The Strad’s editor Emma Baker introduces the October issue, in which German violinist Antje Weithaas reflects on friendship, collaboration and taking up conducting
Our October cover star, the German violinist Antje Weithaas, can think of no better way of spending a milestone birthday than playing her favourite music with her favourite people. But that is hardly surprising, as Weithaas has lived her whole life through her love of music and is hugely respected as a soloist and chamber musician, as well as a sought-after teacher. She reveals to Pauline Harding her thoughts about turning 60, how she still feels ‘unfinished’ and why she has recently turned her hand to conducting too.
This month we also head to east Asia with a focus on string playing in two musical powerhouse nations – China and South Korea. Violinist and Shanghai-based professor Xin Jin charts the history of the violin in China, and how a Western instrument that was introduced by missionaries at the end of the 17th century has become an integral part of Chinese culture.
Peter Somerford considers why South Korea has become such a hub for string playing excellence, with home-grown musicians regularly triumphing at international competitions and winning leading roles in European orchestras. He speaks to some of the country’s top players and teachers about the methods that have made ‘K-classics’ such a force to be reckoned with.
The working methods of the Cremonese masters remain a source of fascination for makers and researchers alike. David Beard investigates the ratios and measurement systems behind their designs, arguing that these provide a key to understanding how the instruments were conceived and constructed.
This issue also marks the publication of The Strad Calendar 2027. Christian Lloyd introduces the twelve exceptional instruments featured – eleven Stradivaris and one Amati – all held by Norway’s Anders Sveaas Charitable Foundation, and played by leading Nordic musicians who include Johan Dalene, Pekka Kuusisto and Truls Mørk.
Emma Baker editor
Email me at thestrad@thestrad.com
Issue summary
We talk to German violinist Antje Weithaas and examine why young Korean players are dominating competitions around the world. There’s a look at the violin in China and how Cremonese makers created their instrument patterns. Plus a Schumann Masterclass, and cellist Pablo Ferrández talks about his Sentimental Work.
Contents
ANTJE WEITHAAS As she marks her 60th birthday, the German violinist talks to Pauline Harding about her multifaceted career, which most recently has embraced conducting
THE VIOLIN IN CHINA How did a Western stringed instrument become one of the most popular methods of making music in the Far East? Xin Jin examines the history
KOREAN STRING PLAYING In the past few decades, South Korea has become a hotbed of string-playing talent. Leading players discuss the secrets of their success with Peter Somerford
INSTRUMENT GEOMETRY David Beard examines the evidence that Cremonese makers used a combination of proportions and standard measurements when designing their instrument patterns
SESSION REPORT Violinist Noah Bendix-Balgley talks to Harry White about a new recording of his self-penned klezmer concerto ‘Fidl-Fantazye’ with the Berlin Philharmonic
THE STRAD CALENDAR 2027 Next year’s calendar showcases twelve instruments owned by Norway’s Anders Sveaas Charitable Foundation. Christian Lloyd examines the treasures
IN FOCUS An 1830 Giuseppe Dall’Aglio violin
TRADE SECRETS Adam Goltry on making a specialised cutter for bow repair
MY SPACE Manuel Ramírez of El Salvador
MAKING MATTERS An unusual bow that might rewrite a small piece of bow making history
MASTERCLASS Violist Patrick Yim gives his thoughts on the third and fourth movements of Schumann’s Märchenbilder op.113
TECHNIQUE Violinist Leo Philips gives tips on developing creative fingering techniques
LIFE LESSONS The memories and opinions of Dutch violinist Simone Lamsma
OPINION Why piano accompaniment should not be left until the final rehearsals
FROM THE ARCHIVE From October 1936
SENTIMENTAL WORK Cellist Pablo Ferrández on his love for the Dvořák Cello Concerto
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