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Join us at BVMA Makers' Day on Sunday 9 February at London's Kings Place! Meet The Strad team at Table 14 and pick up a free copy of the magazine
Improve your playing in the Playing Hub
Technique: Creating core in your viola sound
Jeanne-Louise Moolman shares tips on how to create a sound with core on the viola
Technique: Violin projection
Australian violinist Emily Sun outlines her strategies for projecting successfully on the violin
Technique: Cello bowing habits
Cellist Clara Minhye Kim on setting up sustainable and natural bowing habits
Premium ❘ Feature
Technique: Creating core in your viola sound
Jeanne-Louise Moolman shares tips on how to create a sound with core on the viola
Premium ❘ Feature
Technique: Violin projection
Australian violinist Emily Sun outlines her strategies for projecting successfully on the violin
Premium ❘ Feature
Technique: Cello bowing habits
Cellist Clara Minhye Kim on setting up sustainable and natural bowing habits
7 tips on adjustments to get the best out of your instrument
The finest Stradivari in the world will sound poor if it is badly set up. Here are some points to consider sourced from our archive
Opinion: why don’t string players practice pizzicato?
Perfecting bowing is a lifelong quest for string players – but what about pizzicato? Cellist Davina Shum advocates setting aside some dedicated practice time to this neglected technique
Opinion: why don’t string players practice pizzicato?
Perfecting bowing is a lifelong quest for string players – but what about pizzicato? Cellist Davina Shum advocates setting aside some dedicated practice time to this neglected technique
7 pointers for perfect pizzicato
Advice on plucking and strumming from 120 years of The Strad
How harmonics and singing can help to build a sound technique
Violin and viola pedagogue Jane Metcalfe discusses using techniques inspired by Kodály and Colourstrings methods
Aija Reke: how to deal with performance anxiety
The violinist gives tips on how to build your confidence on stage through her own experiences and examples from literature
Aija Reke: how to deal with performance anxiety
The violinist gives tips on how to build your confidence on stage through her own experiences and examples from literature
‘We still get nervous’: violinist Brett Yang on performance nerves
The key to dealing with performance anxiety and nerves is to have the confidence to gain more experience performing, says the violinist
Opinion: The Wisdom of Yoda
In the Star Wars universe, Jedi Master Yoda is the ultimate teacher – and his insights can be applied just as readily to string playing as to learning the ways of the Force, writes cellist Brian Hodges
Technique: Finding your voice on the viola
Susie Mészáros’s thoughts on shifting and articulation
Technique: Finding your voice on the viola
Susie Mészáros’s thoughts on shifting and articulation
Blue Sky Teaching: Using creative approaches to refine students’ technique
In our June 2019 issue, Judith Kogan spoke with three string teachers, all based in North America and whose unique ideas are achieving significant results
How to make scales enjoyable
Encouraging students to practise scales needn't be an uphill struggle, says Paul Harris - in fact, it can even be fun!
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
The Art of Vibrato: Techniques and Tips for Violinists
Donna Maurer offers six tips to help violinists master the technique of vibrato
Should vibrato exercises be practised separately from the repertoire?
Teacher Talk: your string teaching questions answered by our panel of experts. From 2011
Five tips for achieving flawless legato for violinists and violists
Artists from The Strad’s extensive back catalogue share their insights on playing smoothly with the bow arm
The Art of Vibrato: Techniques and Tips for Violinists
Donna Maurer offers six tips to help violinists master the technique of vibrato
Should vibrato exercises be practised separately from the repertoire?
Teacher Talk: your string teaching questions answered by our panel of experts. From 2011
Violinist Aaron Rosand on how to produce a good vibrato
The American violinist examines the role of vibrato in enhancing sound and providing character. From 2017
‘We just love what we do’: 21 years of the Sacconi Quartet
Comprising violinists Ben Hancox and Hannah Dawson, violist Robin Ashwell and cellist Cara Berridge, the members of the Sacconi Quartet chat with The Strad about their guiding principles throughout their shared history together, as well as as some memorable performances
‘We just love what we do’: 21 years of the Sacconi Quartet
Comprising violinists Ben Hancox and Hannah Dawson, violist Robin Ashwell and cellist Cara Berridge, the members of the Sacconi Quartet chat with The Strad about their guiding principles throughout their shared history together, as well as as some memorable performances
Ask the Experts: how to encourage students to trust their ears
A reader asks what can be done to help young students who rely on learning finger placement rather than trusting their ears. Three teachers give their views
4 ways Bach can improve your playing: Violinist Rebeca Nuez Suarez
Rebeca Nuez Suarez reflects on the application of Bach’s Solo Violin Sonatas and Partitas in the technical and musical development of young performers
How to memorise earlier and smarter: Adam Hockman
The practice and performance consultant identifies what causes memory slips and gives tips on improving memorisation technique
How to memorise earlier and smarter: Adam Hockman
The practice and performance consultant identifies what causes memory slips and gives tips on improving memorisation technique
How to improve your aural skills and ditch your sheet music in 5 easy steps
Simplicity, curiosity and diligence are the keys to learning by ear, according to violinist Lissa Schneckenburger
Should soloists always perform music from memory?
Pointless and terrifying, or essential for musical communication? Playing without the music arouses some strong opinions, finds Laurinel Owen
Numbness of the fingers in violinists: what causes it and how can you fix it?
J.L.H. Thomas delves into a physical exploration of what causes numbness, as well as exercises to help strengthen muscles to alleviate its symptoms
Numbness of the fingers in violinists: what causes it and how can you fix it?
J.L.H. Thomas delves into a physical exploration of what causes numbness, as well as exercises to help strengthen muscles to alleviate its symptoms
Setting up the left hand: a guide for beginner violinists
Rachael Ridge gives some helpful pointers and a step-by-step guide delving into the nitty-gritty of left-hand set-up
Cornerstones for violinists: the Australian violinist and teacher Alice Waten on left-hand set-up
The Australian violin pedagogue Alice Waten (1947-2022) shared advice on achieving fluidity and expressivity in the left hand in an interview with Joy Lee from early 2022
NewsPizzicato Pizzazz: Rediscovering Bolognini’s legend in a musical gem that echoes
Violinist Tomás Cotik shines a light on forgotten composer and cellist Ennio Bolognini through rediscovery and exploration of the work Serenata del Gaucho, which contains demanding and virtuosic pizzicato from the performer
BlogsFlashback: remembering David Finckel’s ‘Cello Talks’
From 2009 to 2011, David Finckel recorded 100 video tutorials while on the road as cellist of the Emerson Quartet. Now, 14 years and a global pandemic later, he recalls his motivation to immortalise his knowledge via an extensive catalogue
Premium ❘ FocusPostcard from Bucharest: George Enescu International Competition
The long-running George Enescu Competition has now very much proved its mettle amid the international circuit, as Rita Fernandes discovers
News
Pizzicato Pizzazz: Rediscovering Bolognini’s legend in a musical gem that echoes
Violinist Tomás Cotik shines a light on forgotten composer and cellist Ennio Bolognini through rediscovery and exploration of the work Serenata del Gaucho, which contains demanding and virtuosic pizzicato from the performer
Blogs
Flashback: remembering David Finckel’s ‘Cello Talks’
From 2009 to 2011, David Finckel recorded 100 video tutorials while on the road as cellist of the Emerson Quartet. Now, 14 years and a global pandemic later, he recalls his motivation to immortalise his knowledge via an extensive catalogue
Premium ❘ Focus
Postcard from Bucharest: George Enescu International Competition
The long-running George Enescu Competition has now very much proved its mettle amid the international circuit, as Rita Fernandes discovers
Masterclass: Ravel Piano Trio, first movement
Keeping in mind Ravel’s orchestral sound palette is key to letting colour direct the myriad character and mood changes in this lilting movement, says cellist Carrie Bean Stute
Masterclass: Mendelssohn Violin Concerto, first movement
Although this concerto is a well-known staple of the repertoire, violinists can still find opportunities to explore refreshing interpretations in this movement, says Paul Huang
Masterclass: Ravel Piano Trio, first movement
Keeping in mind Ravel’s orchestral sound palette is key to letting colour direct the myriad character and mood changes in this lilting movement, says cellist Carrie Bean Stute
Masterclass: Mendelssohn Violin Concerto, first movement
Although this concerto is a well-known staple of the repertoire, violinists can still find opportunities to explore refreshing interpretations in this movement, says Paul Huang
Masterclass: Schubert ‘Death and the Maiden’ String Quartet, second movement
Violist of the Kuss Quartet William Coleman emphasises the importance of creating a narrative arc in this movement, which encompasses a journey of emotional ambivalence
More from the Playing Hub
Five tips for achieving flawless legato for violinists and violists
Artists from The Strad’s extensive back catalogue share their insights on playing smoothly with the bow arm
Technique: Violin bow landings with Gina McCormack
Violinist Gina McCormack on teaching bow landings in reference to Mozart
Our bow is our breath: cellist John-Henry Crawford
Understanding the relationship between the bow and the voice is key to creating a singing line, as the cellist discovered while preparing his new album Voice of Rachmaninoff
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
Masterclass: Ravel Piano Trio, first movement
Keeping in mind Ravel’s orchestral sound palette is key to letting colour direct the myriad character and mood changes in this lilting movement, says cellist Carrie Bean Stute
Masterclass: Mendelssohn Violin Concerto, first movement
Although this concerto is a well-known staple of the repertoire, violinists can still find opportunities to explore refreshing interpretations in this movement, says Paul Huang
Masterclass: Schubert ‘Death and the Maiden’ String Quartet, second movement
Violist of the Kuss Quartet William Coleman emphasises the importance of creating a narrative arc in this movement, which encompasses a journey of emotional ambivalence
Masterclass: Saint-Saëns Havanaise op.83
Violinist Max Baillie gives smart and efficient practice tips to showcase a piece for violin and orchestra that juxtaposes lyricism with virtuosic passagework
Masterclass: Ravel Piano Trio, first movement
Keeping in mind Ravel’s orchestral sound palette is key to letting colour direct the myriad character and mood changes in this lilting movement, says cellist Carrie Bean Stute
Masterclass: Mendelssohn Violin Concerto, first movement
Although this concerto is a well-known staple of the repertoire, violinists can still find opportunities to explore refreshing interpretations in this movement, says Paul Huang
Masterclass: Schubert ‘Death and the Maiden’ String Quartet, second movement
Violist of the Kuss Quartet William Coleman emphasises the importance of creating a narrative arc in this movement, which encompasses a journey of emotional ambivalence
Masterclass: Saint-Saëns Havanaise op.83
Violinist Max Baillie gives smart and efficient practice tips to showcase a piece for violin and orchestra that juxtaposes lyricism with virtuosic passagework
The Year 1905: Edward Elgar and his Introduction and Allegro, op.47 for solo string quartet and strings
Conductor Peter Manning explores the historical and musical context of the work, ahead of a performance with Chromatica on 11 February
Recovering paradise: Alisa Weilerstein on Richard Blackford’s new climate change concerto
The American cellist speaks with US correspondent Thomas May about a new work she is premiering this season that hits especially close to home: Richard Blackford’s The Recovery of Paradise concerto for cello, which takes its name from the wildfires that devastated Southern California in 2018.
Why I write my own cadenzas: violinist Lir Vaginsky
The violinist shares how writing her own cadenzas for her recording of Mozart concertos resulted in a deeper connection with both the composer and audiences
How we reflected Turkey’s musical richness in 24 one-minute pieces for solo violin during the pandemic
Cellist Mehmet Gökhan Bağcı interviews Turkish violinist Önder Baloglu, who sheds light on the pandemic-induced project Unvoiced Diaries, comprising short, Instagram-friendly compositions, plus its significance in the broader context of Turkish classical music
The Year 1905: Edward Elgar and his Introduction and Allegro, op.47 for solo string quartet and strings
Conductor Peter Manning explores the historical and musical context of the work, ahead of a performance with Chromatica on 11 February
Recovering paradise: Alisa Weilerstein on Richard Blackford’s new climate change concerto
The American cellist speaks with US correspondent Thomas May about a new work she is premiering this season that hits especially close to home: Richard Blackford’s The Recovery of Paradise concerto for cello, which takes its name from the wildfires that devastated Southern California in 2018.
Why I write my own cadenzas: violinist Lir Vaginsky
The violinist shares how writing her own cadenzas for her recording of Mozart concertos resulted in a deeper connection with both the composer and audiences
How we reflected Turkey’s musical richness in 24 one-minute pieces for solo violin during the pandemic
Cellist Mehmet Gökhan Bağcı interviews Turkish violinist Önder Baloglu, who sheds light on the pandemic-induced project Unvoiced Diaries, comprising short, Instagram-friendly compositions, plus its significance in the broader context of Turkish classical music
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