Featured Stories – Page 48
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FocusWords of Wisdom: Double bassist Joseph Guastafeste
The former principal double bass of the Chicago Symphony Orchestra offered some musical insights in our February 2011
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Premium ❘ FeatureSession Report: Timothy Ridout on recording the Elgar Cello Concerto for viola
British violist Timothy Ridout speaks to Carlos María Solare about adapting and recording the Elgar Cello Concerto
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Premium ❘ FocusSomething to smile about: Postcard from Poznań
Tim Homfray attended the International Henryk Wieniawski Violin Competition in Poznań, and discovered an impressive collection of competitors
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![#33b parents ]enhanced Toronto 1950](https://dnan0fzjxntrj.cloudfront.net/Pictures/100x67/9/8/0/28980_33bparentsenhancedtoronto1950_63454.jpg)
Focus‘Music was their lifeline’: Excerpt from Janet Horvath’s new Holocaust memoir
Author and cellist Janet Horvath presents an excerpt from her forthcoming memoir The Cello Still Sings: A Generational Story of the Holocaust and of the Transformative Power of Music
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Blogs‘It’s all about the tone and colours’: Anastasiya Petryshak on Ravel
The violinist shares her thoughts on Ravel’s Pièce en forme de Habanera, which features on her new album
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Premium ❘ FeatureElgar Cello Concerto: The classic interpretation
Jacqueline du Pré’s 1965 recording of Elgar’s Cello Concerto set the benchmark for every cellist who followed her. Tully Potter explores the enduring popularity of her powerful and iconic performance
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Blogs4 ways Bach can improve your playing: Violinist Rebeca Nuez Suarez
Rebeca Nuez Suarez reflects on the application of Bach’s Solo Violin Sonatas and Partitas in the technical and musical development of young performers
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FocusWords of Wisdom: Cellist Bernard Gregor-Smith
The cellist of the Lindsay and Dante Quartets shares some observations from his chamber music career
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Premium ❘ Feature‘On a cello, you can do big things’ - Christian-Pierre La Marca
Cellist Christian-Pierre La Marca speaks to Charlotte Gardner about his new album, Legacy
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Focus7 tips on adjustments to get the best out of your instrument
The finest Stradivari in the world will sound poor if it is badly set up. Here are some points to consider sourced from our archive
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BlogsHow I completed a 118-show run (without losing my mind)
The Strad’s online editor and cellist Davina Shum has just completed a three-month run of My Neighbour Totoro at the Barbican Theatre. Here she shares her strategies for how she kept the repeated performances fresh and spontaneous without forsaking her sanity
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Premium ❘ FeatureHow to win without winning - Competitions: The competitive advantage
Charlotte Gardner asks industry leaders for their top competition advice
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BlogsViolinist Veronika Eberle on performing new Beethoven Violin Concerto cadenzas
The violinist shares with The Strad her thoughts on new cadenzas by Jörg Widmann, whom she considers ’a Beethoven of our time’
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BlogsThe Anatomy of Deliberate Practice: Violinist Susanna Klein
Susanna Klein’s final article in her three-part series explores four traits of intentional practice sessions
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Premium ❘ Feature‘Fancy a tea party with Grieg?’: From the archive: January 1913
The pseudonymous ‘Lancastrian’ (Dr William Hardman) interviews virtuoso violinist Adolph Brodsky
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FocusWords of Wisdom: Violist Veronika Hagen
The violist of the Hagen Quartet shares some insights from her chamber career
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Blogs‘I keep discovering new tones and shades’ - composer Jacob Mühlrad on writing for strings
Ahead of the release of his album of music from the film ’Burn All My Letters’, the composer reflects on the unique sounds stringed instruments contribute to his work
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Blogs‘I have a crazy way of practising’: Timothy Chooi on Bruch’s Scottish Fantasy
The violinist shares his insights on the piece with The Strad, including approaches to tricky passages and his favourite moments
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Premium ❘ Focus‘Know the rules before you break them’ - Matt Haimovitz’s life lessons
The US cellist on how a disciplined early approach enabled him to embrace the possibilities of new experiences
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Blogs8 ways to make practice playful: Susanna Klein
The violinist’s second instalment in a three-part series examines ways to inject a sense of fun in practice sessions
