All Magazine articles – Page 71
-
ReviewRaphaela Gromes: Strauss
Cellist lends Strauss Sonata and song transcriptions an almost operatic voice
-
ReviewIvan Pochekin: Shostakovich
Violinist holds his own in a competitive field of Shostakovich concertos
-
ReviewChiaroscuro Quartet: Haydn
Lithe and captivating playing brings all manner of light and shade to Haydn
-
ReviewBrillance Indéniable: The Virtuoso Violin in the Court of Louis XV. Alana Youssefian: Guillemain
Some brilliant playing here, though with an undeniably cautious approach
-
-
ReviewWhat Is the Word. Maya Homburger, Barry Guy: Dwyer
Strange and extravagant sounds from a contemporary Irish composer
-
-
ReviewJames Ehnes: Beethoven
James Ehnes: Beethoven The Strad Issue: July 2020 Description: Ehnes and Amstrong score a hat-trick with Beethoven sonatas Musicians: James Ehnes (violin) Andrew Armstrong (piano) Works: Beethoven: Violin Sonatas nos.4, 5 and 8; Rondo; Six German Dances Catalogue Number: ONYX 4208 This third instalment in James Ehnes’s ...
-
-
ReviewNash Ensemble: Clara Schumann, Fanny Mendelssohn
Delightful playing showcases trios by Ms Mendelssohn and Mrs Schumann
-
ReviewAquarelles. Noga Quartet: Hahn, Debussy
Hahn’s rarely heard Second Quartet finds eloquent new champions
-
ReviewTetzlaff Quartet: Beethoven
Dynamic and vivid readings of Beethoven quartets prove irresistible
-
Premium ❘ ArticleJune 2020: Welcome
The Strad’s editor Charlotte Smith introduces the June 2020 issue
-
Premium ❘ FeatureShoulder Rests: The Ideal Fit
Freelance violists Edmund Riddle and Kathi Von Colson join The Strad ’s editor Charlotte Smith and contributing editor Pauline Harding to test a range of shoulder rests – and discover enormous differences in weight, balance and comfort
-
Premium ❘ ArticleNature’s Way: Picture Story
Leatherwood Bespoke Rosin founder Andrew Baker describes the process of hand making his products, which can be tailored to meet the requirements of individual players
-
Premium ❘ FeatureUnvarnished Instruments: Team Building
For luthiers, finely sourced white instruments may well be the perfect accessory – offering the double opportunity for varnishing practice and to sell less expensive models to students and those with shallower pockets. But, writes Peter Somerford, the issues of provenance and labelling are of utmost importance when marketing such ...
-
![4b C.W.KnopfViolaBowFerrule[12337]](https://dnan0fzjxntrj.cloudfront.net/Pictures/100x67/9/8/9/17989_4bc.w.knopfviolabowferrule12337_802362.jpg)
Premium ❘ FeatureNapoleonic Bows: French Connections
Several violin, viola and cello bows still survive from the Imperial Court Orchestra of Napoleon III. Gennady Filimonov examines their history, and provides evidence that the so-called ‘Napoleonic-type bows’ originated with the first Emperor rather than the third
-
Premium ❘ FeatureSarasate Letters: Beloved Mother
During a two-year concert tour of America, violinist Pablo Sarasate corresponded with his adoptive mother Amélie de Lassabathie in Paris. His surviving letters have been translated for the first time into English by Nicholas Sackman and Bastien Terraz, who present a digest of their contents
-
Premium ❘ FeatureWorking with Conductors: Natural Balance
When playing a concerto, the string soloist is rarely fully in charge – and working with opinionated conductors means that sometimes disagreements will occur. Charlotte Gardner speaks to three top performers and a conductor to find out how to strike the right balance
-
Premium ❘ FeatureAn Amati Mystery
Could the cello shown here be one of the eight ‘bass violins’ ordered by Catherine de’ Medici for the court of Charles IX of France? Luthier Filip Kuijken explores the known history of the instrument and considers whether it could be an original Andrea Amati – or a clever fake
