The Strad’s editor Emma Baker introduces the December 2024 issue, which celebrates the dawn of Venetian instrument making in the 16th century
This December, our cover features an exceptionally beautiful and unusual instrument: a 1563 lira da braccio made by the Venetian luthier Francesco Linarol. Stefano Pio explores the history of the Linarol dynasty, a family oflireri that flourished for three generations in what was then the Republic of Venice. They led colourful and adventurous lives, as well as producing many distinctive instruments, until the dominance of Brescian and Cremonese models was established.
Back to the present day Michael White speaks to the Chinese-born, Germany‑based violin virtuoso Ning Feng, who balances absolute technical mastery with the deepest musical sensitivity. Ning speaks about his formative years as a student at London’s Royal Academy of Music, his recording and concert career, and what he hopes to pass on to the next generation of players through his teaching.
As 2024 draws to its close we mark three anniversaries. First, it is 220 years since the death of the little-known 18th-century virtuoso violinist Ivan Mane Jarnović, whose name has almost been forgotten but nevertheless deserves to be remembered for his contribution to the development of the Classical violin concerto, and his association with Haydn, Mozart and George Bridgetower among others. Tanja Goldberg explores his eventful life.
This year also marks three decades since the fall of the apartheid regime in South Africa and the first free and fair elections in the nation. The musicians of the Signum Quartet (whose violist comes from South Africa) have marked this anniversary with a project, bridge the chasms that divide (named after a passage from Nelson Mandela’s inaugural presidential speech in 1994) by commissioning a raft of works by South African composers which they have recorded and premiered in their home city of Bremen, as well as taken on tour to South Africa. Carlos María Solare speaks to the quartet – and also about the not-so-small matter of the ensemble’s own 30th anniversary this year.
Emma Baker editor
Email me at thestrad@thestrad.com or tweet @TheStradMag
Issue summary
We examine the early years of lutherie in Venice and talk to Chinese violinist Ning Feng about his latest projects. There’s a look back at the life of violinist Ivan Mane Jarnović and a Schubert Masterclass with violist William Coleman of the Kuss Quartet. Plus Harriet Krijgh’s Sentimental Work.
Contents
THE DAWN OF LUTHERIE IN VENICE Stefano Pio discovers the sensational lives of the makers of the Linarol family, possibly the first instrument making dynasty of the north-eastern Italian city
NING FENG The Chinese-born violinist has cultivated an eclectic approach to repertoire. He tells Michael White about his latest projects and approach to musicianship
IVAN MANE JARNOVIĆ Despite gaining popularity in his lifetime, the 18th-century virtuoso and composer is almost forgotten today. Tanja Goldberg investigates his legacy
SESSION REPORT Serbian violinist Nemanja Radulović tells Tom Stewart about the latest album with his Double Sens ensemble, which puts Bach’s works under the spotlight
SIGNUM QUARTET Carlos María Solare speaks to the members of the Germany-based chamber group about their latest project, a celebration of new South African composers
WEIDHAAS–FINKEL DYNASTY The family of European bow makers now extends over five generations. Gennady Filimonov examines their bows and tells the stories behind the makers
IN FOCUS A 1924 violin by János Spiegel
TRADE SECRETS Repairing a bow stick
MY SPACE Bosnian luthier Mensur Avdić
MAKING MATTERS Why a bow’s sound quality is dependent on the vibrations within the wood
MASTERCLASS Violist William Coleman on the second movement of Schubert’s String Quartet no.14 D810 ‘Death and the Maiden’
TECHNIQUE Cellist Clara Minhye Kim on how players connect the bow and the breath
LIFE LESSONS The memories and opinions of American double bassist Edwin Barker
OPINION Establishing a good working relationship between teacher and parent
POSTCARD FROM SIENA A report from the 2024 Chigiana International Festival
FROM THE ARCHIVE From December 1904
SENTIMENTAL WORK Cellist Harriet Krijgh on her love for Rachmaninoff’s Cello Sonata
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