Kaspar Strnad

History

Kaspar Strnad (1752-1823) was born in 1752 and died in 1823 in Prague, Czech Republic, according to John Dilworth's The Brompton's Book of Violin & Bow Makers. His baptism was witnessed by the violin maker Joh. Hellmer, as noted by Willibald Leo Lütgendorff in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart. Strnad was a pupil of Thomas Hulinzky, a fact corroborated by Dilworth, Lütgendorff, and Cecie Stainer's A Dictionary of Violin Makers. On September 13, 1787, he married Margarethe Chalipar from Strakonic, who was born on July 13, 1758. He acquired citizenship in 1791 and resided at Neustadt No. 761, which is now Jungmannovo nám. From 1811 to 1823, he served as the head of the violin makers' guild and was a sworn expert.

Craft

• Workmanship: Kaspar Strnad's instruments are characterized by good make, according to Henri Poidras's Critical & Documentary Dictionary Of Violin Makers Old & Modern. John Dilworth describes his workmanship as notable, while Cecie Stainer notes his violins and violoncellos show good work.
• Model and Arching: He generally worked on a large Stradivari pattern with low arching, full to the edges, as detailed by John Dilworth. Willibald Leo Lütgendorff states that Strnad worked very precisely after Stradivari, utilizing a flat-arched top and strong wood. Lütgendorff also highlights that Strnad was the first Prague violin maker to abandon the highly arched Stainer model in favor of classical Italian forms.
• Soundholes: His instruments feature small sound holes, as mentioned by Henri Poidras and Cecie Stainer. John Dilworth adds that the soundholes are frequently set low on the body, recalling Bergonzi in style and disposition. Lütgendorff describes them as pretty, small F-holes.
• Scroll: John Dilworth notes that Strnad retained a Stainer model for the scroll.
• Varnish: Sources contain conflicting information regarding the varnish. Henri Poidras describes it as an "unpleasant looking red varnish." John Dilworth, however, states the varnish is "well-coloured in appropriate shades, transparent and refractive." Willibald Leo Lütgendorff mentions an "often wonderful rother Öllack" (red oil varnish) that was "nur manchmal nicht durchsichtig genug ist" (only sometimes not transparent enough). Cecie Stainer describes the varnish as a "yellow-chestnut colour."
• Materials: The materials used were usually of choice quality, according to John Dilworth.
• Tone: Lütgendorff notes that his instruments possess a large, noble tone, and even his inferior instruments still had a good tone.
• Instruments Produced: Kaspar Strnad produced violas, cellos, double basses, and guitars, as recorded by John Dilworth. Lütgendorff and Stainer specifically mention his excellent guitars.
• Labels: He used various labels, sometimes with emblems, and occasionally included numbers that applied only to the specific year, not consecutively, according to Lütgendorff. Examples of his labels include "Caspar Strnad / Fecit Pragae Anno 1807," "Casper Strnad / Fecit Prague Anno 1781" (Dilworth), and "Caspar Strnad fecit Pragae, anno 1789" (Stainer). His label was often imitated in commercial factory-made instruments.

Influence

• Mentorship: Kaspar Strnad was a pupil of Thomas Hulinzky, as confirmed by John Dilworth, Willibald Leo Lütgendorff, and Cecie Stainer.
• School/Tradition: He was one of the first members of the Prague school to adopt the Cremonese form, according to John Dilworth. Willibald Leo Lütgendorff further emphasizes that Strnad was the first Prague violin maker to abandon the highly arched Stainer model and embrace the classical Italian style.

Legacy

• Prevalence: Kaspar Strnad's instruments are admired in Bohemia, where they are not scarce, according to Henri Poidras. Willibald Leo Lütgendorff notes that his violins are still common in Bohemia, with the Braunau Abbey Church possessing one from 1791.

Further Information

• Workshop Location: Kaspar Strnad resided at Neustadt No. 761, which is now known as Jungmannovo nám., as documented by Willibald Leo Lütgendorff.

Summary

Kaspar Strnad (1752-1823) was a significant violin maker from Prague, Czech Republic, and a pupil of Thomas Hulinzky. He is recognized for being one of the first in the Prague school to adopt the Cremonese form, moving away from the Stainer model towards a large Stradivari pattern with low arching. His instruments, which include violins, violas, cellos, double basses, and highly regarded guitars, are noted for their good workmanship, choice materials, and often a large, noble tone. Strnad's labels were sometimes imitated, and his instruments remain prevalent in Bohemia.