The Strad April 2013

Christian Tetzlaff
The German violinist combines a scholarly approach to repertoire with a passion for new works. He tells us about touring, teaching, and his new recording of Jörg Widmann’s Violin Concerto

Christoph Nürnberger
Born near Markneukirchen, the bow maker became one of the leading lights in Vuillaume’s workshop – so why has so much of his work remained overlooked?

German orchestral sound
Dark, heavy, rich: it’s easier to recognise a German orchestra from its tone than one from almost any other country. We find out what makes that sound the way it is – and how players maintain it year after year

Meet Your Maker
Luthier Stephan von Baehr and Holm Birkholz, a violinist in the Berlin Philharmonic, recall the creation of a near-exact copy of the 1694 ‘Muir–Mackenzie’ Stradivari

‘Kreutzer’ Sonata
To play Beethoven’s celebrated Violin Sonata no.9 in the early 19th-century style, a personal approach is as essential as respecting the composer’s own markings

Makers’ health
A career as a violin maker comes with all sorts of hidden dangers, and even experienced luthiers can fall victim. We find out how to guard against the most common health complaints

Plus The Strad regulars

Opinion
Composer and violist Sally Beamish argues that abuse in schools is a serious problem that has been neglected for too long

Analysis
We ask whether the sale of the 'Vieuxtemps' Guarneri 'del Gesù' in January could boost demand and bring new buyers into the market

Trade Secrets
Nicolas Gilles on making a tool for drawing an instrument’s outline

Masterclass
An introduction to klezmer fiddle: practical tips for beginners on performing this traditional Jewish folk music

Basics
Simon Fischer considers how the rotation of the forearm affects playing