The Strad’s editor Emma Baker introduces the education-themed September issue, in which the Juilliard Quartet reflects on its 80-year history
The Juilliard Quartet celebrates its 80th anniversary this year. Formed in 1946 at the world-famous New York conservatoire whose name it bears, it is still going strong with its current members, who joined the existing line-up between 2016 and 2025. Thomas May speaks to the foursome about balancing eight decades of tradition with forward-looking innovation, undertaking an international concert career while remaining deeply committed to the Juilliard School, and how they approach teaching the next generation of chamber musicians.
September is traditionally the month for going back to school, college or university, and as ever education is the theme for this month’s issue. Clifford Hall presents a fresh look at the legacy of the renowned Hungarian-born violin pedagogue Kató Havas. Her methods for unlocking freedom in players and dispelling tension were often seen by her peers as unconventional, even radical, yet they are fundamentally based in sound mechanics and techniques, and continue to be practised today by passionate adherents.
Anyone who commits to playing a musical instrument will have experienced guilt or misgivings about whether they are practising for long enough or well enough. David Kettle speaks to four leading string players about their own practice routines. What they reveal is often refreshingly human and relatable, as well as insightful.
In lutherie, the spotlight falls on Mantua, where Philip Kass and Andrea Zanrè examine the life and career of Pietro Barbieri, a little-known 19th-century maker whose reputation nevertheless survives in just a handful of existing violins and a viola. All are particularly outstanding instruments.
Staying within the same period, Florent Boyer presents the second part of his examination of the ‘transitional period’ in Parisian violin making, taking a closer look at the work of Nicolas Lupot and his contemporaries.
Emma Baker editor
Email me at thestrad@thestrad.com
Issue summary
In an education special, we talk to the Juilliard Quartet and explore the teaching legacy of 20th-century pedagogue Kato Havas. Top string stars reveal their practice regimes and we examine the instruments of Nicolas Lupot and Pietro Barbieri of Mantua. Plus a Haydn Masterclass and Amihai Grosz’s Sentimental Work.
Contents
JUILLIARD QUARTET The four members of the New York-based ensemble speak to Thomas May about playing, teaching and their relationship with the eponymous conservatoire
KATÓ HAVAS The Hungarian-born pedagogue’s ‘New Approach’ caused shockwaves in the mid-20th century. Clifford Hall explores the legacy of her method of teaching
HOW I PRACTISE Top players tell David Kettle about their different methods of practice, their various routines, and the importance of keeping themselves fresh and stimulated
YOUNG ARTISTS’ PROGRAMMES There are a host of schemes and networks designed to support emerging musicians. Hattie Butterworth examines how they differ and who they are aimed at
FRENCH TRANSITIONAL PERIOD – PART TWO Florent Boyer concludes his two-part investigation into the Parisian makers of the 18th and early 19th centuries with a look at Nicolas Lupot and his contemporaries
SESSION REPORT Théotime Langlois de Swarte talks to Harry White about his latest album Le Violon de Rameau, with organist and harpsichordist William Christie
PIETRO BARBIERI Philip Kass and Andrea Zanrè examine one of the lesser-known luthiers of Mantua, whose work nevertheless attained a high level of quality
IN FOCUS A c.1850 violin by Lorenzo Arcangioli
TRADE SECRETS Alessandro Peiretti’s method for carving a Gofriller-style cello scroll
MY SPACE The workshop of Daniel King and Joe Roach of Cardiff Violins, UK
MAKING MATTERS Why kaolin could play a crucial role in the phenomenon of chatoyancy
MASTERCLASS Elene Meipariani, violinist of Trio E.T.A., discusses playing the first movement of Haydn’s Piano Trio Hob.XV:27
TECHNIQUE Valentina Scheldhofen Ciardelli on expressivity in double bass playing
LIFE LESSONS Matthew Jones, head of chamber music at the Guildhall School of Music & Drama
OPINION How community-based string teaching can help both students and educators
POSTCARD FROM BRUSSELS Report from the 2026 Queen Elisabeth Cello Competition
FROM THE ARCHIVE From September 1916
SENTIMENTAL WORK Violist Amihai Grosz on his love for Schubert’s Arpeggione Sonata D821
No comments yet