I stumbled upon an interesting scientific hypothesis from 2003 regarding why Stradivari violins (and those of his contemporaries) are so unique. Traditional hypotheses—about the secrets of the varnish or the aging of the wood—prove insufficient. According to this hypothesis, the entire blame lies with the Maunder Minimum, a period of reduced solar activity occurring from 1645–1715, during which the tree growth rate slowed down due to the climate, meaning the wood was denser. The hypothesis suggests that amidst the perfect combination of altitude, humidity, and temperature, this environmental shift provided material with unique properties, ideal for resonant soundboards.
Stradivari was born a year before the Maunder Minimum began. His “Amati Period” (1666–1690), “Experimentation Period” (1690–1700), and “Golden Period” (1700–1720), during which he perfected and produced his best instruments (see Henley 1961), all coincided with the Maunder Minimum. Cremona’s craftsmen during this period used the only wood available to them, i.e., from trees growing during the Maunder Minimum. Neither before nor after this period was such wood available. And, probably, it is nowhere to be found in the world even now.
But really, modern violins are also quite something. Two-three hundred years ago, musicians extracted the maximum from an instrument through trial and error, whereas now it is done through meticulous calculation of sound. It is almost impossible to differentiate violins by their sound anymore, and the difference lies in the realm of individual preferences, rather than an undisputed objective worse-better.
Hi, I'm Rauf Aliev. 