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It is a truth universally acknowledged that Antonio Stradivari of Cremona (16441737) was the noblest of bowed wooden stringed instrument makers. His work remains the Platonic ideal and template for contemporary luthiers; present day technology may hope to match but not alter the standard of such craftsmanship. Extant examples of the masters instruments are numerousbut cellos from the great period (17071720) are relatively few. The Countess of Stanleinex Paganini Stradivarius violoncello of 1707 is one of the best known in this exalted group. It has been copied often, physically dissected, discovered in a barrow on its way to a municipal dump, owned by Paganini, and applauded in hall after hall.Today the Stanlein belongs to the cellist Bernard Greenhouse. In his eighties and semiretired, he determined to give back something of value to the world of music that had given him so much. In September 1998 he deposited the cello in the New York atelier of virtuoso luthier Rene Morel. The craft of instrument repair remains rooted in tradition; its practitioners belong to a quasimediaeval guild. Morel began a complete restoration of the instrument, a painstaking and meticulous enterprise that took him nearly two years. This book tracks that processthe intricacies, anxieties and pleasures that precede the cellos triumphal unveiling at the World Cello Congress in June 2000. Its subject is a work of art that must prove nonetheless functional, for the Countess of Stanleinex Paganini Stradivarius is only itself when played.
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