All Regulars articles – Page 33
-
Premium ❘ FocusTechnique: How to play a chop groove
Mix up chops, ghost notes and melody notes to create a rhythmic groove with tonal variation
-
FocusSentimental Work: Christine Hoock
Mišek’s Double Bass Sonata no.2 has been by the German bassist’s side throughout her career – and helped to create a lot of friendships along the way
-
Premium ❘ FeatureMaking Matters: In tune with the types
Luthiers often examine a musician’s way of playing before setting to work on their instrument. David Leonard Wiedmer explains why it can be helpful to categorise players into two different ‘types’
-
FocusAnne Akiko Meyers: Life Lessons
The US violinist recalls childhood travels and discusses the challenges of a young soloist’s life
-
FocusFrancesca Dego: Life Lessons
Students must be helped to find the right advice from the beginning, says the Italian violinist, who reflects on her own formative experiences
-
Premium ❘ FeatureIn Focus: A c.1620–1701 viola by Enrico Catenar
Gabriele Rossi Rognoni looks at the German maker’s oldest-known surviving instrument
-
Premium ❘ Article‘Faking is perfectly acceptable, provided the player’s conscience can deal with it’: Letters to the Editor April 2022
A selection of letters The Strad receives each month from its readers around the world: April 2022 issue
-
Premium ❘ Feature‘Stop! There is a violin; it might be good for my cabinet’: From the Archive: April 1902
Dr T. Lamb Phipson recalls the tale of an impromptu violin auction on the streets of Rome, where a bidding war ended with a happy twist
-
Premium ❘ NewsPremiere of the Month: Lost for words
A work looking at communication in an interdisciplinary setting
-
![[1] Bryan © Nikolaj Lund 1](https://dnan0fzjxntrj.cloudfront.net/Pictures/100x67/2/3/4/25234_1bryannikolajlund1_722487.jpg)
Premium ❘ NewsCompetitions, Awards and Appointments: April 2022
This month’s competition results, appointments and forthcoming contests
-
Premium ❘ FeatureMasterclass: Eldbjørg Hemsing on Grieg Violin Sonata no.2 in G Major
To bring out all the joy, innocence and darkness in this first movement, it is essential to understand its combined roots in classical composition and Norwegian folk music, explains Eldbjørg Hemsing
-
-
Premium ❘ ArticleProducts April 2022: TekPin cello endpin
The vertical endpin that promises better balance and motion
-
Premium ❘ ArticleProducts April 2022: Otto Musica Muco violin shoulder rest
An new and improved shoulder rest model
-
Premium ❘ ArticleApril 2022: Editor's welcome and contents
The Strad’s editor Emma Baker introduces the April 2022 issue
-
-
Premium ❘ FeatureMasterclass: violist Emilie Hörnlund on Beethoven String Quartet op.59 no.1
Swedish violist Emilie Hörnlund, of the Chiaroscuro Quartet, discusses how to achieve optimal articulation, balance and flow in the first movement of the first ‘Rasumovsky’ Quartet
-
Premium ❘ FocusMaking Matters: Her dark materials
Why do so many violins from German-speaking countries in the later 18th century have such dark varnish? Michel Lorge advances a theory that makes no assumptions about the luthiers’ abilities
-
FocusFranck Chevalier: Life Lessons
As he marks 25 years with the Diotima Quartet, the French violist talks about life as a chamber musician and the importance of conversing with peers
-
Premium ❘ FeatureMasterclass: Beethoven String Quartet op.132
Jacqueline Thomas, cellist of the Brodsky Quartet, which celebrates its 50th anniversary this year, looks at a third movement written by a composer convalescing from a near life-ending illness
