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The Strad, essential reading for the string music world since 1890

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The Strad, essential reading for the string music world since 1890

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Since its launch in 1890, the magazine has brought its readers the best features, comment and analysis on all issues of interest to string teachers, players, students, instrument makers and enthusiasts. Authoritative, trusted and influential, The Strad keeps readers informed about the latest news, groundbreaking research and techniques in all aspects of playing and making stringed instruments through its print and digital platforms.

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Egendom Innehåll
site_name The Strad
url https://www.thestrad.com
title The Strad, essential reading for the string music world since 1890
description Since its launch in 1890, the magazine has brought its readers the best features, comment and analysis on all issues of interest to string teachers, players, students, instrument makers and enthusiasts. Authoritative, trusted and influential, The Strad keeps readers informed about the latest news, groundbreaking research and techniques in all aspects of playing and making stringed instruments through its print and digital platforms.
image:width 1024
image:height 536
image https://www.thestrad.com/Magazine/dest/graphics/social/logo.png?v=1
image:alt The Strad

Rubriker

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  • [H2] Your browser is not supported
  • [H2] This holiday season, explore The Strad in full
  • [H2] Opinion: why string players should pay attention to large muscle groups
  • [H2] Latest
  • [H2] Recipients of the 2026 Sphinx Medal of Excellence announced
  • [H2] Violinist Timothy Chooi named Wiener Concert-Verein artistic partner
  • [H2] ‘Chamber music at its finest is an act of generosity’: Daniel Hope on shaping Wolf Trap
  • [H2] Netherlands Philharmonic appoints new principal bassist
  • [H2] Latest
  • [H2] Recipients of the 2026 Sphinx Medal of Excellence announced
  • [H2] Violinist Timothy Chooi named Wiener Concert-Verein artistic partner
  • [H2] Netherlands Philharmonic appoints new principal bassist
  • [H2] Violinist Chloé Kiffer joins Paris teaching faculty
  • [H2] Violist Sheila Browne joins the Cleveland Institute of Music faculty
  • [H2] Form Revealed: Bruch’s Violin Concerto and the Discipline of Fire
  • [H2] Thank you ASTA!: 2026 conference photos and round-up
  • [H2] Cello contestants announced for 2026 Queen Elisabeth Competition
  • [H2] Why practice doesn’t prepare musicians for performance
  • [H2] Lufthansa Group changes hand luggage rules following negotiations with violinist Carolin Widmann
  • [H2] Playing Hub
  • [H2] Oscar Strasnoy: reinventing the double concerto
  • [H2] Harness your superpower: self-efficacy for adult learners
  • [H2] Opinion: why string players should pay attention to large muscle groups
  • [H2] In my studio: multi-instrumentalist, composer and producer Anna Phoebe
  • [H2] The road to a world premiere: notes from a composer and duo
  • [H2] Why practice doesn’t prepare musicians for performance
  • [H2] Premium for Subscribers
  • [H2] Harness your superpower: self-efficacy for adult learners
  • [H2] Technique: Integrating improvisation into your daily practice
  • [H2] Premium for Subscribers
  • [H2] Harness your superpower: self-efficacy for adult learners
  • [H2] Technique: Integrating improvisation into your daily practice
  • [H2] In Focus: A c.1880–90 viola by Enrico Marchetti
  • [H2] Nemanja Radulović: music in the moment
  • [H2] Making history: Pressenda double bass
  • [H2] Sentimental Work: Orin O’Brien on Stravinsky’s ballet Orpheus
  • [H2] ‘Constant questioning makes life so beautiful’ - Nicolas Altstaedt’s life lessons
  • [H2] Postcard from Genoa: Premio Paganini Competition
  • [H2] ‘It always comes back to listening to others’ - Alasdair Tait’s life lessons
  • [H2] Auction Report January 2026: Lights in the darkness
  • [H2] Opinion: Creating a musical environment
  • [H2] Competitions
  • [H2] Winners named for 2025 German Musical Instrument Fund competition
  • [H2] Cello contestants announced for 2026 Queen Elisabeth Competition
  • [H2] Ysaÿe International Violin Competition announces 2026 finalists
  • [H2] Premiere of the Month: Shelley Washington’s new cello concerto
  • [H2] Competitions, Awards and Appointments: March 2026
  • [H2] Masterclass
  • [H2] Masterclass: Hoffmeister Viola Concerto in D major, first movement
  • [H2] Masterclass: Beethoven Violin Sonata no.10, op.96, first movement
  • [H2] Masterclass
  • [H2] Masterclass: Hoffmeister Viola Concerto in D major, first movement
  • [H2] Masterclass: Beethoven Violin Sonata no.10, op.96, first movement
  • [H2] Masterclass: Brahms Cello Sonata no.1 in E minor op.38, third movement
  • [H2] Podcasts
  • [H2] The Strad Podcast: How to tailor the Suzuki Method to different students with violinist Meghan Faw
  • [H2] The Strad Podcast: How to hold a masterclass with violinist Paul Huang
  • [H2] The Strad Podcast: How to teach collaborative skills with violinist Annie Fullard of the Cavani Quartet
  • [H2] The Strad Podcast: How to practise effectively with violinist Ray Chen
  • [H2] Podcasts
  • [H2] The Strad Podcast: How to tailor the Suzuki Method to different students with violinist Meghan Faw
  • [H2] The Strad Podcast: How to hold a masterclass with violinist Paul Huang
  • [H2] The Strad Podcast: How to teach collaborative skills with violinist Annie Fullard of the Cavani Quartet
  • [H2] Competitions
  • [H2] Winners named for 2025 German Musical Instrument Fund competition
  • [H2] Cello contestants announced for 2026 Queen Elisabeth Competition
  • [H2] Ysaÿe International Violin Competition announces 2026 finalists
  • [H2] Videos
  • [H2] Michael Stephen Brown gives the viola the spotlight in a new work
  • [H2] Lutherie
  • [H2] Australian Chamber Orchestra acquires 1610 Maggini viola
  • [H2] In Focus: A c.1880–90 viola by Enrico Marchetti
  • [H2] ‘Struck by the instrument’s unique voice’: playing the Pressenda double bass
  • [H2] What violin does Nemanja Radulović play?
  • [H2] Making history: Pressenda double bass
  • [H2] Making Matters: an expert team varnishes a copy of the ‘Farina’ Montagnana cello
  • [H2] Lutherie
  • [H2] Australian Chamber Orchestra acquires 1610 Maggini viola
  • [H2] In Focus: A c.1880–90 viola by Enrico Marchetti
  • [H2] ‘Struck by the instrument’s unique voice’: playing the Pressenda double bass
  • [H2] What violin does Nemanja Radulović play?
  • [H2] Making history: Pressenda double bass
  • [H2] Making Matters: an expert team varnishes a copy of the ‘Farina’ Montagnana cello
  • [H2] Concert Reviews
  • [H2] Concert review: Nicolas Altstaedt (cello) Thomas Dunford (lute)
  • [H2] Concert review: María Dueñas (violin) Philadelphia Orchestra/Yannick Nézet-Séguin
  • [H2] Concert review: Juilliard Quartet, Catherine Cho (viola) Marcy Rosen (cello) Marc-André Hamelin (piano)
  • [H2] Recording Reviews
  • [H2] The Strad Recommends: Ning Feng: Brahms, Goldmark
  • [H2] The Strad Recommends: Leila Josefowicz: Adès
  • [H2] The Strad Recommends: Tamsin Waley-Cohen: Reflection
  • [H2] Book Reviews
  • [H2] Book review: Music’s Odyssey: An Invitation to Western Classical Music
  • [H2] Book review: How to Perform with 100% Accuracy and Spend Less Time Practicing
  • [H2] Book review: Ray Brown: His Life and Music
  • [H2] Debate
  • [H2] Opinion: why string players should pay attention to large muscle groups
  • [H2] Opinion: SongHa Choi on ‘aura’ in live performance
  • [H2] Debate
  • [H2] Opinion: why string players should pay attention to large muscle groups
  • [H2] Opinion: SongHa Choi on ‘aura’ in live performance
  • [H2] Accessories
  • [H2] Products March 2026: Pirastro KorfkerSpring chin rest
  • [H2] Products March 2026: Swiss Wood Solutions Sonowood pegs
  • [H2] Products March 2026: Thomastik-Infeld Rondo Gold viola strings
  • [H2] Concert Reviews
  • [H2] Concert review: Nicolas Altstaedt (cello) Thomas Dunford (lute)
  • [H2] Concert review: María Dueñas (violin) Philadelphia Orchestra/Yannick Nézet-Séguin
  • [H2] Concert review: Juilliard Quartet, Catherine Cho (viola) Marcy Rosen (cello) Marc-André Hamelin (piano)
  • [H2] Book Reviews
  • [H2] Book review: Music’s Odyssey: An Invitation to Western Classical Music
  • [H2] Book review: How to Perform with 100% Accuracy and Spend Less Time Practicing
  • [H2] Book review: Ray Brown: His Life and Music
  • [H2] Recording Reviews
  • [H2] The Strad Recommends: Ning Feng: Brahms, Goldmark
  • [H2] The Strad Recommends: Leila Josefowicz: Adès
  • [H2] The Strad Recommends: Tamsin Waley-Cohen: Reflection
  • [H2] Artists
  • [H2] Nemanja Radulović: music in the moment
  • [H2] Beauty unbound by history: cellist Tommy Mesa explores the many voices of his 1767 Gagliano
  • [H2] Stella Chen: a bright future
  • [H2] Education Resources
  • [H2] The Strad Directory
  • [H2] Keep informed
  • [H3] March 2026
  • [H3] February 2026: Editor’s welcome and contents
  • [H3] Michael Stephen Brown gives the viola the spotlight in a new work
  • [H3] The violin technique that shouldn’t exist: MinutePhysics explains Roman Kim’s harmonics technique
  • [H3] Jupiter Quartet performs Ginastera’s String Quartet no.1
  • [H3] Amy Beach’s Romance op.23 for double bass and piano
  • [H3] Roman Kim: virtuosity, artistic freedom and how to find your voice
  • [H3] Bach in a new space: Francesca Dego performs the Chaconne
  • [H3] Video: Richard Tognetti performs at the top of Sydney Opera House
  • [H3] Hina & Fiona perform Handel-Halvorsen Passacaglia for two violins
  • [H3] ‘You feel the presence and breath of a fifth person’ - The Elmire Quartet on its debut ‘Rasumovsky’ Quartets album
  • [H3] A cello, a zipline and a drone: how Gautier Capuçon’s Alpine music video was filmed
  • [H3] Student Hub
  • [H3] Degrees
  • [H3] String Courses
  • [H3] Available from The Strad Shop
  • [H3] Keep informed

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