• Amalia

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    Soundpost: Letters to the Editor April 2021


    A selection of letters The Strad receives each month from its readers around the world: April 2021 issue

  • EhnesLiveStream

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    Analysis April 2021: Crossing the streams


    Live streaming has become one of the main – and in some cases the only – outlet for musicians to perform during the pandemic. But how viable is it as a profit-making enterprise? By Peter Somerford

  • Chiaroscuro

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    Masterclass: violist Emilie Hörnlund on Beethoven String Quartet op.59 no.1


    Swedish violist Emilie Hörnlund, of the Chiaroscuro Quartet, discusses how to achieve optimal articulation, balance and flow in the first movement of the first ‘Rasumovsky’ Quartet

  • April1991

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    From the Archive: April 1991


    In 1989, the Soviet Union removed a cap on the number of people allowed to emigrate from its borders. With many musicians among them, hundreds of thousands headed for Israel, as writer Yossi Schiffmann reports

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    David Garrett: His own path


    At the age of 40, German–American violinist David Garrett is a bona fide crossover star, in non-Covid times playing regularly to thousands at sold-out arena shows. But, as he tells Charlotte Smith, he has no intention of deserting his classical roots

  • T613_Eudice Shapiro, American violinist

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    Two Shapiros: musical doubles


    Though unrelated by birth, US violinists Eudice Shapiro and Frances Shapiro (later Magnes) forged parallel careers which provide a fascinating insight into the lives of female musicians during the mid-20th century, writes Tully Potter

  • Janusz Wawrowski, Grzegorz Nowak and Anna Barry (recording producer)fot. Agencja Artystyczna PRESTO

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    Session Report: Shining a light


    Polish virtuoso Janusz Wawrowski’s new arrangement of Ludomir Różycki’s Violin Concerto reveals a far more optimistic work than its wartime origins suggest, writes Harry White


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    Astor Piazzolla: a tango phenomenon


    In celebration of the 100th anniversary of renowned tango composer Astor Piazzolla’s birth this month, Argentine violinists Rafael Gintoli and Gabriela Olcese pay tribute to him and offer basic guidance to violinists on how to interpret tango music

  • T4719_Joseph Segal, Josef Hassid, Ivry Gitlis, Edward Michael, Carl Flesch,Thomas Matthews, Keteno

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    Ivry Gitlis: an individual voice


    When Ivry Gitlis died on Christmas Eve last year at the age of 98 there was an outpouring of love and affection from the musical community. Tully Potter pays tribute to the great violinist’s life and career

  • Chevalier

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    Soundpost: Letters to the Editor March 2021


    A selection of letters The Strad receives each month from its readers around the world: March 2021 issue

  • EUandUK

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    Analysis March 2021: Complexity crisis


    The Brexit deal has generated many unanswered questions regarding UK–EU touring, which have left UK music bodies scratching their heads. How can musicians negotiate the minefield? By Harry White

  • ArchiveMarch1941

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    From the Archive: March 1941


    After literary siblings Edith, Osbert, and Sacheverell Sitwell win £350 each in a libel case, The Strad muses on what the verdict might mean for arts critics in the future

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    Masterclass: Simon Standage on Bach’s Violin Sonata in E major part 2


    British violinist Simon Standage looks at the Adagio ma non tanto and ‘firework’ finale, in the second of two articles exploring this 18th-century work for violin and harpsichord

  • Andris Nelsons at Tanglewood (Hilary Scott)

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    Orchestral Tricks: in plain sight


    Gerald Elias has spent many years as a professional orchestral violinist – in the Boston SO and Utah Symphony – and has been music director of Salt Lake City’s Vivaldi by Candlelight chamber orchestra since 2004. Here he explores some of the universal challenges faced by orchestral string players which ...

  • Engegård Quartet_052_foto Richard Smallwood

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    Session Report: in good time


    The Engegård Quartet’s third album of Mozart string quartets was all about timing – from allowing enough space between learning and recording the works, to faithfully honouring the composer’s tempo markings – as Andrew Mellor discovers

  • 20 francesca dego _ cannone di paganini

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    Francesca Dego: chance of a lifetime


    For Italian violinist Francesca Dego, the opportunity to perform and record on Paganini’s ‘Il Cannone’ Guarneri ‘del Gesù’ of 1743 was a dream come true. She shares with Tom Stewart her experiences with the rarely accessed instrument – which came complete with security guards and its own dressing room

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    Modigliani Quartet: the more the merrier


    For the Modigliani Quartet, working with other artists has always been a priority – one that continues this year as the group turns its attention to Schubert. Charlotte Gardner speaks to the French foursome about their early development, working through Covid times and acting as artistic directors

  • Screen Shot 2021-01-26 at 14.42.11

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    Nikolaj Szeps-Znaider: parallel careers


    Autumn 2020 was scheduled to be a big one for violinist and conductor Nikolaj Szeps-Znaider, with the start of his first music directorship in France and his conducting debut at the Royal Danish Opera. Did it go to plan? Very nearly, he tells Andrew Mellor

  • QueyrasSoundpost

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    Soundpost: Letters to the Editor February 2021


    A selection of letters The Strad receives each month from its readers around the world: February 2021 issue

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    Session Report: clowning around


    For violinist Patricia Kopatchinskaja a bout of tendonitis was the perfect opportunity to widen her musical perspective by taking on the title role in Schoenberg’s Pierrot lunaire, as she tells Toby Deller

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    Chevalier de Saint-Georges: the remarkable revolutionary


    Too long overlooked, the extraordinary life of 18th-century violinist and composer the Chevalier de Saint-Georges has once more been celebrated over the past 25 years. Yet his compositions remain unfairly neglected, writes Kevin MacDonald

  • SimonStandage

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    Masterclass: Simon Standage on Bach’s Violin Sonata in E major


    Early music expert Simon Standage discusses historically informed performance, interpretation and balancing violin and harpsichord in the first two movements of BWV1016

  • StradArchive1901

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    From the Archive: February 1901


    Queen Victoria’s demise on 22 January prompts a reflection on the number of female violinists in the era she presided over

  • 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 find contemporary relevance in ...

  • LostAtSea

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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

  • Image 3a - healthy amount of peg shaft

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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

  • S03h

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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

  • AlbanGerhardt

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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

  • Bronislaw_Huberman Library of Congress's George Grantham Bain Collection

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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

  • GerhardtPhoto

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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

  • ArchiveDec1920

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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

  • YoelLevy

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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

  • FelixSalmond

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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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