Editorís letterIs it ever too late to learn an

SOUNDPOSTLetters, emails, online comments

The high cost of conflictWith the war in Ukraine now in its third month, many musicians are still trapped in the country. Two string players who left in the nick of time reflect on their experiences – and how we can help

NEWS IN BRIEFThe String Circle launches in Cremona bit.ly/3Kf49tU A

A mat ter of life and deathGiving birth to new life forms the basis of this British composer’s work

COMPETITIONSLeonkoro Quartet Amelio Trio Trio Bohémo LEONKORO PHOTO

NEW PRODUCTSVIOLIN CASE Gigging go-between Bag and case are

Life lessonsThe Israeli violinist talks about dealing with self-doubt and developing a strong work ethic

Top lots from the London salesKevin MacDonald finds some unusual offerings, including an interesting quartet of bows, at the capital’s March auctions

That festival feelingDavina Shum reports on the violin final of the Carl Nielsen International Competition in Denmark, an event that encourages a unique sense of collaboration and support between competitors

Coming HOMEThe energetic and eloquent musicians of the Pavel Haas Quartet are celebrating 20 years of music making with a new recording of Brahms quintets joined by some old friends, as they tell Tom Stewart

NEVER TOO LATE TO LEARNWhen Billy Tobenkin decided to learn the cello from scratch at 25, he ignited a lifelong passion. He shares what turned out to be a bumpy but ultimately deeply fulfilling journey

MAGNIFICENT OBSESSIONFor decades, top soloists would visit the home of David Fulton to sample the treasures of his legendary collection. Now dispersed, the instruments have been brought together again in book form. The collector shares some of the highlights with Christian Lloyd

LOOKING TO THE FUTURETim Homfray speaks to members of the Navarra Quartet, which celebrates its 20th anniversary this year and recently welcomed two new players, about recording chamber works by Edward Gregson

FREE SPIRITSThe Serbian school of string playing, characterised by its startling originality, developed out of the Balkan nation’s chequered history and unique place in Europe in the 20th century, finds Jacqueline Vanasse

REFLECTED GLORIESViewing instruments in different kinds of light has become standard in documentation and assessment. Leonhard Rank explains how, in addition to ultraviolet light, researchers can now use infrared, and even parts of the visible spectrum, to reveal even more secrets

ERMINIO MONTEFIORIIN FOCUS A close look at the work

A ‘plug and plate’ repair for a double bass neckA detailed alternative method for a difficult neck and pegbox repair

LORENZO FRIGNANIALL PHOTOS LORENZO FRIGNANI MY SPACE A peek

Change and decay?Matthieu Besseling argues we are currently seeing a ‘second transition period’ in instrument and bow making, analogous to the changes at the end of the 18th century – but are they all to the good?

DEBUSSY VIOLIN SONATA IN G MINORMASTERCLASS Fedor Rudin explores the emotionally volatile first

MASTERCLASS

Phrasing musically under pressureExercises in repetition and variation to ensure maximum musical security on stage

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

RECORDINGSBACH Cello Suites Bruno Philippe (cello) HARMONIA

BOOKSHave Violin, Will Travel: The Louis Persinger Story

From the ARCHIVEFROM THE STRAD JUNE 1892 VOL.3 NO.26

IN THE NEXT ISSUEGirolamo Amati II violin A

JOSHUA BELLWieniawski’s Violin Concerto no.2 brings back fond memories for the American violinist, from studies at Meadowmount to reminiscences of his mentor Josef Gingold

WelcomeWelcome to The Strad ’s 2022 Accessories supplement,

BEING GREENPeter Somerford explores the growing market for ethical, sustainable accessories for string players and luthiers, from hardwood and ivory alternatives to a vegan violin made with steamed pear and wild berries

STRINGS of the STARSHow does string selection affect a performer’s sound? Leading artists who’ve recently appeared in The Strad ’s pages or online discuss the strings they use and why

SPECIAL ADDITIONS What string playing accessory could you not do without? The Strad asked six players and teachers to reveal their favourite little helpers

CASESCarry your precious instrument and bows with confidence

CHIN AND SHOULDER RESTSPlay in comfort, whatever size and shape suits you best

LUTHERIEUseful tools to have on hand in the workshop

ROSINSGet a grip with rosin formulas to suit all styles of playing

TECHClever apps and devices for getting the most out of the music

MODELS ON DEMANDFrom making tools and parts to creating replicas of museum violins, 3D printing offers luthiers both practical and educational possibilities. Harry White speaks to violin makers about how they are embracing the technology

INSIDE THE LINESErik Martens of Jargar Strings explains the process of making metal and synthetic core strings

MAKING AND USING A JIG FOR CENTRALISING PLATESA useful tool for keeping a plate or rib structure in the exact centre at all times

GRIPPING TALESRosin makers of the early 20th century had the most creative ways of making their products stand out, as shown by this selection of advertisements in The Strad from 1903 to 1947

THE TALE OF THE TAILPIECEFrom medieval times right up to the present day, the humble tailpiece has undergone myriad changes, from the materials used to the size, design and method of attachment. Eric Fouilhé, Anne Houssay and Raphaël Thirion track the successive transformations of the accessory, explaining how changes in technology and usage influenced its development