a lovely case

Pirate Luthier update

This month I rescued an old cello, gave away a violin (number 23), and received one to repair and return, which is number 30 on my books. I also sorted out a lovely old violin that just needed a new string and tuning up, so it only spent 15 minutes on the premises and didn't get inventorised. And I took charge of an Appalachian dulcimer which will need new strings, and about which I'll make a post once I've got a better idea about how to play it.

Violin number 30 came with a stunningly beautiful wooden case, so it's time for another reveal:

It has a massive crack in the front requiring an intervention I will need to practice on a less beautiful violin first (number 13) and possibly also on the 3/4 cello. So it may still take a few months to build up the courage and energy for that, and I'll probably make another post about this one when it's happening.

 

List of violins in the pirate luthier series:

violin 1) is the one my late aunt had since the 1930s, which got me started. After restoring it in November 2022, I played it almost every day for 14 months, until number 5) showed up.

violin 2) is a Stentor student 1 (a very widely used brand of cheap fiddles available everywhere and still being produced). I bought it very cheap on gumtree, mainly because I needed a case for number 1). It has a fault that is probably not worth repairing, see the blog entry on number 3) below. After stripping it of some accessories and spares, I am now inclined to keep it in a semi-functional state to try out experimental repairs, i.e. use it as a wooden guinea pig of sorts.

violin 3) came from a folkie friend who moved away. I put the soundpost back in its place and it has now found a new home.

violin 4) is a modern Chinese one which I bought from one musical friend and sold to another, no work needed.

violin 5) (donated by a friendly freegler) was my second favourite and the one I played in folk sessions for roughly a year until number 22) showed up.

violin 6) is the half-sized Lark which was one of the six violins I gave away on freegle in June 2024.

violin 7) is a skylark from 1991 which I bought on gumtree for £ 10 and fitted with a new bridge. Good enough for folk I would say. It was one of the six violins I gave away on freegle in June 2024.

violin 8) is the "ladies violin", a 7/8 skylark. It was one of the six violins I gave away on freegle in June 2024.

violin 9) is the one which needed a new bridge and a tailgut and turned out to sound quite lovely on the E string. It was one of the six violins I gave away on freegle in June 2024.

violin 10) is the 3/4 sized one with a broken neck and traces of multiple repair attempts, which I've now repaired. I kept it for a couple of months to check the neck stays in place, then gave it away to a good cause in June 2025.

violin 11) is the 3/4 sold by JP Guivier & Co Ltd. in the 1950s but may actually be older than that. It was one of the six violins I gave away on freegle in June 2024.

violin 12) is a full-size Lark which a freegle user kindly donated and delivered after seeing my offer. It was one of the six violins I gave away on freegle in June 2024.

violin 13) is still broken

violin 14) is a half-size Lark which I gave away to a good cause in June 2025.

violin 15) is a 3/4 size Stentor student 2, which I gave away to a local school in October 2024

violin 16) is the Sebastian Klotz branded one, sadly not made by the Mittenwald luthier, but by Yamaha Malaysia, who appear to have trademarked his name.

violin 17) is the supersized violin with a very strong sound.

violin 18) is the slightly drunken but nice sounding violin from Poland, which I restored and returned to its family.

violin 19) is a Stentor student 1 violin which only needed a little TLC, and within less than a week I had it brushed up and ready to move to our local school. The most intriguing problem it had was that somebody had put in the bridge the wrong way round, with the lower slope under the G string.

violin 20) is a Stentor student 1 violin I bought via GumTree. It sounds really nice for what it is, thanks in part to a good set-up with Dominant strings. I have labelled this one as an official Cowley Orchestra instrument.

violin 21) is a nameless student violin I bought via facebook, not quite sure what to think of it. The fingerboard is horizontal, which is all wrong and may mean there is not enough pressure on the bridge to produce a good sound.

violin 22) is the 19th century Guarneri copy, still my favourite, although I'll have to fix that crack at some point. Because of the crack I play it only at home and take number 24 to sessions.

violin 23) is a nameless student violin I bought from a charity shop. It looks unused but had no strings, so I set it up with a set of spare strings that came with another violin. It turned out to be no trouble at all and sounds ok for an instrument that looks really cheap (with the purfling painted on). It now lives with a young cellist in my neighbourhood who is keen to learn the violin as a second instrument.

violin 24) is the densely cratered one I found lying on a chair at Oxfam, and which I currently play at sessions.

violin 25) is the fleamarket find from Neuss

violin 26) is the lady in red, which has now rejoined its family.

violin 27) is the Czechoslovakian student model

violin 28) is the black one I found three minutes before number 29), so they're basically twins.

violin 29) is the odd-size one with the lovely rosewood tailpiece

violin 30) is the one with the lovely case shown above

Balance 27.10.2025:
Of the 30 violins listed above, 8 received via freegle, 3 from friends and family, 16 bought (gumtree, facebook, charity shops, flea markets, cost ranging £ 10 to £45), 2 taken in for repair only and returned to their families, one taken in for repair but not done yet.
Of the 27 acquired, 8 given away via freegle, 2 given to a local school, 1 given away via a neighbourhood mailing list, 2 sold to musical friends, 1 moved to Germany for holiday practice, 11 currently in house and ready to play, 2 in house and still broken.

List of other instruments in the pirate luthier series:

an old Irish banjo

guitar 1) is the 100 year-old one from Valencia which I set up with frets and strings and handed back to its owner.

guitar 2) is one I spotted in a charity shop "sold as seen" for a very affordable price with nothing more than a broken string, and I bought and repaired it because I knew the owner of the next one needed one while their guitar was out of service.

guitar 3) had a broken neck which I glued back on with hide glue at the same time when I repaired violin 10). It has now returned to its family.

the zither I found at the flea market in Dusseldorf.

and finally a shout-out to our family-built hammered dulcimer, which dates from 2016, long before I got any ideas about violins.

where our waste ends up

We do like to think that the stuff we put into recycling bins or return to shops will be neatly disassembled and reconfigured into new products. Unfortunately, a lot of it ends up creating an unsavoury mess in less fortunate countries like Turkey, Ghana or Indonesia, as Alexander Clapp reports in harrowing detail here. Many of the things going wrong with the global waste flows have also been reported elsewhere, but it is shocking to see them all in one place:

Waste wars: Dirty Deals, International Rivalries and the Scandalous Afterlife of Rubbish
Alexander Clapp
John Murray 2025

For a first impression, read my long essay review of the book which is out now in the October issue of C&I:

What a waste

Chemistry & Industry Volume 89, Issue 10, October 2025, Page 36

access via:

Wiley Online Library (paywalled PDF of the whole review section)

SCI (premium content, ie members only) ((link to be added when available))

As always, I can send a PDF on request.

Blackwell's

sequencing all species

I reported about the Earth BioGenome Project, which aims to obtain genome sequences for all eukaryotic species known to science, when it launched back in 2018. Since then, continuing progress in technology has enabled the project to keep on its somewhat ambitious course, so it now is approaching the finish of phase I (out of three) and beginning to make detailed plans for phase II. Which means it's a good time for a new feature about the project. The focus of attention this time lies on the fact that much of the biodiversity yet to be sequenced resides in the countries of the Global South, so the project needs to build capacity where the species are found.

My feature is out now:

All eukaryotes great and small

Current Biology Volume 35, Issue 20, 20 October 2025, Pages R937-R939

Restricted access to full text and PDF download
(will become open access one year after publication)

Magic link for free access
(first seven weeks only)

See also my new Mastodon thread where I will highlight all this year's CB features.

My mastodon posts are also mirrored on Bluesky (starting 22.2.2025), but for this purpose I have to post them again, outside of the thread. (I think threads only transfer if the first post was transferred, so once I start a new thread it should work.)

Last year's thread is here .

The African BioGenome Project aims to contribute genome sequences for more than 100,000 species. (Photo: Antonius Smal/Unsplash.)

a workshop guide

Three years ago, just before I embarked on my pirate luthier journey, I discovered a book about lutherie techniques in the Oxfam bookshop at St. Giles:

The making of stringed instruments
A workshop guide
by George Buchanan
Batsford 1989

It contained all the techniques I needed to restore my aunt's old violin to a playable condition. It cost me £ 4 and enabled me to do a repair for which I had been quoted £ 250, so I call that a good deal from the start. It has continued to be a useful resource ever since, even though I sometimes also consult youtube videos from professionals for specific repair techniques that aren't covered in the book.

While I haven't read all of it yet, and haven't got any plans for making string instruments from scratch, I thought the book has deserved a space in my pirate luthier blog series, so here it is:

Scan of the dustjacket of my edition.

One day I will read it cover to cover. But what if it inspires me to build lots of cellos? That could become a problem ... I might end up like this guy:

(a vintage postcard I recently spotted on Flickr)

violins played by Einstein

Einstein's violin sells for £860k at auction, the BBC reported this week (on 8.10.2025). The trouble is, he owned several violins through his life time, apparently called all of them Line (US sources tend to say "Lina"), so I'm getting confused and need to sort this out.

• According to the BBC the one sold in October 2025 was made by Anton Zunterer in 1894 and believed to be his first (although he supposedly learned from age 5, which would have been much earlier - so this may have been his first full size one, or the first he bought for himself as another source said). Zunterer (1858-1917) was a Mittenwald-trained luthier who established his workshop in Munich in 1888.
• One that the top notch luthier workshop of W.E. Hill in London saw when Einstein visited in October 1933 which may or may not be the same as the above. As Kate Kennedy reports in the book Cello (based on her research using the Hill workshop diaries), the luthiers were disparaging about Einstein's instrument, and somewhat unfairly made him compare it with a Stradivarius they happened to have around.
• A later one which was made by Oscar Steger. a cabinet maker, amateur cellist and hobby luthier in the US after Einstein found refuge there. It sold at auction in March 2018 for just over $ 500,000. According to this page, Einstein eventually gave it to a Princeton University janitor whose son was learning the violin.
• Of another late violin, Paul Halpern tells me that Einstein "bequeathed in his will one of his violins to his grandson Bernhard Caesar (who is no longer alive). Consequently, Albert's great-grandson Paul Einstein became a violinist and has played that violin in concert". I think this is the event and the instrument mentioned in my entry about Einstein's favourite sonata, K304 (which incidentally I am meaning to learn on the violin too). German newspaper clippings of the event held at Ulm in March 2004 on the occasion of Einstein's 125th birthday are here.
• One violin he didn't accept was a Guarneri that was offered to him according to this article from Oxford physicist Brian Foster. He stuck with his more ordinary instrument on the grounds that more sophisticated players would make better use of the power and complexity of the Guarneri. I presume he tried it at least, so I'm listing it here among the instruments he touched.

Here's a longer piece about his violin playing first published in 1980, based on interviews with musicians who played chamber music with him. It includes the names and short bios of many people with whom Einstein played, including both scientific colleagues like Max Planck and professional musicians like Fritz Kreisler. There's also glimpses of the kind of music that that he played, preferring Bach, Mozart and Haydn more recent composers like Brahms or Wagner. Sadly though, not a single word about the instruments as such.

This is a more recent article in National Geographic but very much the same content as the earlier pieces as far as I can tell.

There is also a musical theatre piece about Einstein's violin playing, by Paul Wingfield, who also helped to authenticate his first violin when it came up for auction. Trouble is, after this record-breaking auction result, the title of the piece, "Einstein's violin" has become virtually unsearchable.

Einstein playing the violin. Photo by Wanda von Debschitz-Kunowski - Zeitbilder 21/1927, 1927-05-22, p. 1 (online), Public Domain, from Wikipedia

While getting that photo from the English edition of his Wikipedia entry, I found out that the German edition, although marked with a star as an outstanding entry, lacks the info on his music playing - there's only one mention of his learning to play violin as a child, under his education record, but no mention that it was a lifelong passion. I'm afraid that may be telling us something about the lack of appreciation for amateur music making in German culture.

Researching all of the above, I realised that Einstein (1879-1955) was a near contemporary of the amateur chamber music player in my family, Heinrich the cellist (1882-1958). Surely I can find an excuse to include a few paragraphs about Einstein in my 100 years of cellotude?

I was also amused to learn from several of the sources that Einstein's counting during playing was very much relative. Which is very true of my playing as well.

a new old cello revealed

Pirate Luthier update

Two years ago, when I was looking for a cello as Heinrich the family cello was about to move out to rejoin the young cellist, I looked at an old German cello which wasn't playable because the bridge was dangerously warped and the glue was coming unstuck in a couple of places. I didn't buy it then as I needed a reliably playable instrument.

Now as I heard from somebody else looking for a cello to play, I checked up on that old cello and it was still in the same state. After two years of fiddling with lots of fiddles, I now felt ready to fix something bigger and took it on.

It doesn't have a case yet, so I lent it one of my old sweaters for protection against knocks:

Which also has the advantage I can do a dramatic reveal - it is actually a very beautiful old cello, reportedly dating from the 19th century and possibly from Mittenwald:

It also has a very beautiful backside:

It has a fake Stradivarius label much like eg my aunt's violin, which is more of a Markneukirchen kind of instrument, and a serial number stamped into the inside of the pegbox, which I'm not sure about - maybe just inventorised by a trader?

I happened to have an bridge sitting around (decommissioned by a professional cellist but perfectly good for me) and some strings from the same source. So set it up with these recycled materials keeping two of its original Larsen strings, but the lower two strings were corroded and not usable). So the setup now looks like this:

I glued the bits that needed to be glued and cut a cava cork to shield the spike (like I did for the double bass a few years ago), visible in the first photo above. I also got Heinrich's old cloth bag down from the attic for when it needs a dust cover, although I am quite happy with the sweater solution at the moment. The cello is now perfectly playable and beginning to sound quite nice. I'm still playing it in with Suzuki pieces and such like, but am hoping to take it to orchestra and other musical adventures from next week.

In other pirate luthier news, violin number 30 has arrived on the premises with the most beautiful wooden case ever. I'll report on that separately later in the month, with an updated list.

a Denisovan skull

I completely missed the memo when this happened but two separate molecular studies published earlier this year convincingly show that a known hominin skull unearthed in the 1930s at Harbin, China, actually represents a Denisovan. After more than a decade of knowing this hominin species (as closely related to us as Neanderthals) only by the genome, some small fossil bones, and traces of DNA left in modern humans, Denisovans finally have a face. I only became aware of this when I looked at a paper using predicted phenotype trends to try and identify Denisovans among the known fossils, and the Harbin skull, whose identification as Denisovan was published while that paper was under review, came out as the one most likely to be a Denisovan, so that's a third line of independent evidence.

As I have covered the Neanderthal and Denisovan genomes for 20 years now (see the Neanderthal tag), I found this extremely exciting and was a bit shocked that it didn't make a bigger splash in the general media. After all, this is a discovery on equal terms with the first Neanderthal skeleton. So obviously I had to do another Denisovan feature, which is out now:

Finding Denisovans

Current Biology Volume 35, Issue 19, 6 October 2025, Pages R897-R899

Restricted access to full text and PDF download
(will become open access one year after publication)

Magic link for free access
(first seven weeks only)

See also my new Mastodon thread where I will highlight all this year's CB features.

My mastodon posts are also mirrored on Bluesky (starting 22.2.2025), but for this purpose I have to post them again, outside of the thread. (I think threads only transfer if the first post was transferred, so once I start a new thread it should work.)

Last year's thread is here .

The Harbin cranium, which has now been identified as Denisovan by several independent measures, has a size within the range of modern humans but some distinct archaic features. (Photo: Reprinted from Ni et al. (2021) Innovation 2, 100130, with permission.)