All Regulars articles
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Premium ❘ FeatureTrade Secrets: Making purfling with fish glue
A flexible method for luthiers who prefer to make their own purfling rather than buy it ready-made
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Postcard from Boca Raton: Elmar Oliveira International Violin Competition
In south Florida, the third triennial Elmar Oliveira International Violin Competition continued to build on its credentials for developing outstanding young talent
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Analysis April 2023: Brexit troubles faced by publishers and auction houses
Brexit continues to blight the UK music industry and businesses such as auction houses and music publishers are among the affected parties
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Making Matters: Choosing the right wood
Bridge maker Milo Stamm gives his thoughts on wood selection and preparation, acknowledging the value of gaining opinions and feedback from everyone across the trade
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‘A constant exchange of knowledge’ - My Space: Julia Jostes & Simon Eberl
Take a peek into the couple’s Lübeck workshop
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In Focus: An 1824 violin by Nicolas Lupot
Richard Ward looks at an instrument made in the last year of the French luthier’s life
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Technique: Gut strings on double bass
Bassist Rob Nairn on getting to grips with gut strings on the double bass for historical performance
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Masterclass: Beethoven Cello Sonata no.4 in C major
Cellist Amit Peled gives his thoughts on a second movement of introspection and wild exploration, written as the composer was coming to terms with his hearing loss
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‘Her physical strength is great’ - From the archive: April 1923
A review from the archive of Portuguese cellist Guilhermina Suggia
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Sentimental Work: Tanja Tetzlaff on Lutosławski’s Cello Concerto
Despite being a challenging piece, the Lutosławski Cello Concerto brings back memories for the German cellist, from her tutor Heinrich Schiff to her own teaching experience
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Opinion: French or German bass bow hold?
Rodrigo Moro Martín, the London Symphony Orchestra’s new principal double bass, argues that the two tribes who favour French and German bow holds should coexist in perfect harmony
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‘I really don’t like it but don’t change a note’ - Pierre Amoyal’s Life Lessons
The French violinist and pedagogue on his time with Heifetz and the perils of competitions
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April 2023: Editor’s welcome and contents
The Strad’s editor Emma Baker introduces the April 2023 issue
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‘Prescience bordering on clairvoyance’ - Letters to the editor: April 2023
A selection of letters The Strad receives each month from its readers around the world: April 2023 issue
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Products April 2023: Warchal Timbre viola strings
A gut-string sound with modern technology
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Products April 2023: DemengaSound cello tailpiece
A new tailpiece for a freer sound
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Products April 2023: Negri Eternity case
A modern addition to the company’s collection
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‘Played with a bamboo chopstick’ - Premiere of the Month: A world of difference
A cello concerto based on musical contrasts
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Competitions, Awards and Appointments: April 2023
This month’s competition results, appointments and forthcoming contests
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Masterclass: Antje Weithaas on Brahms Violin Concerto part 1
In the first of a two-part article, Antje Weithaas discusses mystery and contrast in the first movement of this great work
![[letter 2] Shakhovskaya, photo by Igor Grossmann](https://dnan0fzjxntrj.cloudfront.net/Pictures/100x67/4/3/6/29436_letter2shakhovskayaphotobyigorgrossmann_387661.jpg)
![[1] arete pc Christian Schneider](https://dnan0fzjxntrj.cloudfront.net/Pictures/100x67/3/7/5/29375_1aretepcchristianschneider_642811.jpg)
