Featured Stories – Page 60
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Premium ❘ Article‘Faking is perfectly acceptable, provided the player’s conscience can deal with it’: Letters to the Editor April 2022
A selection of letters The Strad receives each month from its readers around the world: April 2022 issue
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FeatureProfessor Ševčík addresses Strad readers
The Czech violinist and influential teacher passes on words of wisdom to readers of The Strad in February 1912
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BlogsA Change of Season: spotlighting the climate emergency through music
Working with students from Trinity Laban, Nic Pendlebury examines how music is used to comment on climate change in a project juxtaposing Vivaldi’s Four Seasons with Hollie Harding’s Melting, Shifting, Liquid World
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Focus'A very supportive role': 8 tips for second violinists
Views on second violin playing from experienced orchestral and chamber performers
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FocusFranck Chevalier: Life Lessons
As he marks 25 years with the Diotima Quartet, the French violist talks about life as a chamber musician and the importance of conversing with peers
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Premium ❘ FeatureQuartet identity: Alchemy of the souls
Is a string quartet’s sound greater than the sum of its parts? Tully Potter considers what goes into making a quartet distinctive
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FocusA ‘Taylor-made’ concerto: Samuel Coleridge-Taylor’s collaboration with violinist Maud Powell
How the composer and violinist overcame prejudices of the day and logistical challenges to premiere a new violin concerto successfully
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Focus8 pieces of advice for happy string quartets
Words of instruction and inspiration on quartet playing from the pages of The Strad
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Premium ❘ FeatureTwo Shapiros: musical doubles
Though unrelated by birth, US violinists Eudice Shapiro and Frances Shapiro (later Magnes) forged parallel careers which provide a fascinating insight into the lives of female musicians during the mid-20th century, writes Tully Potter
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FocusA glimpse into the lives of two mid-century female violinists – both called Shapiro
Though unrelated by birth, US violinists Eudice Shapiro and Frances Shapiro (later Magnes) forged parallel careers which provide a fascinating insight into the lives of female musicians during the mid-20th century, writes Tully Potter
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BlogsTatty Theo and the Brook Street Band: how we stayed on track during the pandemic
Cellist Tatty Theo illustrates how the Brook Street Band managed to overcome the challenges of functioning in different countries during the pandemic, thanks to modern technology and a well-timed grant from the Continuo Foundation
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BlogsIn Our Shoes: What does it mean to be a woman in music in 2022?
Ruth Hallows examines the ways in which women in music are breaking societal expectations in a continued move towards equality
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Blogs‘Classical music is full of women, but policy and decision-making positions are still male dominated’: working mothers in music
On International Women’s Day, violinist Gwendolyn Masin examines the struggles faced by working mothers, calling for collective empathy and support within the industry and beyond
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FocusSentimental Work: Jennifer Pike
For the British violinist, Szymanowski’s Violin Sonata in D minor brings back fond memories of old holidays, family reunions and a three-concert marathon in 2017
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Focus‘Slightly grotesque but always so full of colour’- Laura van der Heijden on her latest recording
Cellist Laura van der Heijden speaks to Tom Stewart about her latest recording of Czech and Hungarian music
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FocusA learned crowd: Postcard from Cambridge
The Cambridge Music Festival marked its 30th anniversary in the unusual format of two instalments during 2021. Toby Deller attended three performances during the autumn celebrations
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FocusDeveloping arm, wrist and finger vibrato
Rok Klopčič takes a look at different types of vibrato through the eyes of the great teachers and players - from the June 2003 issue
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Focus‘You are forced to listen when there is no conductor’
Jacqueline Vanasse examines how performing without a conductor encourages individual players to listen and take responsibility, in this extract from the March 2022 issue
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FocusWhy can't players get vibrato right?
Vibrating need not compromise purity of tone if it's done tastefully, says Tully Potter, who takes to task those who overplay, misplay or completely disown it. From October 2009
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Blogs‘The interweaving of violoncello and orchestra are indeed wholly ravishing!’: Schumann’s Cello Concerto
Conductor Peter Manning presents the history and analysis of Robert Schumann’s Cello Concerto, composed in only two weeks and never performed publicly in the composer’s lifetime
