April 2019 issue

Superstar violinist Augustin Hadelich often selects unusual concerto pairings for his recordings. His latest, combining Brahms and Ligeti, is no exception

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Augustin Hadelich is the cover star of The Strad's April 2019 issue, out now. In a wide-ranging interview, he discusses his career since winning at Indianapolis in 2006, and his latest recording of Brahms and Ligeti concertos.

We find out about Tan Dun and Eldbjørg Hemsing collaborating on a new concerto inspired by the victims of conflict; in our Session Report, Israeli violinist Itamar Zorman talks about his latest project, a recording of works by Paul Ben-Haim combining Eastern and Western influences; plus, an interview with Austrian pedagogue Alfred Staar, conducted just a month before his death in 2000, is published here for the first time. A Postcard from Cape Town sees Leon Bosch reporting on a new event for double bassists.

Jacob Stainer is the focus of new evidence presented by Rudolf Hopfner which casts doubt on the widespread assumption that he learnt his craft in Cremona; and, staying on the German, we look at how makers from Füssen essentially founded the lutherie tradition of Naples, paving the way for the Gaglianos; plus, Paolo Sarri presents a detailed analysis of a single bow by Persoit, showing how his use of illusion gives a light, demure appearance to the head.

In our regular sections:

Our monthly Masterclass is cellist Jan Vogler on Schumann's Fantasiestücke op.73; Matthew Jones offers tips for violists on achieving a good balance between the chin and left thumb in Technique; Vienna Philharmonic concertmaster Albena Danailova tells us her Life Lessons; plus Antje Weithaas expounds on her love of Tchaikovsky's Violin Concerto in Sentimental Work.

In Focus features a 1920 violin made by the Markneukirchen-based luthier Paul Dörfel; Hans Pluhar details his method of making and inserting purfling in Trade Secrets; My Space features the workshop of German luthier Christian Adam; and in Making Matters we hear from Stefan Krattenmacher about the possibilities afforded by using fruitwoods.

We also bring you news of the latest competitions, products and auctions, and comprehensive reviews of concerts, CDs and books.

In the April 2019 issue

Technique: achieving balance between the chin and left thumb
Learn to reduce physical stress by distributing instrument weight more effectively across your body. By Matthew Jones, Head of chamber music and professor of viola at the Guildhall School of Music & Drama, London; director of Pro Corda Intermediate Course.
Trade secrets: making and fitting purfling
A solution to the awkward problem of how to insert strips around the neck heel area, by Hans Pluhar
In focus: Paul Dörfel
A 1920 violin made by the Markneukirchen-based luthier Paul Dörfel. Written by Bruce Babbitt
Persoit, the illusion solution
One of the most mysterious French bow makers, Persoit had a number of idiosyncrasies that give his works a uniquely light appearance. Through a detailed study of a single bow, Paolo Sarri shows his creative answer to the problem of bulky heads
Tan Dun and Eldbjørg Hemsing: the folk connection
Chinese composer Tan Dun’s new concerto for Norwegian violinist Eldbjørg Hemsing draws on traditions common to the homelands of both artists. Andrew Mellor speaks to them about this latest in a series of collaborations
The gain in Spain: German makers in Naples
In the 16th century, many European cities saw an influx of makers from Germany – and the cultural milieu and civic policies of Spanish-held Naples proved particularly attractive. Luigi Sisto explains how the expatriate community laid the groundwork for the city’s lutherie tradition
Itamar Zorman, voice for Israel
Violinist Itamar Zorman’s new recording highlights the transition from European to Middle Eastern influences in the works of Paul Ben-Haim, as he tells Gavin Dixon
Alfred Staar: sound master
As a leading proponent of the Viennese sound, Alfred Staar’s influence continues to be felt today – no fewer than 22 of his former students currently hold posts in the Vienna Philharmonic. Inga Brandini shares a conversation with the great professor from 15 March 2000, shortly before his death a ...
Jacob Stainer: reviewing the situation
It has long been assumed that Jacob Stainer received some training in Cremona – but the theory rests on slim evidence. Rudolf Hopfner explores a middle-period violin using micro-CT technology to cast doubt on what we think we knowWolfgang Schneiderhan
Augustin Hadelich: brilliant concepts
Since winning the Indianapolis Competition in 2006, violinist Augustin Hadelich has built a reputation for musically astute interpretations in wide-ranging repertoire, much of it written in the 20th and 21st centuries. He speaks to Chloe Cutts about his latest recording – an unusual pairing of Brahms and Ligeti
Masterclass: Jan Vogler on Schumann’s Fantasiestücke
Cellist Jan Vogler discusses how to colour these fantasy pieces using a mixture of technique and imagination