November 2020


We talk to the Dover Quartet about recording Beethoven, and investigate the bow makers of Hollywood’s golden age. There’s a look at luthier Carlo Bisiach’s business in America, and the teaching of cellist Leonard Rose. Plus David Burgess and Julie Lyonn Lieberman in this US-themed edition.

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DOVER QUARTET: Charlotte Smith speaks to the American-based foursome about their new Beethoven cycle and residency at the Curtis Institute of Music in Philadelphia
TEACHING DIFFERENT STYLES: Julie Lyonn Lieberman explains the benefits of studying alternative styles from world cultures, from Romani and klezmer to Galician and Karnatak
CARLO BISIACH’S US CONNECTION: The Italian maker had an eight-year correspondence with his US representative, Leo D. Larsson. Gennady Filimonov outlines what the letters reveal
SESSION REPORT: Tom Stewart speaks to Frank Peter Zimmermann about his new recording of Martinů violin concertos, with the Bamberg Symphony under Jakub Hrůša
LEONARD ROSE: The American cellist was a master of the bow arm, which proved essential for his Juilliard students – some of whom recall their experiences to Oskar Falta
HOLLYWOOD BOW MAKERS: Some of America’s finest archetiers gravitated to Los Angeles during cinema’s golden age. Raphael Gold tells their stories and examines some of their bows
LIFE LESSONS: British cellist Guy Johnston on his journey into teacihng
OPINION: Charlotte Gardner queries the benefit of playing composers’ unrevised scores
IN FOCUS: Bruce Babbitt examines a violin by the American luthier Arthur James Maskrey
TRADE SECRETS: Davide Sora’s method of removing the mould after gluing in the linings
MY SPACE: Argentinian luthier Damián Stoppani and his travelling violin workshop in a bus
MAKING MATTERS David Burgess explains his experiments to alter the downforce on the bridge
MASTERCLASS: Hagai Shaham’s views on playing the Brahms Violin Sonata no.3 op.108
TECHNIQUE: Methods of bowing expressively, courtesy of cellist Daniel Levitov
FROM THE ARCHIVE: A lament for the lack of musical opportunities, from November 1940
SENTIMENTAL WORK: Cellist Amanda Forsyth selects Richard Strauss’s tone poem Don Quixote

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Weight 0.410 kg
Dimensions 21 x 30 x 0.5 cm
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