Editor’s letterANGELA LYONS Most musicians experience periods of self-doubt.

ContributorsJOSEF P. GABRIEL (Ludwig Bausch, page 32) first apprenticed

SOUNDPOSTLetters, emails, online comments

Crossing the streamsLive streaming has become one of the main – and in some cases the only – outlet for musicians to perform during the pandemic. But how viable is it as a profit-making enterprise?

NEWS IN BRIEFNew foundation aims to raise knowledge of Dutch

OBITUARIESWOLFGANG BOETTCHER Wolfgang Boettcher, a principal cellist of

Shifting shapesPREMIERE of the MONTH

COMPETITIONS1 Sterling Elliott BAK PHOTO DARIO ACOSTA. HALL-TOMPKINS PHOTO

Dominant geneVIOLIN STRINGS

LifelessonsHideko Udagawa

HIS OWN PATHAt the age of 40, German–American violinist David Garrett is a bona fide crossover star, in non-Covid times playing regularly to thousands at sold-out arena shows. But, as he tells Charlotte Smith, he has no intention of deserting his classical roots

GONE… BUT NOT FORGOTTENRespected during his lifetime, Ludwig Bausch was almost unknown just a few years after his death – and his bows were considered unremarkable junk. Josef P. Gabriel reveals why the maker and his family were almost lost to history, and why his work deserves to be listed among the greats

SHINING A LIGHTPolish virtuoso Janusz Wawrowski’s new arrangement of Ludomir Różycki’s Violin Concerto reveals a far more optimistic work than its wartime origins suggest, writes Harry White

SONG OF THE GUT STRING MAKERSIn 1877, Markneukirchen in Germany was at the heart of the world’s string making industry. The townsfolk were so proud, they even composed a drinking song all about it. Kai Köpp explains what the lyrics (translated into English for the first time) reveal about this convoluted process

Musical DOUBLESThough unrelated by birth, US violinists Eudice Shapiro and Frances Shapiro (later Magnes) forged parallel careers which provide a fascinating insight into the lives of female musicians during the mid-20th century, writes Tully Potter

A sound balanceProducing a nuanced, well-balanced and blended combination of piano and strings can be a difficult performance feat to achieve. Pauline Harding talks to chamber musicians, soloists and teachers to discover some of their secrets

PIETRO GALLINOTTILutherie

Reinforcing a cello bridgeLutherie

MY SPACELutherie

The height of perfectionPoints of interest to violin and bow makers

BEETHOVEN STRING QUARTET OP.59 NO.1Swedish 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

Cello warm-ups: the left handTeaching & Playing

ReviewsYour monthly critical round-up of performances, recordings and publications

From the ARCHIVEFROM THE STRAD  1991  APRIL VOL 102 NO.1212

IN THE NEXT ISSUEJulian Lloyd Webber The British cellist

DANIEL HOPESchnittke’s First Violin Sonata was the Irish–German violinist’s introduction to the composer’s work – as well as the perfect opening to meet the composer himself