Even more astonishing is that they were still doing it as recently as the 70s.

@@gasparocelloman9852 yeah, thats when the strads were already worth more than a house and they still did cut down some strads

@@Sebastian_cello Right? It’s the kind of vandalism I thought was restricted to the 19th century, or at the latest, the early 20th century. And the reasoning for it, that the bassetti were too big to play, doesn’t cut it (no pun intended). The Lord Aylesford Strad, the biggest, retains its original dimensions and is very well played by Pablo Ferrández. Likewise the Servais Strad survived the chop shops, provided a platform for the dazzling career of its namesake, and went on to feature in (amongst other things) Bylsma’s incredible 2nd Bach Suites recording (those bass notes in the 4th Suite Prelude!). Rose’s grand pattern Amati, uncut and evidently abundantly playable by him and now Gary Hoffman. Leslie Parnas managed to find his way around his gigantic Goffriller with apparent ease. Janos Starker navigated the fingerboard of his huge Goffriller with legendary dexterity (interestingly, his previous cello was the Lord Aylesford). Even my modest 120 year old copy of the big old Castelbarco Strad (original now in Library of Congress collection) is playable without unusual effort. There are ways to make these large and immensely rare instruments playable in modern times without irreparably destroying the integrity of their design. Positioning the bridge further north, for example, or adding a longer nut at the pegbox, or both. Sorry to go on, but this video is somewhat triggering. Especially troubling is the way Mr Katz is so matter-of-fact in the telling of it, as if it’s a good thing…a 17th century Italian bassetto that survived 2 centuries, in original condition(!). I suppose for him it is a good thing however, it meant he got to play the cello for many decades. However, this situation is, for me, just the same as an art collector who, having bought a Renaissance master painting that they feel is too large for the room they want to hang it in, then has 2 inches cut off the canvas all the way around to fit. The “restorer” who would do such a thing isn’t worthy of the name. I note that Mr Katz didn’t say that he’d commissioned Morel to cut the instrument. What’s done is done though. My complaints probably serve no purpose other than to inflame the ire of some, which certainly is not my intent.

@@gasparocelloman9852 Exactly. It's an antiquity and a piece of history, not only a mere working tool. And what makes it even more absurd is the fact that nowadays you can have incredibly good new instruments built according to the last of your specifications that will sound as good, or nearly as good, as an Strad. There's no need to permanently alter a three-hundred-year-old italian cello...

@@dionbaillargeon4899 You make a very good point, and even if a player is, for whatever reason, adverse to the idea of using a contemporary instrument (their loss), for every unaltered 17th century bassetto there must be at least 100 standard sized late 17th/early 18th century instruments to choose from, as long as you have land to sell or a house to mortgage, or a winning lotto ticket that is.

It’s great because more people are able to enjoy the sound in the back of the hall

You make no sense at all. I play two plain gut strings on all my cellos, but I couldn't say such a thing. Music is what matters, if a musician plays incredible music who cares if he plays gut steel synthetic or silk strings. Most of the great makers were constantly creating and experimenting and would absolutely not be against modern strings. And even if they cared, it wouldn't matter because only music is important.