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Contributors

PABLO ALFARO

(Trade Secrets, page 82), originally from Mexico, is an award-winning violin maker and restorer based in Decatur, GA, US. He is a past governor of the American Federation of Violin and Bow Makers and is president of the Southern Violin Association.

HELEN BRUNNER

(The Suzuki approach to tone, page 37) is a violin graduate of London’s Royal College of Music and the Suzuki Talent Education Institute in Japan. She established the London Suzuki Group in 1972, and the Russian Suzuki Association in 2015. She is now an international Suzuki teacher trainer.

NATALIE CLEIN

(Masterclass, page 90) studied the cello in Vienna with Heinrich Schiff. She is a professor at London’s Royal College of Music and the Music Academy Rostock, and is the artistic director of her own chamber music festival in Purbeck, Dorset.

OSKAR FALTA

(Daniil Shafran, page 62) studied at London’s Royal Academy of Music, and earned his doctorate at the University of British Columbia in 2019. He now teaches cello at the Musikschule der Stadt Ulm in Germany.

SAMARA GINSBERG

(Suzuki teaching, page 28) studied with Stefan Popov at London’s Guildhall School of Music & Drama, and is now a freelance cellist and writer based in London. She is a busy session musician and arranger, and tours the world with Lincoln Center Stage.

YURI POCHEKIN

(In Focus, page 79) is a Russian-born violin maker currently based in Madrid. He has made around 300 violins, violas and cellos, and has been a jury member on violin making competitions including the Wieniawski in Poznań and the Cremona ‘Triennale’ in Italy.

This article appears in September 2021

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September 2021
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Editorís letter
ANGELA LYONS S ince Japanese violinist and pedagogue
Contributors
PABLO ALFARO (Trade Secrets, page 82), originally from
NEW DISCOVERIES
LETTER of the MONTH I am astonished.
SUSTAINABLE SOUNDS
I second the request of Brendon Mezzetti (Soundpost,
Cloud coverage
Online-only competitions have become ubiquitous in the past year, and competitors have had to adjust quickly to this new way of assessment. Where does the future lie?
NEWS IN BRIEF
Philharmonie de Paris announces lutherie competition bit.ly/2Ter3xc
OBITUARIES
ALLAN STEPHENSON South African cellist, conductor and composer
Force of nature
PREMIERE of the MONTH
COMPETITIONS
1 Eva Rabchevska RABCHEVSKA PHOTO MARTÍNEZ DE ALBORNOZ.
Signs of recovery
The June auctions in the UK capital brought together a number of interesting bows and instruments, with signs that the market is on the up and up, writes Kevin MacDonald
Gut reaction
VIOLIN STRINGS
IN SAFE HANDS
Cremonese case manufacturer Musafia has designed a fourth
ALL IN ONE
The Revoluthier ‘Basic’ violin workstation from Hubert Lutherie
Life lessons
The Latvian violinist recalls growing up in a musical family, and stresses the importance of hard work
Every child can
Since Japanese violinist Shinichi Suzuki founded his method of bowed string tuition in 1945, it has been adopted and embraced by countries around the world. Samara Ginsberg talks to teachers and students, past and present, about their experiences of Suzuki teaching and its enduring popularity
‘Every tone has a living soul’ – Shinichi Suzuki
Suzuki’s study of violin tone was his lifetime’s work. Here violinist and teacher Helen Brunner shares personal reminiscences of working with him
BAROQUE REVOLUTION
Historically informed performance requires no secret code, argues Baroque violin professor Walter S. Reiter. The information is out there for the taking, and modern music colleges need to get ahead of the game
The art… of deception?
Making a new instrument look old is a painstaking craft that requires skill, patience and imagination. But why do luthiers spend their time creating an unreal effect? Peter Somerford speaks to both advocates and critics of the process
CLASSICAL CRUSADER
French cellist Christian-Pierre La Marca’s Wonderful World recording project highlights the environmental challenges facing humanity – and musicians really can make a difference, he tells Tom Stewart
INTELLIGENT DESIGN
The science of violin acoustics has encompassed 3D scanning, CNC technology and good old-fashioned tap tones – so why not AI software? Sebastian Gonzalez presents the results of a project that could help predict an instrument’s tone qualities even before it’s made
THE UNSUNG HERO
The Soviet cellist Daniil Shafran was a unique performer with a highly individual technique and sense of interpretation. He deserves to be recognised as one of the 20th century’s great instrumentalists, writes Oskar Falta
SIZE DOES MATTER
Viola players everywhere know the difficulty in finding the perfect instrument – but how many realise the differences that size, shape and weight can make to playability and tone? William Castle gives a step-by-step guide to finding the one that’s right for you
ANATOLY LEMAN
IN FOCUS A close look at the work
Varnish crackle effects
An easy approach to varnish crackle and faux crackle techniques that could be applied to restoration and antiquing
MY SPACE
A peek into lutherie workshops around the world
Historically informed?
Are the gut strings used in HIP really true to those used by 18th- and 19th-century players? Kai Köpp examines the technical reasons why today’s strings might sound quite different from their predecessors
HAYDN CELLO CONCERTO IN D MAJOR
MASTERCLASS
Overcoming common misconceptions in Suzuki teaching
TECHNIQUE
Reviews
Your monthly critical round-up of performances, recordings and publications
THIS MONTH’S RECOMMENDED RECORDINGS
Our pick of the new releases
RECORDINGS
BACH Sonatas and Partitas for solo violin BWV1001–1006
BOOKS
Sight Reading Strings: A progressive method Naomi Yandell,
From the ARCHIVE
The Strad ’s regular correspondent ‘Lancastrian’ (Dr William Hardman) gives his impressions of Eugène Ysaÿe, then at the height of his powers
IN THE NEXT ISSUE
Janine Jansen The Dutch violinist talks about
MATT HAIMOVITZ
For the cellist, Ligeti’s Sonata for Solo Cello was the doorway into the complex world of modern and non-classical music – with a little help from the composer himself
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September 2021
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