September 2024: Editor’s welcome and contents

Our cover star in this bumper September issue is the Australian–Taiwanese violinist Ray Chen. An international superstar both on the concert stage and on social media, he has a new album of movie and video game soundtrack-inspired music out next month, but he has also recently launched a collaborative practice app, Tonic, which encourages users to share their practice sessions in a nurturing online environment. He speaks to Amanda Holloway on page 28 about why music education is increasingly central to his work and why he feels the need to give back. ‘It’s no longer just about me and my career. I have to do more,’ he says.

Also profiled in this month’s learning and education-themed issue are the Suzuki teachers and practitioners who are adapting the method for countries that have their own strong and individual musical cultures, but where children might not necessarily have heard of Twinkle. On page 38 Peter Somerford talks to some of these pioneering practitioners.

Moving on from those just starting out on their learning journey to highly talented students about to embark on their professional careers, on page 68 Thomas May profiles the Curtis Institute of Music, which marks its centenary in 2024. This Philadelphia-based conservatoire is world-renowned for its exceptional musical standards, particularly in the strings faculty, and has trained more great performers that there is space to mention.

And on page 48 Rita Fernandes travels to Denmark to find out more about the Scandinavian Cello School – a coastal rural retreat for cellists that’s like no other music school – and follows some of its players on tour.

Our lutherie features always present a chance to exchange information and learn new techniques, and this month is no exception; among our regulars such as Making Matters (soundproofing a workshop, page 98) and Trade Secrets (purfling and edgework, page 92), on page 80 David Folland presents a clear and detailed way of finding the ideal centre alignment when setting up an instrument, based on methods used by the Cremonese masters.

Emma Baker editor

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