The Strad October 2018 issue is out now in which Hilary Hahn, the quirky, effervescent US violinist, gives us an insight into the creative process as she returns to the Bach recording project she began 20 years ago.
We investigate the making traditions of Brescia, just 30 miles north of Cremona, which evolved in a very different way from those of their neighbour; and Charlotte Gardner finds out why the road to creating your first album can be a learning curve involving a vastly new set of skills – and a raft of expenses.
We report from Audition Perform, a new week-long course for students, professional players and teachers which took place in Chichester, UK, in August; and Alessandra Barabaschi and Gregg Alf survey the twelve Stradivari instruments selected for The Strad Calendar 2019 – all of which are on display at the Tokyo Stradivarius Festival.
In our regular sections:
In Focus features a violin from 1784 by the little-known Spanish luthier Vicente Assensio; Stefan Lindholm describes how to use a flat gouge in Trade Secrets; My Space features the workshop of double bass maker Sergio Scaramelli; and in Making Matters we observe the 2018 Oberlin Bow Making Workshop’s focus on Nikolai Kittel.
Our monthly Masterclass features Edicson Ruiz discussing the Dittersdorf Double Bass Concerto; Violist Jacob Adams gives useful tips regarding bow speed and distribution in Technique; British violinist and chamber musician Irvine Arditti tells us his Life Lessons; plus Rachel Podger on what Bach’s Violin Concerto in E minor means to her in Sentimental Work.
We also bring you news of the latest competitions, products and auctions, and comprehensive reviews of concerts, CDs and books.