Delighted again to lecture at the Royal Academy of Music in January 2017 in collaboration with Peter Sheppard Skaerved, John Dilworth and Neil Heyde, exploring the world of François-Antoine Habeneck and his extraordinary Stradivari of 1734.
![François-Antoine_Habeneck___Lambert_jeune_[...]_btv1b8420706h](https://i0.wp.com/violinsandviolinists.com/wp-content/uploads/2018/06/franc3a7ois-antoine_habeneck___lambert_jeune_-_btv1b8420706h.jpeg?resize=487%2C711&ssl=1)
Delighted again to lecture at the Royal Academy of Music in January 2017 in collaboration with Peter Sheppard Skaerved, John Dilworth and Neil Heyde, exploring the world of François-Antoine Habeneck and his extraordinary Stradivari of 1734.
![François-Antoine_Habeneck___Lambert_jeune_[...]_btv1b8420706h](https://i0.wp.com/violinsandviolinists.com/wp-content/uploads/2018/06/franc3a7ois-antoine_habeneck___lambert_jeune_-_btv1b8420706h.jpeg?resize=487%2C711&ssl=1)

I’ve been working for years with Peter Sheppard-Skaerved at the Royal Academy of Music on numerous projects about understanding and interpreting the history of the

Recently I was asked to take another look at a violin I have known for many years. It has the outward appearance of being late-Cremonese

Ultra Violet light reflects off the surface coatings of an instrument, which is normally very helpful for being able to see evidence of retouch and
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