Luthier and bow maker Iris Zhulla features in The Strad March issue Trade Secrets with a step-by-step guide on repairing a bow thumb groove with epoxy and modelling clay. Iris speaks about the importance of repairing, restoring and preserving our bows, given the precarious situation of pernambuco wood at the moment. Rather than writing off bows that require extensive surgery, Iris advocates repair whenever possible, as well as better education for players, students and their parents on simple, everyday habits we can instil to keep our bows in better health for longer.

Read Iris’s Trade Secrets on repairing a bow thumb groove with epoxy and modelling clay in the March 2023 issue here.

Learn about and donate to Alliance-USA here: https://www.alliance-usa.org/donate/

Watch Lynn Hannings speak about the pernambuco crisis: CITES changes and ramifications at the Women in Lutherie Conference 2022 here: https://www.youtube.com/watch?v=zPSO51H33DM

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The technique of playing double-stopped octaves can strike fear into the hearts of many a cellist – it certainly can be a daunting and overwhelming concept for players. But it doesn’t have to be. Here to give his tips on practising and teaching octaves for cellists, as well as how to avoid ‘mental catastrophising’ is Seth Parker Woods. Seth is a Grammy-nominated cellist who is assistant professor of practice - Cello and Chamber Music at Thornton School of Music, University of Southern California, and he provides a Technique article in our brand new March issue on this topic.

Seth’s album Difficult Grace will be released on 14 April on Cedille Records.

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Allemande

Suite for Solo Cello in G major BWV 1007

Johann Sebastian Bach

Seth Parker Woods, cello

Recorded by Sang Wook ’Sunny’ Nam at Jacob’s Well Mastering

Photo credit: Michael Yu

Fresh from her Senior Division victory at this year’s Sphinx Competition is violinist Njioma Grevious, who speaks with online editor Davina Shum about competitions and performance. She shares her chosen preparation strategies, what helps her embody the character of the piece she’s playing on stage, as well as her hopes for her future career. Plus, what can string players learn from flute players? 

Watch Njioma’s performance of the Samuel Coleridge-Taylor Violin Concerto in the Sphinx Competition Senior Division finals here:

https://www.youtube.com/watch?v=b9D65zvapo0&list=PL5BN_oivpxmQFFkf2xh4RNCB7TZk_GJKt

Other podcast episodes you may like:

Listen: The Strad Podcast Episode #34: Maria Ioudenitch on her competition success

Listen: The Strad Podcast Episode #17: Nikolaj Szeps-Znaider on competitions

Listen: The Strad Podcast #13: Dr. Renée-Paule Gauthier on dealing with performance anxiety

Photo credit: Jiyang Chen

Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.

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How do you feel about scales? Many people would agree that they play a necessary part in our musical education as string players, though most people will have had mixed feelings about implementing them in practice.

Violist of the PUBLIQuartet, composer and educator Nick Revel speaks to online editor Davina Shum about the role of scales in his playing, both past and present. Nick has devised a play-along tool for practising scales and arpeggios called DragonScales and he shares what this scale system can offer the modern player.

Find out more about DragonScales here. Sheet music is available here.

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Fly Trap

Dream Collider

Nick Revel

Sapphire Records

Photo credit: Ryan Scherb

Patricia Kopatchinskaja speaks to online editor Davina Shum about her recent programme of Janáček, Bartók and Brahms – including how she has to embody the composers’ wishes on stage. Not only has she recorded this programme of violin sonatas with pianist Fazil Say, she has also taken it on tour. How does she keep the pieces fresh and spontaneous on the road and in collaboration? Have a listen to her insights on performing these works.

Check out Patricia and Fazil's 'Strad Recommends' album review in the February 2023 issue here:

Find the album here: https://lnk.to/JanacekBrahmsBartokAr

The duo will be on tour with the programme on the following dates:

2 June: Baden Baden

3 June: Essen

4 June: Madrid

5 June: Barcelona

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I: Con moto

Sonata for Violin and Piano JW IIV7

Leoš Janáček

Patricia Kopatchinskaja, violin / Fazil Say, piano

Brahms, Bartók and Janáček

Alpha Classics 

Alpha 885

Photo credit: Marco Borggreve

As well as being violinist of the Danish String Quartet, Rune Tonsgaard Sørensen is also a member of the folk trio Dreamers’ Circus. In an aim to pass on the traditions of Nordic folk music to the next generation of musicians, the trio has devised a resource called Handed On – a project comprising original folk music in the form of sheet music and YouTube videos. If you’re interested in incorporating more (or any) Nordic folk music in your lessons, listen on to what Rune has to say. He spoke about the role of folk music in his own education, the parallels between Handed On and the Suzuki Method, as well as having more variety of repertoire in lessons.

Find out more here https://www.handedon.com/

https://edition-s.dk/music/dreamers-circus/dreamers-circus

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Mads Hansens Polka

Stormpolskan

Handed On

Dreamers’ Circus

Photo credit: Caroline Bittencourt

Alisa Weilerstein is embarking on a multi-year project called Fragments – comprising all 36 movements of Bach’s solo cello suites, interweaved with new commissions from 27 diverse composers. Alisa speaks to online editor Davina Shum about how this project came about, how a combination of theatrical elements come together to provide a unique musical experience, and why it’s good to jump into seemingly daunting projects with both feet.

Fragments 1&2 will premiere in Toronto on 28 January. Alisa will perform Fragments 2 in Irvine, CA (12 March) and Fragments 1 in Santa Barbara, CA (10 March), La Jolla, CA (14 March) and at New York’s Carnegie Hall (1 April)

Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.

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Courante

Suite for Solo Cello no.2 in D minor - Bach

Alisa Weilerstein, cello

PENTATONE PTC5186751

Photo credit: Marco Borggreve

Liam Byrne’s website states that he ‘spends most of his time playing either very old or very new music on the viola da gamba’ – often involving electronics. Perhaps you might think of the viola da gamba playing only historical music – Liam shared with online editor Davina Shum his approach of playing a wide range of repertoire with new technology and how in doing so, it opened up a world of colour and timbre.

Liam will appear at the d&b Soundscape event on 20 January 2023 at Sound Unwrapped, Kings Place. Find out more information here.

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Long Phrases for the Wilton Diptych – Nico Muhly

Concrete

Liam Byrne, viola da gamba

Photo credit: Tom Roelofs

Because of their rarity and exquisite craftmanship, the famed violins of Guarneri ‘del Gesù’ fetch a high price – including the 1741 ‘Vieuxtemps’ which boasts the title of the world’s most expensive violin. Recently, violinist David Garrett fulfilled a lifelong dream of acquiring a del Gesu violin from 1736 – he joins online editor Davina Shum in this episode to speak about what ‘del Gesù’ violins mean for him, as well as his new  ‘del Gesù’ Club, where owners, players and collectors of ‘del Gesù’ violins gathered to play, observe and discuss all things ‘del Gesù’.

Find out more about David’s ’del Gesù’ Club at guarneridelgesu.com

Read David's account of acquiring his 1736 ’del Gesù’ violin here.

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6 lieder op.34 II Auf Flügeln des Gesanges – Felix Mendelssohn

The Four Seasons 'Winter' II Largo – Antonio Vivaldi

David Garrett, violin

Iconic

Deutsche Grammophon

Photo credit: Christopher Koestlin

Violinist Gwendolyn Masin is an intrepid explorer of neglected violin works throughout history. In this episode, she shares with me three short pieces that she believes really should enjoy more time in the spotlight of staple repertoire; by Vítězslava Kaprálová, Mario Castelnuovo-Tedesco and Lazare Saminsky.

Interested in exploring these works? Here are links to the scores and Gwendolyn's recommended recordings:

Pieces in order of mention:

1. Vítězslava Kaprálová, Burlesque

Score:

http://www.kapralova.org/EDITION.htm

+ Recording

https://www.youtube.com/watch?v=BkHDYcaKeWw

1. Mario Castelnuovo-Tedesco, Ritmi

Score:

https://imslp.org/wiki/Ritmi,_Op.15_(Castelnuovo-Tedesco,_Mario)

+

https://mariocastelnuovotedesco.com/works_with_opus/ritmi/

+ Recording:

https://www.youtube.com/watch?v=b3ptU5zQ-X8&t=6s

1. Lazare Saminsky, Hebrew Rhapsody 

Score:

https://www.universaledition.com/lazare-saminsky-2717/werke/hebraeische-rhapsodie-9936

Recording (by Orsolya Korcsolán):

https://www.youtube.com/watch?v=tPnIQCeT1Cw

Read Gwendolyn's online article 'Shining a light on Poldowski' here

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Tango

Irène Wieniawska (Poldowski)

Gwendolyn Masin, violin / Vera Kooper, piano

Legends

Orchid Classics ORC100210

Photo courtesy Neda Navaee