A research project by Marco Pieri (2025)
Between 1650 and 1750 the use of softwood as poplar or willow for the back of the cello was a widespread practice among the classical Italian makers.
The peak of this custom has been reached around the year 1700, in which almost one in three cellos had a poplar or willow back.
The results of this analysis are underestimating the effective use of poplar (pioppo nero, pioppo bianco o gattice) or willow (salice), because in many cases the wood for the back is neither explicitly described nor the recognizable from available sources: maple is considered when in doubt.
When the back is a slab-cut in one or more pieces, it’s difficult to distinguish wood species in absence of curl or characteristics patterns of the grain: some cello backs were made also in fruitwood (cherry and pear).
Analysis
The first chart reports the total cello specimens under investigation, considering all species of woods. The second chart indicates for each cello the wood used for the back.
In the classical Italian cello making, the use of poplar and willow has always been present in the relevant percentage of 25% (approximately 70 cellos), over a statistical population of 315 Italian cellos catalogued from 1560 to 1850.
Figure: distributions of the use of poplar and willow compared to the use of the maple for the back of the cellos.
Figure: percentage of poplar or willow use in classical Cremonese makers only.
Figure: percentage of poplar or willow use in all classical Italian makers, except the Cremonese ones.
The following chart and table report a list of notable cellos with the back in poplar or willow. In my research I found another 50 cellos that do not appear in this list despite being played by great virtuosos and owned by foundations, which have not been specifically named.
| Maker | Year | Wood | Name of the cello |
| Andrea Guarneri | 1669 | poplar | Soyer |
| Andrea Guarneri | 1691 | poplar | Ludwig Hoelsher |
| Francesco Rugeri | 1673 | poplar | Sinsheimer |
| Giuseppe Guarneri filius Andreae | 1694 | willow | Kummer |
| Giuseppe Guarneri filius Andreae | 1707 | poplar | Kingman |
| Antonio Stradivari | 1673 | poplar | Harrell, Du Pre, Guttmann |
| Antonio Stradivari | 1695 | poplar | Boni, Hegar |
| Antonio Stradivari | 1697 | poplar | Castelbarco |
| Antonio Stradivari | 1698 | poplar | De Kermadec Blass |
| Antonio Stradivari | 1698 | poplar | Magg |
| Antonio Stradivari | 1707 | poplar | Fau Castelbarco |
| Antonio Stradivari | 1726 | willow | Marquis de Corberon, Loeb, ex-Nelsova |
| Antonio Stradivari | 1726 | poplar | Comte de Saveuse |
| Antonio Stradivari | 1727 | poplar | Bein Fruh |
| Antonio Stradivari | 1727 | poplar | Vaslin Composite, Mr. Murray |
| Antonio Stradivari | 1732 | poplar | Josefowitz (cello piccolo) |
| Giuseppe Guarneri del Gesù | 1731 | poplar | Messeas |
| Giovanni Battista Grancino | 1695 | poplar | Luthyens |
| Giovanni Battista Guadagnini | 1743 | poplar | van Zweygberg |
| Giovanni Battista Guadagnini | 1743 | poplar | Ex-Havemeyer |
Conclusions
The aim of this analysis is to demonstrate the variety of woods used in the past (poplar, willow, but also cherry and pear are documented), contrasting with the stylistic homogenization we are witnessing in contemporary instruments.
Nowadays, most luthiers only use flamed maple for cello backs, touting it as the only wood capable of guaranteeing both acoustic excellence and continuity with tradition—two things that are simply not true.
More information about the use of different wood species in violin making can be found in the book GLI ALBERI DELLA LIUTERIA ITALIANA CLASSICA (Italian edition only).
Go to the next research project: The length of back of the cello