gesu

All that could be offered by the Bambino Gesu Hospital in Rome was an alternative palliative care plan.

The majority of modern violins are still modeled after Stradivarius examples (with a probably smaller number modeled after del Gesu instruments and some other makers).

> Essentially, the quality of violins dropped precipitously after the deaths of Antonio Stradivari (1737) and Joseph Guarneri del Gesu (1745), and it’s (sic) has never recovered.

I'm a semi-professional violinist who got to borrow a Strad for a couple months and whose long-term teacher has the lifetime loan of a del Gesu (and has had access to a Strad but prefers the del Gesu!) I don't have Studies to back this up, but anecdotally: * Playing fine violins takes a lot of practice with the specific instrument to begin to unlock its potential.

As a professional violinist who's played both a Strad and a del Gesu (and who spent several months with a 1770 Nicolo Gagliano), and who studies with someone whose daily driver is a del Gesu (and who's been playing antique Cremonese instruments for the past 25 years), I always have problems with this sort of study.

The abstract [1] says: "We asked 21 experienced violinists to compare violins by Stradivari and Guarneri del Gesu with high-quality new instruments.

For that matter, there are many old makers whose violins are considered at or near par with the Strad, e.g., Andrea Amati and Guarneri del Gesu.

Other people today would insist that there's no advantage at all to a Strad or del Gesu, and that there are lots of instruments by Storioni, Pressenda, Vuillaume, and others that are just as good.

This is widely agreed upon but I don't know why it is) * In terms of pure craftsmanship there are many contemporary makers who are working as well as Strad and del Gesu, and I don't place much stock in them having access to uniquely good wood or magic varnish or anything like that.

The abstract [1] says: "We asked 21 experienced violinists to compare violins by Stradivari and Guarneri del Gesu with high-quality new instruments.

For that matter, there are many old makers whose violins are considered at or near par with the Strad, e.g., Andrea Amati and Guarneri del Gesu.

Other people today would insist that there's no advantage at all to a Strad or del Gesu, and that there are lots of instruments by Storioni, Pressenda, Vuillaume, and others that are just as good.

This is widely agreed upon but I don't know why it is) * In terms of pure craftsmanship there are many contemporary makers who are working as well as Strad and del Gesu, and I don't place much stock in them having access to uniquely good wood or magic varnish or anything like that.