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CELLO STRINGS All fired up
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This article is from...
The Strad
October 2020
VIEW IN STORE
Other Articles in this Issue
The Strad
Editor’s letter
It’s not often that a leading performer re-enrols as
Contributors
(Trade Secrets, page 66) graduated from the North Bennet
SOUNDPOST
Letters, emails, online comments
FRONT
Sounds like team spirit
Like so many other music establishments, record labels were blindsided by the eff ect of the pandemic – but despite the restricti ons, have carried on producing high-quality recordings
NEWS IN BRIEF
Jan Vogler launches new streaming platform bit.ly/31gQMq5
OBITUARIES
Erich Gruenberg, violin soloist and former leader of
New UK artist management agency launched
IMPOSSIBLE DREAM: Violinists Maxim Vengerov and Aleksey
Life lessons
Early encounters with nature left their mark on the Moldovan-born violinist, who thinks a culture of perfection is damaging our relationship with music
WISE WORDS
Masterclasses should be special forums in which great artists impart the insight and knowledge they have acquired over a lifetime, writes double bassist Leon Bosch
FEATURES
ACTIVE LISTENER
From getting to the core of new works to appreciating her students’ motivations, Midori is on a constant search for understanding. Toby Deller finds out how the Japanese-American violinist communicates this passion to those around her
HIDDEN GEMS
This month Ensemble Diderot releases The Berlin Album, the latest in its ‘cities’ recording series, juxtaposing works by established 17th- and 18th-century composers alongside those of lesser-known contemporaries. Ensemble founder and violinist Johannes Pramsohler speaks to Pwyll ap Siôn about why these works deserve greater attention
EMPTY CHAIRS AT EMPTY TABLES
Violin makers worldwide were hit hard by the Covid-19 outbreak as the customers dried up – nowhere more so than in Italy. Peter Somerford speaks to makers in Cremona, Florence and Modena to find out how the industry is gradually getting back on its feet
EARLY INSPIRATIONS
Violinist Tessa Lark’s new collaborative album, The Stradgrass Sessions, brings together the musical influences of her childhood, fusing bluegrass, folk, jazz and classical styles. The project might easily have been delayed by Covid-19, but her musical partners were only too happy to record remotely
NOT QUITE CINDERELLA
Britain during the late Georgian era was fertile ground for the viola as a serious chamber and solo instrument – and witnessed a flourishing in standards of playing and making, writes Kevin MacDonald
UNDERNEATH THE ARCHINGS
The old Cremonese luthiers’ method of designing violin archings has been lost in the mists of time. Andrew Dipper uses evidence from 18th-century manuals to propose how they might have done it, through a system encompassing string lengths, internal forms… and a lot of mathematics
REGULARS
ERIK LINDHOLM
A close look at the work of great and unusual makers
Organic scroll carving
A method for shaping the scroll and pegbox that can give more flowing results, in line with what is seen on old instruments
MY SPACE
A peek into lutherie workshops around the world
Why varnish matters
Ulrike Dederer reviews and summarises new research
HAYDN C MAJOR CELLO CONCERTO
Red Priest’s Angela East discusses her approach to phrasing and sound in the first movement, and the influence of Baroque and early-Classical vibrato, bowing and style
Artificial harmonics
How to use this less-common technique to improve harmonics, hand frame, intonation and bow control
Reviews
BACH Six Suites for solo cello BWV 1007–1012
JOURNEY OF A LIFETIME
Exploring the Ébène Quartet’s recordings of Beethoven’s complete oeuvre, Julian Haylock finds himself in a marvellous sonic landscape of intensity and variety
CONCERTS
ANNE SØE (VIOLIN), MALIN WILLIAM-OLSSON (VIOLIN), MINA
BOOKS
A Festi val of Violin and Fiddle Styles: For Violin
From the ARCHIVE
Kenneth Warren makes a pilgrimage to Oxford to view Stradivari’s famed ‘Messiah’ violin – an undoubted highlight of the respected US violin dealer’s career
ANSSI KARTTUNEN
For the Finnish cellist, Magnus Lindberg’s Cello Concerto no.2 embodies his lifelong working relati onship with the composer, through a complex set of emoti ons
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