Strad Poster Index

The Strad Poster series is an invaluable source of information for creating instruments inspired by the Greats.  This is a list of the posters published by The Strad.  Unfortunately, most are out of print.  Their poster website can be found here.  Violin Case and Cremona Tools also sells them.  The posters have a stock number for ordering purposes and they are indexed below by that number.  Descriptions are taken from The Strad.

For the period of December 2015 to June 2017, The Strad discontinued providing posters with regular issues of the magazine.  Beginning in July 2017 they returned to issuing posters with select regular issues.

Stad SKU#MakerInst. / NameYear BuiltEdition
P101Antonio Stradivariviolin “Hellier”1679May-87
P102*Guarneri ‘del Gesu’violin ‘Kreisler’1733May-88
P103‘filius Andreae’ Joseph Guarneriviolinc.1705—
P104Guarneri ‘del Gesù’violin “David/Heifetz”1742Dec-88
P105Antonio Stradivariviolin ‘Betts’1704May-89
P106Antonio Stradivaricello ‘Servais’1701Dec-87
P107Map of Cremona———
P108Andrea Amativiolin1564Dec-91
P109Alessandro Gaglianoviolin ‘Rotondo’1710?May ? 1987
P110Guarneri ‘del Gesu’violin ‘ex-soil’1733Apr-84
P111Antonio Stradivari“Gibson” Viola1734Sep-86
P112Jacob Stainerviolin1679Apr-90
P113G.B. Guadagniniviolin ‘Lachmann Schwechter’1776Feb-85
P114Antonio Stradivariviolin ‘Muir-Mackenzie’1694Dec-85
P115Nicola Amativiolin ‘Alard’1649Mar-92
P116Antonio Stradivariviola ‘Tuscan-Medici’ 1690Oct-92
P117Brothers Amatitenor viola1592Mar-93
P118Domenico Montagnanacello ‘Sleeping Beauty’1739Oct-93
P119Giovanni Paolo Magginicontralto violaUnkwnJun-94
P120Guarneri ‘del Gesù’violin ‘Kochanski’1741Oct-94
P121Carlo Bergonziviolin1731Jun-95
P122Pietro Guarneri of Veniceviolin1735Dec-95
P123Antonio Stradivariviola ‘Archinto’ 1696Jun-96
P124Nicolò Amativiolin1666Feb-97
P125Andrea Guarneriviola ‘Conti Vitali’c.1676—
P126Alessandro Gaglianocello1704Sep-97
P127G.B. Rogeriviolin1704Dec-97
P128Antonio Stradivariviolin ‘Milanollo’1728Jun-98
P129G.B. Guadagniniviola1785Dec-98
SCD05Guarneri ‘del Gesù’Violin ‘Il Cannone’1742Jun-99
P130Gasparo da Salòviolac.1580Dec-99
P131Antonio Stradivaricello ‘De Munck’1730Jun-00
P132Matteo Gofriller (Goffriller)violin1700Dec-00
P133Brothers Amativiolac.1620Jun-01
P134Antonio Stradivaricello ‘Davidov’ 1712Dec-01
P135Guarneri ‘del Gesù’violin ‘Alard’1742Jun-02
P136G.B. Guadagninicello ‘Simpson’1777Dec-02
P137G.P. Magginiviolinc.1630Jun-03
P138Matteo Gofriller (Goffriller)cello ‘Schneider’1693Dec-03
P139Guarneri ‘del Gesu’violin ‘Lord Wilton’1742Apr-04
P140Carlo Giuseppe Testoreviolinc.1703Jun-04
P141Peter Guarneri of Mantua (Pietro Guarneri of Manua)violin1704Dec-04
P142Andrea Amativiolinc.1566Jun-05
P143Domenico Montagnanacello1740Dec-05
P144Antonio Stradivariviolin ‘Viotti’1709Mar-06
P145Antonio Stradivariviolin ‘Kruse’1721Jun-06
P146Domenico Montagnanaviolin1717Dec-06
P147-P204??  
P205Gasparo da Salòdouble bassc.1550—
P206Carlo Bergonziviolin1736Mar-07
P207Henry Jayeviol1619Jun-07
P208Brothers AmatiCello (5-String) c.1600Feb-08
P209Nicolas Lupotviolin1808Jun-08
P210Antonio Stradivariviolin ‘Titian’1715Feb-09
P211Pietro Giacomo Rogericello1717Jul-09
P212Jacob Stainertenor viola1650Mar-10
P213Guarneri ‘del Gesù’Violin ‘Cessole’, ‘Teja–Ferni’1736Jul-10
P214Antonio StradivariViolin ‘Messiah’1716Mar-11
P215Guarneri ‘del Gesù’violin ‘Plowden’1735Jul-11
P216Antonio StradivariCello ‘Saveuse’1726May-12
P217Francesco Rugeriviolin1686Dec-12
P218Jean-Baptiste VuillaumeCello1865Jun-13
P219Antonio StradivariViolin ‘Huberman’1713Nov-13
P220G.B. GuadagniniViolin ‘Salabue’, ‘Berta’1774Jun-14
P221José Contrerasviolin1767Dec-14
P222Andrea Amaticello ‘King’UknwnJun-15
P223Guarneri ‘del Gesù’Violin ‘Brusilow’1743Dec-15
P224Antonio StradivariViolin ‘Benvenuti’1727Dec-16
P225Antonio StradivariViolin ‘Dancla’1708Jul-17
P226**Guarneri ‘del Gesù’Violin ‘Armingaud, Fernández Blanco’1732Nov-17/ Feb-18
P227Guarneri ‘del Gesù’Violin ‘Vieuxtemps’1741Jun-18
P228Antonio StradivariViolin ‘Cecil’1724Nov-18
P229Antonio StradivariViola ‘Gustav Mahler’1672Jul-19
P230Nicolo AmatiViola ‘Romanov’1677Dec-19
P231Antonio StradivariViolin ‘Benecke’1694Jul-20

*NOTE P102 ‘Kreisler’ Correction: Due to a printing error a number of measurements of the 1733 ‘Kreisler’ Del Gesii published in the May STRAD (p. 406) were misprinted. While the measurements of the button, rib height and purfling are correct, those of the  body of the instrument should read as follows: (in millimetres) Back/Belly: Overhang (uneven), in Cs 3.5  3, in bouts 3.2  2.5

**NOTE original P226 Guarneri ‘del Gesù’, Violin ‘Armingaud, Fernández Blanco’, was recalled, as the instrument outline on the back of the poster does not belong to the 1732 violin, but was in fact held over from a previous poster. Re-issued in the Feb’18 Edition.

The below table includes short descriptions that were included in advertisements for the posters and on the Strad website.

Stad SKU#MakerDscrpt.
P101Antonio Stradivari, violin “Hellier”, 1679Perhaps the most famous of all decorated violins, the ‘Hellier’ is a visual feast.
P102*Guarneri ‘del Gesu’, violin ‘Kreisler’, 1733The full charm ol del Gesu’ flourishes in the Kreisler’, the tone of which has been magnificently demonstrated by one of this century’s most remarkable players.
P103‘filius Andreae’ Joseph Guarneri, violin, c. 1705Among the most exceptional examples of a Giuseppe ‘filius Andrea’ instrument, singling him out as a fine maker as well as sire and teacher of the great ‘del Gesù’ .
P104Guarneri ‘del Gesù’, violin “David/Heifetz”, 1742A wonderfully sustained instrument emerging amidst the intermittent weak examples from del Gesu’s declining …
P105Antonio Stradivari, violin ‘Betts”, 1704“From the year of the “Betts’, it is evident that Stradivari had arrived at the principles of acoustical construction to serve him until the end of his career.” (Hill brothers-Life and Work of Antonio Stradicari)
P106Antonio Stradivari, cello ‘Servais’, 1701The only example which combines the grandeur of the pre-1700 instruments with the more masculine build of the master’s earlier years.’ (Hill Brothers – Life and Work of Antonio Stradivari)
P107Map of CremonaCremona map, 1580.  A richly pictorial map depicting Cremona as the masters would have known it.
P108Andrea Amati, violin, 1564The beauty of the workmanship, tonal properties and rich decoration of this royal instrument has seldom if ever been matched or surpassed. (Roger Hargrave)
P109Alessandro Gagliano, violin ‘Rotondo’, 1710The Rotondo stands at the forefront of the handful of surviving works by the first recorded Neapolitan violin maker.
P110Guarneri ‘del Gesu’, violin ‘ex-soil’, 1733Admirers of Tibor Varga will appreciate the qualities of this almost perfectly preserved violin, with which he made some of his finest recordings.
P111Antonio Stradivari, “Gibson” Viola, 1734The accuracy and beauty of this viola was a painstaking feat and a virtual swan-song for the old maker in his nineties.
P112Jacob Stainer, violin, 1679A remarkably preserved violin by the most popular non-Italian maker of his day.
P113G.B. Guadagnini, violin ‘Lachmann Schwechter’, 1776This excellent example of Guadagnini’s work has a powerful tone, equal in quality to its striking, fiery-coloured varnish.
P114Antonio Stradivari, violin ‘Muir-Mackenzie’, 1694A fine example of a long-pattern Stradivari, showing a marked divergence from the Amati pattern.
P115Nicola Amati, violin ‘Alard’, 1649A magnificently crafted violin by the teacher of Rugeri, Guarneri, Stainer and possibly even Stradivari himself.
P116Antonio Stradivari, viola ‘Tuscan-Medici’, 1690A rare surviving viola from the master’s most skilful period.
P117Brothers Amati, tenor viola, 1592A fine example of the rarely played tenor viola, which set the standard for all the great Cremonese makers.
P118Domenico Montagnana, cello ‘Sleeping Beauty’, 1739Called ‘the Mighty Venetian’ by novelist Charles Reade, Domenico Montagnana is venerated as one of the greatest cello makers. This 1739 instrument is a mature example of his craft, with beautiful deep-flamed maple and well-matched pine, and thickly laid-on red–golden varnish.
P119Giovanni Paolo Maggini, contralto viola, unknownA rare example of an unaltered contralto viola from the middle period of the great 17th-century Brescian maker. Date unknown.
P120Guarneri ‘del Gesù’, violin ‘Kochanski’, 1741One of the few ‘del Gesù’ instruments dated 1741, this violin is exceptional due to its fine state of preservation and pristine varnish.The thickness of the coat is almost undisturbed by polishing, and its glistening texture emphasises the instrument’s freshness and natural condition.
P121Carlo Bergonzi, violin, 1731Carlo Bergonzi’s output was among the smallest of the Cremonese makers but is characterised by outstanding quality, as this violin shows.
P122Pietro Guarneri of Venice, violin, 1735A master combination of the traditions of Cremona and Venice by the elder brother of ‘del Gesù’. The flamed maple of the back has a richness associated with golden-period Stradivaris, and Guarneri’s flowing, mannered f-holes work well with the red brilliance of the Venetian varnish.
P123Antonio Stradivari, viola ‘Archinto’, 1696Stradivari’s elegant design and nt perfected red varnish combine in remarkable instrument
P124Nicolò Amati, violin, 1666In both conception and creation this ‘Grand Pattern’ violin is a treasure of craftsmanship. The wood of the front has a wonderful rippling gleam that seems to come only from the greatest Cremonese grounds, and the arching is almost square across the centre bouts but with a beautiful long arch that dips only barely at the ends.
P125Andrea Guarneri, viola ‘Conti Vitali’, c.1676An important instrument from the first maker to concentrate on the smaller-pattern viola.
P126Alessandro Gagliano, cello, 1704Advanced for its date in design, this fine cello is also remarkable for its varnish.
P127G.B. Rogeri, violin, 1704A characteristic violin from the end of the Brescian maker’s career, clearly showing the influence of Amati.
P128Antonio Stradivari, violin ‘Milanollo’, 1728A rare violin in fine condition, conserved rather than played, which matches several of the period, including the ‘Kreutzer’. Made when the master was in his 84th year, the violin is capable of producing a clean, aggressive, light sound and all shades in between as well.
P129G.B. Guadagnini, viola, 1785A typical small and stocky viola of the Turin period, which is both rare and finely preserved.
SCD05Guarneri ‘del Gesù’, Violin ‘Il Cannone’, 1742Poster, CD and Booklet
P130Gasparo da Salò, viola, c.1580Possibly the only small Gasparo viola in existence, this is a fascinating and uncut example of the early Brescian maker’s work.
P131Antonio Stradivari, cello ‘De Munck’, 1730This marvellous, well-presented cello played by Feuermann and Isserlis is striking for the originality that created a new cello form.
P132Matteo Gofriller (Goffriller), violin, 1700A classic example of the great Venetian’s work: his own pattern with glorious varnish and individual wood selection.
P133Brothers Amati, viola, c.1620This rare example of a contralto viola by the Amati brothers is uncut and in superb condition.
P134Antonio Stradivari, cello ‘Davidov’, 1712> not available <
P135Guarneri ‘del Gesù’, violin ‘Alard’, 1742In undisturbed condition, this violin gives an unparalleled insight into the working methods of ‘del Gesù’. Its unpolished finish, lack of patina, pale ground and general condition mean it could almost be mistaken for a 19th-century or even a modern instrument. The bulky look of the head places it in the group of those carved by the maker himself.
P136G.B. Guadagnini, cello ‘Simpson’, 1777This impressive cello, Guadagnini’s last commission from his patron Count Cozio, follows a Stradivarian template, but his own style still shines through.
P137G.P. Maggini, violin, c.1630One of the few Magginis to remain at its original size, this Cremonese-influenced violin is in superb condition
P138Matteo Gofriller (Goffriller), cello ‘Schneider’, 1693An unusual cello by the Venice-based luthier, with a rosette that harks back to his German training and influences.
P139Guarneri ‘del Gesu’, violin ‘Lord Wilton’, 1742Once the concert instrument of Yehudi Menuhin, this magnificent violin makes an interesting contrast with the ‘Alard’ of the same year.
P140Carlo Giuseppe Testore, violin, c.1703This fine-sounding Milanese violin, with a one-piece belly and imitation purfling, is still in excellent condition
P141Peter Guarneri of Mantua (Pietro Guarneri of Manua), violin, 1704A stunning violin by the greatest craftsman of the Guarneri family
P142Andrea Amati, violin, c.1566One of the decorated instruments made for the French court, this harmoniously designed violin is a striking reminder of Andrea Amati’s achievements
P143Domenico Montagnana, cello, 1740This fine, unusually small cello, played by Steven Isserlis, has the dark-toned, signature sound of the great Venetian maker’s larger instruments.
P144Antonio Stradivari, violin ‘Viotti’, 1709One of the top Stradivari violins in the world, the 1709 ‘Viotti’ helped to establish the master’s name – thanks to its illustrious owner. The powerful tone and brilliance of sound created by this exceptional combination of instrument and performer (G.B. Viotti) helped to create the Stradivari legend.
P145Antonio Stradivari, violin ‘Kruse’, 1721Played by Kreutzer, Maurin and Stern, the 1721 ‘Kruse’ is one of the master’s finest violins and remains in superb condition.
P146Domenico Montagnana, violin, 1717A vivid and uncompromising violin that shows both the strong effect of Montagnana’s early influences and also the rapid evolution of his own style – by 1717 he was already a very experienced maker. The varnish is lush, deep and vivid, and looks as if it was poured on with a ladle over a ground of sparkling gold. Includes measurements
P147-P204?> Mostly likely these poster numbers were never used <
P205Gasparo da Salò, double bass, c.1550A magnificent double bass by the 16th century Italian master, Gasparo da Salò with original scroll.
P206Carlo Bergonzi, violin, 1736A fabulous instrument made by Bergonzi at the height of his powers.
P207Henry Jaye, viol, 1619The intricate work of British viol maker Henry Jaye is testament to the unsung tradition of viol making in 17th century London.
P208Brothers Amati, Cello (5-String), c.1600As the only known example of this specific form of instrument, this Brothers Amati five-stringed cello c.1600 from the workshops of Cremona, is something of an oddity
P209Nicolas Lupot, violin, 1808The impact this violin makes on both the eye and ear is very little short of that of its inspiration, a truly great golden period Stradivari. It is quite appropriate that he is known as the French Stradivari. The varnish on this violin is simply glorious, and present in good quantity and thickness. The colour is a wonderful deep red with the faintest blue notes of a very fine wine. John Dilworth, The Strad, June 2008
P210Antonio Stradivari, violin ‘Titian’, 1715The ‘Titian’ Stradivari of 1715 has long been counted among its maker’s finest golden-period violins. It has revealed itself to be a formidable concert instrument of unusual power and scope, remarkable for its focus and resilience under the bow. The violin was dubbed ‘Titian’ by the French dealer Albert Caressa because of its clear orange-red colour that reminded him of the work of the famous Venetian painter. Includes photographs, scans and measurements
P211Pietro Giacomo Rogeri, cello, 1717This cello, made in 1717, was owned by Nicolò Paganini who pawned it to pay off a gambling debt. The superb quality of maple used for the cello is obvious and most features of the construction follow Amati principles. The Hills mentioned in specifically in their book Antonio Stradivari, His Life and Work and called it an ‘admirable form…of excellent dimensions’.
P212Jacob Stainer, tenor viola, 1650This tenor viola is in superb condition. The scroll is a replacement, but the rest of the instrument – remarkably the neck and fingerboard – are believed to be original. The instrument’s label, which is a facsimile, states that it was made in 1650.
P213Guarneri ‘del Gesù’, violin ‘Cessole’, ‘Teja-Ferni’, 1736Guarneri ‘del Gesù’ made the ‘Cessole’ violin during his period of full maturity. It bears a label dated 1736, and the character of the instrument fits perfectly with his style in that year. The violin has a delicate, balanced appearance, a trait that is generally unexpected for ‘del Gesù’, but which is often found in his instruments before his later period. The back is spectacular, with a broad and deep flame extending upwards from the central joint.
P214Antonio Stradivari, Violin ‘Messiah’, 1716Stradivari’s 1716 ‘Messiah’ violin is one of the most coveted in the world. Made during his golden period and barely played since then, its pristine condition offers unique insights into the mind of the great master.
P215Guarneri ‘del Gesù’, violin ‘Plowden’, 1735One of the finest and most acclaimed ‘del Gesù’ instruments in existence, the ‘Plowden’ is striking in its vivid freshness and particularly notable for the intense orange–red varnish on its stunning one-piece back.
P216Antonio Stradivari, Cello ‘Saveuse’, 1726The 1726 ‘Saveuse’ is one of the smallest cellos ever to come out of Antonio Stradivari’s workshop. From the beautifully carved scroll to the smouldering, rich maroon colour of the varnish, the instrument displays the finest characteristics of the luthier’s late period. It remains in almost perfect condition and provides a fascinating insight into the mind of Stradivari the innovator. This poster will be an excellent resource for anyone looking to learn from the master.
P217Francesco Rugeri, violin, 1686Was the 17th-century maker Francesco Rugeri trained by Nicolò Amati? This violin appears to show the clear influence of the great master, with arching close to Amati’s late style and f-holes showing Rugeri’s personal interpretation of an Amati model. Conversely, the head seems to anticipate the work of Carlo Bergonzi, some decades later.  A fascinating violin by a highly regarded Cremonese maker.
P218Jean-Baptiste Vuillaume, cello, 1865This beautiful cello was made by Jean-Baptiste Vuillaume as part of a quartet for Count Dmitry Sheremetev. It is a rare copy of an early Stradivari of large size, and the form corresponds closely with that of the ‘Cristiani’, ‘Stauffer’ Stradivari of 1700. The arching is fuller than in the usual post-1700 B-form flattened style of the Stradivari, and Vuillaume’s habitual use of ebony for the purfling gives it a personal touch. The varnish is rich and dark, and the back is emblazoned with the Sheremetev coat of arms.
P219Antonio Stradivari, violin ‘Huberman’, 1713This stunning instrument from Stradivari’s golden period has sleek, taut arching, lithe and slender corners, and a bubbled texture to the plum-red varnish. It was played by Bronislaw Huberman until 1936 until it was notoriously stolen from his dressing room at Carnegie Hall. Fifty years later it was recovered, and is now the property of US soloist Joshua Bell. Includes scans and measurements.
P220G.B. Guadagnini, violin ‘Salabue’, ‘Berta’, 1774One of the early violins of Guadagnini’s Turin period, the ‘Salabue’, ‘Berta’ is in an excellent state of preservation, having been owned by various collectors (including Count Cozio di Salabue) for the past three centuries.  The condition of the golden brown varnish is particularly fine.
P221José Contreras, violin, 1767This splendid violin from the so-called ‘Classical Age’ of Spanish violin making might well have been commissioned for King Charles IV. José Contreras (c.1710–82) was one of the greatest luthiers of the era, sometimes referred to as ‘the Spanish Stradivari’. The influence of the Cremonese master can clearly be seen in this fine instrument.
P222Andrea Amati, cello ‘King’, unknownThought to be the oldest surviving cello in the world, the ‘King’ provides a wealth of information about Amati’s techniques. Although the instrument has undergone extensive modifications over the centuries, it is the only decorated Amati cello to have retained its original scroll. In the 16th century it formed part of the instrument collection of the French royal court.
P223Guarneri ‘del Gesù’, violin ‘Brusilow’, 1743A superb violin from the last years of the maker’s life, the ‘Brusilow’ is in an incredible state of preservation. Played for many years by Anshel Brusilow during his years as concertmaster of the Philadelphia Orchestra, the instrument displays many of the idiosyncratic qualities that characterise the late period of ‘del Gesù’.
P224Antonio Stradivari, Violin ‘Benvenuti’, 1727One of the masterpieces of Stradivari’s late period, the ‘Benvenuti’ has had a rich playing history – which makes it all the more remarkable that the instrument remains in superb condition today.
P225Antonio Stradivari, Violin ‘Dancla’, 1708The 1708 ‘Dancla’ Stradivari is an exceptional violin from the middle of the maker’s so-called ‘golden period’. It perfectly represents Antonio Stradivari’s later experiments while also embodying some rare characteristics. This poster not only boasts full-length, actual-size photographs by Jan Röhrmann, but also CT scans, thickness and arching maps, and full measurements.
P226**Guarneri ‘del Gesù’, Violin ‘Armingaud, Fernández Blanco’, 1732An extraordinarily well-preserved violin from Guarneri’s middle period, the ‘Armingaud, Fernández Blanco’ languished for decades untouched until its rediscovery in a Buenos Aires wardrobe. The quality of its varnish and workmanship are exceptional.
P227Guarneri ‘del Gesù’, Violin ‘Vieuxtemps’, 1741‘The violin has a colossal range. I found I could play the entire repertoire, from Vivaldi to Sibelius to modern works, just on this one violin. It feels as though there’s colour in my fingertips‘
P228Antonio Stradivari, Violin ‘Cecil’, 1724‘The varnish is the same deep, rich red–brown seen on great examples of the golden period like the 1721 ‘Lady Blunt’ and 1716 ‘Medici’. It is, apart from the repairs to the front, unadulterated by polish and other accretions that camouflage the texture of so many well-used and restored examples‘
P229Antonio Stradivari, Viola ‘Gustav Mahler’, 1672‘The more one looks into the “Mahler”, the more facets and curiosities reveal themselves. Like all great artworks it is a product of its time and circumstances, as well as a result of experiments to bring something totally new and unique into the world‘
P230Nicolo Amati, Viola ‘Romanov’, 1677‘The 1677 ‘Romanov’ was made when Nicolò Amati was 81 years old and clearly shows the hand of the master, along with that of his son, Girolamo Amati II. It has been part of the collections of the Venetian nobility and Russian imperial dynasty, and was for many years the concert instrument of Max Aronoff, violinist with the Curtis Quartet.‘
P231Antonio Stradivari, violin ‘Benecke’, 1694‘In contrast with the earlier production of Stradivari, the refined aesthetic of the ‘Benecke’… communicates a sense of fluidity and softness… which was a primary source of inspiration for other Italian makers working at the beginning of the 20th century, particularly in Milan’

6 responses

  1. Thank you for compiling this list. As you said, tis a shame most are unavailable, but this helps the novice such as I choose from the many, many options.

    Reply

  3. Thanks for making the poster list. Do you know which violin (if not the “Blanco” as you indicate) is shown on the back of the Nov. 2017 del Gesu 1732″ poster? The back of the poster I received matches the little inset image of the poster shown on page 43 if the November 2017 Strad issue. I presume it is also wrong then.

    Reply

    • Hi Henry, The Strad has indicated that “The instrument outline on the back of the poster does not belong to the 1732 violin, but was in fact held over from a previous poster.” I expect it’s the Strad “Dancla”, but I cannot verify this at the moment. Thanks, Stephen

      Reply

  4. I am currently a technician in the Music Division at the Library of Congress and I wanted to thank you for this resource. I pulled some of these posers out, then realized they were bound with their corresponding issues. Not sure I could have matched them back up without this!

    Reply

  5. What a great helpful list. Thanks so much! If anyone has a copy of 116 / Strad’s Tenor Viola, I’d be really happy to hear from you 🙂 Thanks again.

    Reply

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