Contents:
- JUILLIARD QUARTET The four members of the New York-based ensemble speak to Thomas May about playing, teaching and their relationship with the eponymous conservatoire
- KATÓ HAVAS The Hungarian-born pedagogue’s ‘New Approach’ caused shockwaves in the mid-20th century. Clifford Hall explores the legacy of her method of teaching
- HOW I PRACTISE Top players tell David Kettle about their different methods of practice, their various routines, and the importance of keeping themselves fresh and stimulated
- YOUNG ARTISTS’ PROGRAMMES There are a host of schemes and networks designed to support emerging musicians. Hattie Butterworth examines how they differ and who they are aimed at
- FRENCH TRANSITIONAL PERIOD – PART TWO Florent Boyer concludes his two-part investigation into the Parisian makers of the 18th and early 19th centuries with a look at Nicolas Lupot and his contemporaries
- SESSION REPORT Théotime Langlois de Swarte talks to Harry White about his latest album Le Violon de Rameau, with organist and harpsichordist William Christie
- PIETRO BARBIERI Philip Kass and Andrea Zanrè examine one of the lesser-known luthiers of Mantua, whose work nevertheless attained a high level of quality
Regulars:
- IN FOCUS A c.1850 violin by Lorenzo Arcangioli
- TRADE SECRETS Alessandro Peiretti’s method for carving a Gofriller-style cello scroll
- MY SPACE The workshop of Daniel King and Joe Roach of Cardiff Violins, UK
- MAKING MATTERS Why kaolin could play a crucial role in the phenomenon of chatoyancy
- MASTERCLASS Elene Meipariani, violinist of Trio E.T.A., discusses playing the first movement of Haydn’s Piano Trio Hob.XV:27
- TECHNIQUE Valentina Scheldhofen Ciardelli on expressivity in double bass playing
- LIFE LESSONS Matthew Jones, head of chamber music at the Guildhall School of Music & Drama
- OPINION How community-based string teaching can help both students and educators
- POSTCARD FROM BRUSSELS Report from the 2026 Queen Elisabeth Cello Competition
- FROM THE ARCHIVE From September 1916
- SENTIMENTAL WORK Violist Amihai Grosz on his love for Schubert’s Arpeggione Sonata D821
