• JeanGuihen Queyras Thursday 24 September 730PM

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    Jean Guihen-Queyras: A journey through time


    Recording Beethoven’s ‘Triple’ Concerto last June allowed French cellist Jean-Guihen Queyras to step back into near normality, among colleagues and friends. He tells Pauline Harding about recording at a social distance, the importance of musical ‘family’, and why working with living composers has helped him to nd contemporary relevance in ...

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    Analysis January 2021: Lost at sea?


    More musicians than ever are speaking out about struggles with their mental health, but what support services are available in this time of crisis? By Peter Somerford

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    Basic Maintenance: Avoiding instrument carnage


    Luthiers often see the same basic problems when repairing instruments – and most of them could be solved by some simple care and attention from the players themselves. Korinthia Klein presents a simple guide to violin maintenance, without encroaching on the experts’ territory

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    Two-fingered Tchaikovsky: Beating the odds


    Despite losing the function of the third and fourth fingers of his left hand through focal dystonia and a shoulder injury, violinist Clayton Haslop was determined to continue playing. Here he shares his story

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    Session Report: Right place, right time


    For Renaud Capuçon, recording Elgar’s Violin Concerto with the London Symphony Orchestra and Simon Rattle was a dream come true – and one that he couldn’t allow to be derailed by Covid-19’s lockdown restrictions, as he tells Charlotte Gardner

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    Masterclass: Alban Gerhardt on Saint-Saëns Cello Concerto no.1, part 2


    Alban Gerhardt explains why it takes courage to fight tradition and forge your own interpretation – based not on what others play but on what the composer wrote – in the work’s third movement

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    Vieuxtemps cadenzas: Following the clues


    The recent discovery of another cadenza to the first movement of Beethoven’s Violin Concerto, likely by Vieuxtemps, sheds an interesting light on the early performance history of the work, writes Martin Wulfhorst

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    Session Report: No holds barred


    For Amandine Beyer and her Gli Incogniti period ensemble, the string symphonies of C.P.E. Bach represented an opportunity to record difficult but exhilarating repertoire. Charlotte Gardner recalls attending the 2019 sessions, as the album nears its release following Covid-19 delays

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    Evolving interpretations: The long and winding road


    The development of the great violinists from fresh young artists to profound musical thinkers can be charted through their recorded interpretations. Nathaniel Vallois uses his time in lockdown to examine changes in the playing style of some of the best-known names

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    Masterclass: Alban Gerhardt on Saint-Saëns Cello Concerto no.1


    In the first of two articles, the German cellist shows the importance of pulse, planning and precision in the first two movements of this underestimated Romantic concerto

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    From the Archive: December 1920


    A reader (and a master of the long sentence) pens a letter extolling the merits of British violins and makers, in contrast to the current trend for Italian instruments

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    Masterclass: Hagai Shaham on Brahms Violin Sonata no.3


    In his explorations of the first movement, the Israeli violinst discusses the German composer’s clear performance instructions, intimate Romantic style and self-critical nature

  • ArchiveNov1940

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    From the Archive: November 1940


    One year into the Second World War, The Strad laments the limited prospects for British musicians, despite the indisputable need for music in such troubled times

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    Dover Quartet: United in sound


    After twelve years together, the Dover Quartet is marking its graduation to the ranks of mature ensembles with a new Beethoven recording cycle and a residency at the Curtis Institute. The players speak to Charlotte Smith from the Bravo! Vail Music Festival

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    Leonard Rose: All about the bow


    American cellist Leonard Rose was a consummate performer and pedagogue, whose velvety tone was the result of complete mastery of the bow arm. Oskar Falta explores some of his bowing theories and speaks to former students about his teaching techniques

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    Session Report: American dreams


    On his latest album, German violinist Frank Peter Zimmermann devotes himself to the works of Bohuslav Martinů and Béla Bartók, two immigrants to the US in the wake of the Second World War, as Tom Stewart reports

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    Soundpost: Letters to the Editor October 2020


    A selection of letters The Strad receives each month from its readers around the world: October 2020 issue

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    Analysis October 2020: Sounds like team spirit


    Like so many other music establishments, record labels were blindsided by the effect of the pandemic – but despite the restrictions, have carried on producing high-quality recordings. By Harry White

  • RedPriest

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    Masterclass: Haydn C major Cello Concerto


    Red Priest’s Angela East discusses her approach to phrasing and sound in the first movement, and the influence of Baroque and early-Classical vibrato, bowing and style

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    Midori: Active Listener


    From getting to the core of new works to appreciating her students’ motivations, Midori is on a constant search for understanding. Toby Deller finds out how the Japanese-American violinist communicates this passion to those around her

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    Ensemble Diderot: Hidden Gems


    This month Ensemble Diderot releases The Berlin Album, the latest in its ‘cities’ recording series, juxtaposing works by established 17th- and 18th-century composers alongside those of lesser-known contemporaries. Ensemble founder and violinist Johannes Pramsohler speaks to Pwyll ap Siôn about why these works deserve greater attention

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    Session Report: Early Inspirations


    Violinist Tessa Lark’s new collaborative album, The Stradgrass Sessions, brings together the musical influences of her childhood, fusing bluegrass, folk, jazz and classical styles. The project might easily have been delayed by Covid-19, but her musical partners were only too happy to record remotely

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    Ida Haendel: Grande dame of the violin


    Following Ida Haendel’s death at the age of 96 in July, Tully Potter surveys the career of an exceptional performer and a remarkable woman

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    Session Report: Final Frontier


    The Jerusalem Quartet’s second instalment of Bartók string quartets brings a new delicacy and clarity to these works, which are so often portrayed as brutal. Violinist Alexander Pavlovsky and violist Ori Kam discuss their approach with Tom Stewart

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    Heart of the matter: Schumann’s Cello Concerto


    Schumann’s Cello Concerto is often seen as dark and troubled, and its advocates have struggled to bring it the recognition it deserves. Now, Josephine Knight’s discoveries have led to a new edition and recording which shed a fresh light on this work, writes Peter Quantrill

  • Ventris

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    Masterclass: Rosalind Ventris on Vieuxtemps Viola Sonata op.36


    The British violist details the virtues of this underappreciated B flat major Sonata, with all of its structural surprises and ‘Jekyll and Hyde’ twists and turns

  • Archive

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    From the Archive: September 1930


    The pseudonymous cellist and columnist ‘Ike’ observes how classical music lovers are becoming more plentiful, thanks to the wireless – even if they won’t recognise it themselves

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    Masterclass: Tai Murray on Beethoven’s ‘Triple’ Concerto Part 2


    Violinist Tai Murray discusses balance and colour in the first movement of the op.56 work for violin, cello, piano and orchestra, in the second of two articles

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    From the Archive: August 1910


    Author William C. Honeyman responds to an article suggesting that priceless instruments should be kept in museums rather than in players’ hands

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    Digital Double Act: TwoSet Violin


    Over the past eight years, Brett Yang and Eddy Chen of TwoSet Violin have become an increasingly popular source of humour and inspiration for string players worldwide through their hugely successful YouTube channel. A more recent foray into staging live shows was a shot in the dark. Kimon Daltas meets ...

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    In search of perfection: finding the right bow


    Violinist and Metropolitan Opera concertmaster Benjamin Bowman has spent his entire playing career in search of ever more subtle and responsive bows. Here, he charts his journey to finding his ‘forever bow’, and advises string players on how they, too, can invest in this most important of assets

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    Session Report: Family connections


    For her latest recording, violinist Viktoria Mullova has collaborated with her son, jazz bassist Misha Mullov-Abbado in an eclectic array of duets. Harry White speaks to the pair about the project’s origins and about working with family

  • T9891_Demetrios C. Dounis, Greek violinist & teacher

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    D. C. Dounis: Training the brain


    For Demetrius Constantine Dounis, the secret of good technique came from developing the brain and memory, as well as the arms and fingers. James Dickenson examines what made his ideas so special, and why he became one of the 20th century’s most influential teachers

  • T15121_Isaac Stern, Ukrainian born American violinist at Carnegie Hall

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    Isaac Stern: Generosity of Spirit


    In celebration of Isaac Stern’s centenary this month,Tully Potter  surveys the great violinist’s many and varied chamber music collaborations

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    Writing a Cadenza: Creativity Unchained


    Cadenza writing has enjoyed a renewed surge in popularity over recent years. Pauline Harding talks to soloists, teachers and competition jurors about why the trend has been growing, and why more performers should take the plunge

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    Session Report: Different Voices


    At a recording session for the Dudok Quartet Amsterdam’s latest Haydn release, Peter Quantrill finds an ensemble at ease with themselves, their producer and the exacting process of creating Classical ‘perfection’

  • T5862_Alma Moodie, Australian violinist c 1935

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    Alma Moodie: From Praise to Obscurity


    Australian-born violinist Alma Moodie was a celebrated performer in her day – a protégée of Carl Flesch who collaborated with many leading composers. However, her contribution to the violin canon has been largely forgotten, writes Tatjana Goldberg

  • BrucknerLinz

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    Analysis July 2020: The new normal


    As Covid-19 lockdowns are gradually lifted, orchestras and concert venues in Europe and Asia are contemplating the task of reopening in a socially distanced world

  • TaiMurray

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    Masterclass: Tai Murray on Beethoven’s ‘Triple’ Concerto Part 1


    In the first of two articles, violinist Tai Murray discusses individuality, balance and tempo in the lengthy first movement of the op.56 concerto for piano, cello and violin

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