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Premium ❘ FocusThat festival feeling: Postcard from Odense
Davina Shum reports on the violin final of the Carl Nielsen International Competition in Denmark, an event that encourages a unique sense of collaboration and support between competitors
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Vadim Gluzman: Life Lessons
The Israeli violinist talks about dealing with self-doubt and developing a strong work ethic
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Opinion: The power of imagination
To enhance a pupil’s learning, it is useful to build a list of words and catchphrases that conjure images relating to different techniques. Jeffrey Howard introduces his own ‘violin vocabulary’
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Sentimental Work: Joshua Bell
Wieniawski’s Violin Concerto no.2 brings back fond memories for the American violinist, from studies at Meadowmount to reminiscences of his mentor Josef Gingold
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Sentimental Work: Renaud Capuçon
Despite being a ‘non-violinistic’ piece, the Brahms Violin Sonata no.1 stands out for the French violinist as the work that helped him discover the wonders of chamber music
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Opinion: A New Deal for Early Music
Covid-19 has highlighted the economic inequalities that divide musicians who perform on period instruments from the majority of today’s string players, says Andrew Mellor
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Astrid Schween: Life Lessons
The Juilliard Quartet cellist recalls her many tutors and stresses the importance of staying curious
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Cello explorations: Postcard from Dublin
Adrian Smith spent a weekend in Dublin exploring the delights of Spike Cello Festival, a vibrant ‘alt-cello’ weekend that celebrates the versatility of the instrument beyond the core classical repertoire
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Technique: Speaking with the bow
Cellist Ophélie Gaillard on how to use language, vowels, consonants and inflection to colour and shape every phrase
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Technique: How to play a chop groove
Mix up chops, ghost notes and melody notes to create a rhythmic groove with tonal variation
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Masterclass: Christine Hoock on Vanhal Double Bass Concerto
In our August 2016 issue, double bassist Christine Hoock emphasises serenity, clarity and flow, and the importance of preparation when tackling the first movement of this overtly Classical piece
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Masterclass: Johannes Moser on Brahms Cello Sonata no.1 op.38
Cellist Johannes Moser takes a look at structure, character and speed, and explains why it is so important to honour the composer’s bowings, in the first and second movements of the E minor Sonata. From December 2017
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Making Matters: Her dark materials
Why do so many violins from German-speaking countries in the later 18th century have such dark varnish? Michel Lorge advances a theory that makes no assumptions about the luthiers’ abilities
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Staying together: coaching string quartets
Coaching young players in string quartets requires special strategies, but success can develop their vital life skills as well as improving musical abilities. Chamber music tutors shared their secrets with Tim Homfray in the August 2008 issue of The Strad
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Masterclass: Beethoven String Quartet op.132
Jacqueline Thomas, cellist of the Brodsky Quartet, which celebrates its 50th anniversary this year, looks at a third movement written by a composer convalescing from a near life-ending illness
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My Space: Orest Putsentela, Lviv
In March 2018, Orest Pusentela invited us into his workshop in Ukraine’s cultural capital. Now in 2022, he updates The Strad with his current situation in Ukraine
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Female luthiers: And justice for all?
In light of the #MeToo movement, women from all walks of life have been reporting incidents of sexist behaviour in their workplaces. Is a violin workshop any different? Femke Colborne discusses the question with a range of female luthiers – and gains a grim perspective of the industry
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In Focus: A c.1870 viola by Niels Larsen Winther
Jens Stenz looks at the Danish luthier’s instrument
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Opinion: It takes three
As the Sitkovetsky Trio celebrates its 15th anniversary this year, lead violinist Alexander Sitkovetsky looks back at the lessons he and his colleagues have learnt
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Masterclass: Schumann’s Adagio and Allegro op.70
Cellist Wolfgang Emanuel Schmidt discusses how to produce a true legato and varied tone colours appropriate to this tempestuous work. From February 2016
