November 2026: Editor’s welcome and contents

The November 2026 edition of The Strad magazine shines a spotlight on North American contributions to the world of string music, weaving together profiles of emerging artists, landmark composers, and pivotal technical advances in the field.

At the forefront is Sterling Elliott, a young American cellist whose rapid ascent on the international classical scene has drawn significant attention. Hailing from Virginia, Elliott’s career trajectory includes notable affiliations with the Sphinx Organization and the Young Classical Artists Trust, alongside recognition as a BBC Radio 3 New Generation Artist. Despite his youth, he expresses a commitment to nurturing upcoming musicians, revealing how his own formative experiences have shaped his artistic identity and sense of responsibility.

The issue also commemorates the 90th birthday of the eminent American composer Steve Reich, whose minimalist oeuvre has left an indelible mark on contemporary music. An exploration of Reich’s string compositions includes insights from David Harrington of the Kronos Quartet, a key ensemble in interpreting seminal works like Different Trains. This retrospective assesses both the technical demands and the interpretive rewards inherent in performing Reich’s challenging repertoire.

Adding historical texture, the magazine traces the origins and evolution of the “chop” bowing technique—a percussive style analogous to rhythm guitar in bluegrass and folk fiddling traditions. This rhythmic bowing method, which emerged around six decades ago in the United States, is examined through interviews with its foremost practitioners and an experiential inquiry into its execution and notation.

Another historical investigation centers on the influence of Giovanni Battista Viotti, the Italian violinist whose playing style is believed to have significantly impacted the development of the modern Tourte-style bow. Instrument maker Markus Laine evaluates the evidence supporting Viotti’s role in shaping this transformative design, which remains foundational to violin performance today.

The magazine further delves into the legacy of Nicola Utili, an early 20th-century Italian luthier known for his unconventional instrument designs. Despite being self-taught, Utili earned considerable respect during his lifetime, and his work offers a distinctive perspective on violin craftsmanship.

Contemporary American luthier Andrew Carruthers shares an intimate look at his workshop in Santa Rosa, California, offering readers a glimpse into the artisanal process behind fine instrument making. Complementing this, detailed features spotlight intricately carved violins by makers like Knute Reindahl and a 1948 violin crafted by Zenon Wladimir Petesh.

The issue also includes pedagogical content, such as a masterclass on Bach’s Violin Concerto in E major led by Julian Rachlin, and technical advice for solo Bach interpretation on the modern viola by Marc Sabbah. Moreover, Israeli violinist and educator Miriam Fried contributes a reflective piece on her professional insights and life lessons.

Coverage extends to recent musical events, with a report from the 2026 Newport Classical Music Festival in Rhode Island, and conversations with distinguished violinists like Cho-liang Lin, who shares his affinity for the Sibelius Violin Concerto.

Overall, the November issue of The Strad offers a comprehensive and multifaceted examination of North America’s ongoing influence in string music, highlighting emerging talents, honoring established figures, and tracing key innovations in performance and instrument-making traditions.