Featured Stories – Page 69
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BlogsGut strings feel honest and dirtier than the brilliance of metal strings - Consone Quartet
The period instrument quartet explains why all players should feel able to dip a toe into historically informed performance
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Blogs‘Keep it simple, stupid’ - recording Mozart Violin Concertos the historically informed way
Violinist Francesca Dego shares her experiences of collaborating with Sir Roger Norrington and how the six ‘S’s’ helped inform her new album of Mozart concertos
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FocusWalter Reiter’s exercises to improve Baroque playing
The violinist offers tips on how narrate emotions through the bow when playing Baroque music
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FocusOpen to change: a history of scordatura
In this extract from June 2003, Pauline Nobes delves into the history and purpose of scordatura from the 17th-century onwards
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Premium ❘ FeaturePeg-turning masterpieces: Heinrich Biber Baroque Scordatura
Biber’s Mystery Sonatas are the most famous example of Baroque scordatura, but there are many more works to discover, explains Pauline Nobes in this article from June 2003
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FocusDaniil Shafran’s practice routine
A cellist who never enjoyed widespread success, Shafran adhered to a strict practice regimen that enabled his unique virtuosity and technique celebrated within the cello community of the 20th century
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Focus9 thoughts about playing on gut strings
We delve into The Strad archive for advice and opinion on using natural gut strings
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FocusBaiba Skride: Life Lessons
The Latvian violinist recalls growing up in a musical family, and stresses the importance of hard work
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FocusThe Strad Podcast Episode #9: Anne Akiko Meyers on new commissions
The violinist speaks about working closely with composers on new works and cadenzas
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FocusAsk the Experts: what to look for in a Baroque bow
In this article from the June 2016 issue, Strad readers submit their problems and queries about string playing, teaching or making to a panel of experts
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Premium ❘ FeatureDaniil Shafran: The unsung hero
The Soviet cellist Daniil Shafran was a unique performer with a highly individual technique and sense of interpretation. He deserves to be recognised as one of the 20th century’s great instrumentalists, writes Oskar Falta
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Premium ❘ FeatureSession Report: Classical crusader
French cellist Christian-Pierre La Marca’s Wonderful World recording project highlights the environmental challenges facing humanity – and musicians really can make a difference, he tells Tom Stewart
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Premium ❘ ArticleSoundpost: Letters to the Editor September 2021
A selection of letters The Strad receives each month from its readers around the world: September 2021 issue
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FocusEsther Yoo’s instrument and bow
Read violinist Esther Yoo’s personal insights on the tools of her trade
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BlogsForgotten in HIStory: shining a light on female composers through the ages
Violinist Ellie Consta reflects on her journey to uncover works by forgotten female composers as the founder and artistic director of Her Ensemble: the UK’s first women and non-binary string ensemble
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FocusMystery lady: investigating female violinists in Georgian England
Upon stumbling across a portrait of an unnamed musician, Kevin MacDonald delved into the lives of several female violinists in the 18th-century, all with fascinating stories
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FocusMusical architecture - sound in time and space
Violist Hsin-Yun Huang writes about how acknowledging the ephemerality of music in space and time allows for greater freedom and joy in music-making
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NewsMusicologist creates interactive map of female composers
Musicologist and music teacher Sakira Ventura created the map to shine a light on female composers who otherwise would be lost in obscurity
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FocusEthel Smyth: life as a suffragette and composer
A life including political activism and a stint in prison didn’t stop Ethel Smyth’s extensive musical output. Taken from the August 2008 issue.
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Premium ❘ FeatureEthel Smyth: A woman of substance
Ethel Smyth’s talents as a composer have long been overshadowed by her political activism and her battles for women’s rights. In her 150th anniversary year, it’s time to celebrate her distinctive string music, says Catherine Nelson, in this article, taken from the August 2008 issue
