The Strad’s editor Emma Baker introduces the March issue, in which Serbian cover star Nemanja Radulović speaks about his formative influences and new Prokofiev album
Self-belief is often cited as one of the most important requirements to succeed as a string player – but how do you quantify something so notoriously intangible? Billy Tobenkin – a teacher and cellist who took up his instrument at the age of 25 and now teaches other adult beginners – presents his research into how ‘self-efficacy’, or confidence in one’s ability to learn, can create better outcomes for adult learners. The best news, he explains, is that self-efficacy is not innate: it can be developed through simple exercises and mental shifts. It’s an encouraging message, not only for adult beginners but also for players at every level.
Our March cover star is the Paris-based Serbian violinist Nemanja Radulović, who has just recorded an album featuring Prokofiev’s Violin Concerto no.2 alongside some of the composer’s chamber works. Charlotte Gardner travelled to Paris to meet him at the sessions. He speaks candidly about growing up in Serbia, the formative influences that shaped him, and his strong sense of loyalty to his long-standing friends and colleagues.
In lutherie this issue, Tsutomu Miyasaka examines a unique discovery: a double bass made by the 19th-century Turin luthier Giovanni Francesco Pressenda, which was formerly believed to be the work of Leopold Noiriel. Adam Winskill presents the results of a two-year experiment in Brandenburg, Germany, where a group of luthiers crafted two identical violins – one using pressure-treated wood and one without. After the instruments were completed and varnished, the findings of the sound tests proved unexpected.
A broken or poorly maintained instrument or bow can discourage even the most talented young player – an issue that is particularly acute in the US state school system. But, as Rita Fernandes discovers, several districts have launched an inspiring initiative that offers schools free expert repairs, allowing teachers to focus on teaching rather than troubleshooting. It is currently a small-scale project, but it’s already making a meaningful difference.
Emma Baker editor
Email me at thestrad@thestrad.com
Issue summary
We talk to Serbian violinist Nemanja Radulović and find out how a double bass was identified as a Pressenda for the first time ever. There’s a look at instrument repair shops for US schools, the annual Brandenburg violin workshops, and building confidence in adult learners. Plus Edward Dusinberre’s Life Lessons and a Beethoven Masterclass.
Contents
NEMANJA RADULOVIĆ The flamboyant Serbian violinist talks to Charlotte Gardner about his new Prokofiev album and the importance of remaining true to his artistic integrity
PRESSENDA DOUBLE BASS Tsutomu Miyasaka reveals the story of how an instrument, previously thought to be a Leopold Noiriel, was identified as the work of Giovanni Francesco Pressenda
SELF-EFFICACY FOR ADULT LEARNERS Cellist and teacher Billy Tobenkin gives advice for adult learners on maintaining their sense of fulfilment and motivation as they progress on their instrument
BRANDENBURG EXPERIMENTS Adam Winskill explains how two teams of violin makers built two almost identical violins at the annual German workshop – but only one with treated tonewood
SESSION REPORT The members of the Neave Trio talk to Hattie Butterworth about their latest album In Her Hands, made up of repertoire by female composers
US SCHOOL REPAIR SHOPS A few American public school districts have introduced in-house instrument repair facilities. Rita Fernandes looks at how they work and the benefit to students
IN FOCUS A c.1890 viola by Enrico Marchetti
TRADE SECRETS Jaime Gabriel González’s method for jointing backs and fronts
MY SPACE Nurgül Çomak of Istanbul, Turkey
MAKING MATTERS Can the properties of tonewood be affected by smoke?
MASTERCLASS Amit Even-Tov, cellist of the Ariel Quartet, on the first movement of Beethoven’s ‘Serioso’ String Quartet op.95
TECHNIQUE Violist Henrik Frendin on incorporating improvisation into daily practice
LIFE LESSONS The memories and opinions of the Takács Quartet’s Edward Dusinberre
OPINION Why the larger muscle groups matter for string players
POSTCARD FROM GENEVA A report from the 2025 Concours de Genève viola competition
FROM THE ARCHIVE From March 1906
SENTIMENTAL WORK Mihaela Martin on her love for Mendelssohn’s Violin Concerto
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