materials. The course includes the study of the use and effect of light on each stage of the life of an instrument, including evaluation of historical instruments. Seventy percent of the course time is spent on practical work.

This is the third European training school in acoustics for violin makers. The first one took place at ITEMM in Le Mans (France) in February 2017, at the end of which it was decided to organise one yearly, each time in a different making school across Europe. The second training school has been hosted by the Department of Musical Instrument Making of the School of Arts in Ghent (Belgium). The third one will be hosted by the Staatliche Musikinstrumentenbauschule Mittenwald (state vocational school for instrument making in Mittenwald) in April 2019.

The BVMA has organised professional development courses at West Dean for violin and bow restorers since 2006. They haveproved popular with independent professionals and those who work in violin and bow shops. The course aims to extend your knowledge of new techniques and introduce you to a network of other people in workshops around the world with similar interests and problems. With the workshops available until 10pm, there is the opportunity to complete enough work to recover a significant part of the course fees.

This year we welcome Warren Bailey, Gudrun Kremeier and Almuth MacWilliams for violin restoration; and on the bow side,Derek Wilson for bow restoration and Evan Orman and Tim Baker for bow making.

The Messiah 301 Conference followed the tercentenary homecoming to Cremona of Stradivari’s fabled violin, the Messiah of 1716. It was already the object of myth and speculation before it emerged into public view with Vuillaume’s purchase of the violin in 1854, and mythology has surrounded it ever since.