December 2026: Editor’s welcome and contents

The December 2026 edition of The Strad focuses on notable developments in classical string music and instrument craftsmanship, anchored by a detailed scientific examination of a 1744 Guarneri ‘del Gesù’ violin. This study employs synchrotron microtomography to explore the inner structure of the instrument, made near the end of the luthier’s life, revealing new insights into its construction and preservation.

This rare instrument, known as the ‘Sainton’ Guarneri, has attracted attention not only for its historical significance but also through the perspective of its current custodian, German violinist Arabella Steinbacher. She shares her experience of performing on this exceptional violin, emphasizing the instrument’s unique tonal qualities and historical resonance.

The issue also commemorates the 150th anniversary of Pablo Casals’ birth, a milestone that serves as a foundation for reflections from four prominent cellists. These musicians discuss how Casals’ contributions have directly influenced their own artistry, particularly his advocacy for the Bach Cello Suites, and how his legacy continues to shape contemporary cello performance.

Coinciding with this tribute, the magazine marks fifty years since the death of Benjamin Britten, another towering figure in 20th-century classical music. Britten’s string compositions, which span his entire career, receive renewed scrutiny, highlighting pieces such as the Simple Symphony, cello suites, and various string quartets. A closer look at these works reveals their enduring impact and the relationships Britten maintained with leading string players of his time.

Amid these historical reflections, attention shifts to fresh talent with an interview featuring Geneva Lewis, a violinist of US–New Zealand heritage whose career has rapidly ascended in recent years. Lewis discusses her artistic development, early influences, and the trajectory of her upcoming projects and commissions scheduled for 2027.

The issue extends its instrument focus beyond the 1744 Guarneri, presenting a study of an 1822 violin crafted by Nestor Audinot and insights into the methods used by luthier Tadeusz Slodyczka for repairing soundpost cracks. Ukrainian luthier Roman Shmigelsky, aged 87, is profiled to acknowledge his decades-long influence within his country’s violin-making community.

Further enriching this edition, viol consort Fretwork’s founder Richard Boothby is interviewed about their latest recordings, which feature newly discovered works by Carl Friedrich Abel, adding to the expanding repertoire for early string instruments.

Masterclasses and technique discussions provide practical perspectives, including cellist Astrig Siranossian’s approach to Elgar’s Chanson de Matin and Catherine Rimer’s guidance on transitioning between modern and historical cello styles. These contributions address both performance and pedagogical facets of string playing.

Personal reflections from Canadian double bassist Joel Quarrington offer additional depth, sharing memories and opinions that contribute to a broader understanding of orchestral bass techniques and experiences.

The magazine also critiques current trends in music competitions, arguing that they often overlook significant educational opportunities for participants, which could otherwise enhance artistic development within the string community.

A report from the George Enescu International Competition in Bucharest adds on-the-ground coverage of one of the year’s important events, highlighting emerging performers and competition outcomes.

Finally, violinist Tai Murray discusses her enduring connection to Bartók’s Sonata for solo violin, exploring the emotional and technical challenges posed by this work.

Taken together, the December 2026 issue of The Strad juxtaposes historical investigation, artist profiles, and technical insights, presenting a comprehensive portrait of string instrument art and its evolving landscape. The integration of advanced imaging technology with artist interviews bridges past craftsmanship with current performance practice, while commemorations of Casals and Britten establish a framework for understanding the lineage and future of string music.