The Strad’s editor Emma Baker introduces the February issue featuring a rare Nicolò Amati cello made in 1642
A rare and magnificent cello graces our cover this February: one of only seven surviving examples of cellos by the Cremonese master Nicolò Amati. The 1642 instrument is in exceptional condition and remarkable for having survived more than 380 years with its interior components almost entirely unaltered. This offers an opportunity to explore its structure and the construction methods of its maker using CT scans. A trio of expert luthiers take a close look at what is revealed, and Jamie Walton, its current custodian, shares his insights on what it’s like to play this instrument.
What makes the wood of a violin seem to ‘glow from within’? Not the varnish, but the ground coat. Pierre Flavetta explains what goes into this pre-varnish treatment and offers a practical but vivid language for something that’s usually so subjective in the eyes of the beholder.
The musicians of the Isidore Quartet are at a crucial moment in their careers. Having won the prestigious Banff International String Quartet Competition in 2022, they have capitalised on their success and are about to release their debut album Adorations, which spans repertoire from Haydn to Barber, Florence Price and a new commission by Billy Childs. They speak to Pauline Harding about how they first bonded over late-night sightreading sessions at Juilliard, their journey so far, and plans and hopes for the future.
Paganini’s Fifth Caprice has an unfortunate reputation for being more show than substance. Benjamin Shute sets out to prove otherwise, comparing the piece to Bach’s organ Prelude and Fugue in D major BWV532 in structure and form, before looking at the notoriously tricky ricochet bow section in an unexpected and musically revealing way.
Although few might have heard of Marczi Zöldy, he was a fascinating figure – an early 20th-century Hungarian soldier turned virtuoso violinist and bandleader, who immigrated to the US where he befriended President Theodore Roosevelt. He was also a champion swordsman and fencer. Grzegorz Kaproń tells his eventful life story.
Emma Baker editor
Email me at thestrad@thestrad.com
Issue summary
We examine an uncut 1642 cello by Nicolò Amati and talk to the members of the Isidore Quartet. There’s a look at preparing the ground coat pre-varnish and Benjamin Shute explores Paganini’s Fifth Caprice. Plus Orin O’Brien’s Sentimental Work and Life Lessons with Nicolas Altstaedt.
Contents
NICOLÒ AMATI CELLO 1642 Alberto Giordano, Barthélemy Garnier and Francesco Piasentini examine this magnificent cello, one of only seven by the maker that have survived
ISIDORE QUARTET The winners of the 2022 Banff International String Quartet Competition talk to Pauline Harding about their ambitions, collaborations and their new album
MARCZI ZOLDY The Hungarian army lieutenant (1877–1922) swapped his sword for a violin and became an acclaimed international soloist. Grzegorz Kaproń tells his story
THE GROUND COAT Pierre Flavetta looks at the properties of a pre-varnish instrument coating – namely flame contrast, iridescence, white reflection and fibre definition
SESSION REPORT Cellist Steven Isserlis talks to Peter Quantrill about his latest album 1851, inspired by a year of invention, exhibition and extraordinary creativity
PAGANINI CAPRICE NO.5 The devilishly tricky composition is infamous for its use of ricochet bowing. Benjamin Shute explains why it should be regarded as more than just a showpiece
IN FOCUS An 1822 violin by Georges Chanot I
TRADE SECRETS Davide Sora’s method for making paper templates to copy a scroll
MY SPACE Costa Rica’s Francisco Núñez Gómez
MAKING MATTERS Attempting to copy the varnish of the ‘Farina’ Montagnana cello
MASTERCLASS Louise Lansdown discusses playing the first movement of Franz Anton Hoffmeister’s Viola Concerto in D major
TECHNIQUE Violinist Miclen LaiPang gives tips on playing up- and down-bow spiccato
LIFE LESSONS The memories and opinions of German cellist Nicolas Altstaedt
OPINION The importance of presence and ‘aura’ in today’s performance culture
POSTCARD FROM GENOA A report from the 2025 Premio Paganini violin competition
FROM THE ARCHIVE From February 1916
SENTIMENTAL WORK Bassist Orin O’Brien recalls her time playing Stravinsky’s Orpheus
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