All Regulars articles
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Premium ❘ FocusSentimental Work: Cho-liang Lin on the Sibelius Violin Concerto
The Sibelius Violin Concerto holds incredible memories for the Taiwanese–American violinist, from studying with Dorothy DeLay to meeting Eugene Ormandy
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Premium ❘ FeatureIn Focus: A 1948 violin by Zenon Wladimir Petesh
Bruce Braun Babbitt inspects the US maker’s mid-century instrument
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Premium ❘ FeatureMasterclass: Bach Violin Concerto in E major BWV1042, third movement
Julian Rachlin shines a light on this joyful movement comprising a satisfying musical architecture that alternates between anchoring refrains and exploratory soloistic episodes
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Premium ❘ ArticleAnalysis November 2026: Hearing loss in professional musicians
A recent study has shown that one in four musicians has reported some form of hearing loss. Peter Somerford looks at what measures classical players can take to mitigate the risks.
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Premium ❘ FeatureTrade Secrets: Reinforcing a violin bridge with carbon rods
A method to improve the bridge’s durability and long-term reliability
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Premium ❘ FocusOpinion: the third ear
The most important musical ear a string player can develop might be the one that they can never physically possess themselves, says violinist, violist and teacher Alex Laing
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Premium ❘ FocusPostcard from Rhode Island: Newport Classical Music Festival
At the Newport Classical Music Festival, Rita Fernandes heard a variety of captivating performances against the elegant backdrop of a New England summer resort
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Premium ❘ FeatureMaking Matters: The curious case of the underslide
Mika Seifert uncovers evidence that the so-called ‘Hill slide’ might not have been created at the British-based violin firm at all, but may in fact have been an invention of W.A. Pfretzschner
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Premium ❘ FeatureWilliam Primrose shares his thoughts with The Strad - From the archive: October 1936
The star violist William Primrose proves himself a devotee of The Strad, as he gives his thoughts on some points raised by correspondents in the Letters page
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Premium ❘ FeatureTrade Secrets: Making a custom cutter for a second-hole bushing
Adam Goltry introduces a specialised tool for bow makers to use when carrying out a tricky repair job
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Premium ❘ FocusSentimental Work: Pablo Ferrández on Dvořák’s Cello Concerto
Learning Dvořák’s Cello Concerto was a seminal part of the Spanish cellist’s musical development – and his interpretation is still evolving now
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Premium ❘ FeatureMy Space: Manuel Ramírez’s San Salvador workshop
The luthier presents his El Salvador shop
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Premium ❘ Focus‘We should all treasure our differences’ - Simone Lamsma’s life lessons
The Dutch violinist on building independence and balancing a busy life and career
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Premium ❘ FeatureTechnique: Creative fingering for violinists
Leo Phillips explores how players can experiment with different approaches to violin fingerings and hand frames
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Premium ❘ FeatureIn Focus: An 1830 violin by Giuseppe Dall’Aglio
Claudio Amighetti examines the 19th-century instrument
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Premium ❘ FeatureMasterclass: Schumann Fairy-tale Pictures op.113, third and fourth movements
Patrick Yim explores two movements of juxtaposing characters that test a viola player’s versatility and technical skill
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Premium ❘ ArticleAnalysis October 2026: Orchestral concerts in record summer heat
The numerous heatwaves that took place across Europe this summer affected all kinds of cultural events – with orchestras suffering just as much, if not more, from the scorching weather
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Premium ❘ FocusOpinion: Playing with accompanists early on
Piano accompaniment is too often treated as an afterthought in teaching. Violinist Sendi Vartanovi argues that string students learn more effectively when collaboration begins from day one
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Premium ❘ FocusPostcard from Canada: Montreal International Music Competition
Rita Fernandes reports from the 2026 violin edition of the Montreal International Music Competition, which integrated new features while retaining its traditionally world-class level
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Premium ❘ Focus‘Your first instrument is your body’ - Matthew Jones’s life lessons
The Welsh violist and violinist and head of chamber music at Guildhall School of Music & Drama on his teaching approach and unconventional journey
