All Regulars articles – Page 29
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Premium ❘ NewsCompetitions, Awards and Appointments: September 2022
This month’s competition results, appointments and forthcoming contests
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Premium ❘ FeatureTrade Secrets: Making a Baroque cello bridge
A method that allows the luthier to create their own design rather than rely on a pre-cut template
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Premium ❘ FocusOpinion: A teenage cellist on spreading the love for classical music
Megan Clarke, a 16-year-old cellist in the National Youth Orchestra, is on a mission to communicate her love of classical music to other young people
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Premium ❘ Feature‘Free and ringing, never forced’ - Technique: Developing bow control for improved tone
Violist Martin Outram on mix of exercises to help you draw out sound actively and attentively with the right hand
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Premium ❘ FeatureMaking Matters: How six bow makers crafted a bow in three days
Making a bow in three days is a tall order for anyone – but for six bow makers together? Pierre Nehr explains how April’s ‘Bow Rush’ event in Paris became an educational experience for all concerned
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Premium ❘ FeatureTechnique: Creating sound from the imagination
Iagoba Fanlo, professor of cello at the Conservatorio Superior de Música de Aragón and Alfonso X El Sabio University in Spain, on daily practice tools to help you realise your inner musical vision on your instrument
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Premium ❘ Feature‘We should always listen carefully to the quality of our tone’ - Technique: Working on open strings
Cellist Denis Severin provides exercises to help you build up a strong, reliable right hand, with a consistently beautiful sound
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Premium ❘ Focus‘When Mandela asked how I was, I admitted I was nervous’ - Maria Kliegel on Hommage à Nelson M.: Sentimental Work
The German cellist recalls the creation of Hommage à Nelson M., inspired by the life of Nelson Mandela – and the long road to performing it in front of the man himself
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Premium ❘ FeatureMy Space: Martin Krause
The luthier, based in Saarbrücken, Germany, invites us into his workshop
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Premium ❘ FeatureMasterclass: Mozart String Quartet K428
In the first movement of Mozart’s third ‘Haydn’ quartet Johanna Staemmler, second violinist of the Armida Quartet, discusses the importance of harmony, colour and intellectual complexity
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Premium ❘ FeatureIn Focus: A 1766 cello by Carlo Ferdinando Landolfi
Philip Brown looks at the Milanese maker’s mid-century instrument
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Premium ❘ Focus‘It’s not about you; it’s about the music’: Helena Rathbone’s life lessons
The Australian Chamber Orchestra’s British principal violinist considers the pivotal role of chamber music throughout her career
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Premium ❘ ArticleAnalysis August 2022: ‘Teachers and examiners have been very patient, but it’s been frustrating for everyone’
Music teachers and students have recently expressed concerns about the ABRSM, the UK’s leading music examining board. How is it responding to the criticism? By Peter Somerford
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Premium ❘ FocusContending for the crown: Postcard from the 2022 Queen Elisabeth Competition
At the second-ever cello edition of the Queen Elisabeth Competition, twelve world-class cellists competed for the top prize in gruelling finals attended by the Belgian queen herself. Pauline Harding reports
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Premium ❘ ArticleAugust 2022: Editor’s welcome and contents
The Strad’s editor Emma Baker introduces the August 2022 issue
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Premium ❘ NewsCompetitions, Awards and Appointments: August 2022
This month’s competition results, appointments and forthcoming contests
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Premium ❘ Article‘The simple truth is that Nigel was a one-of-a-kind violinist’: Letters to the editor August 2022
A selection of letters The Strad receives each month from its readers around the world: August 2022 issue
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Premium ❘ Feature‘Their ensemble is so perfect that no disparity of style is observable’: From the archive: August 1912
Jelly d’Arányi (1893–1966) would become one of the 20th century’s top soloists. The Strad reports on the 19-year-old’s early career, which began as a duo with her sister Adila (1886–1962)
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Premium ❘ FocusSentimental Work: Kenneth Sillito
Performing Benjamin Britten’s 1931 String Quartet in D major for the composer was an eye-opening experience for the former leader of the Gabrieli Quartet
