Page 7 - The Strad (February 2020)

Editor’s letter

B eethoven’s 250th anniversary in 2020 is, for so many
artists, the perfect reason to celebrate the composer’s trailblazing
contribution to the world of classical music. e Ébène Quartet is
no exception. e French ensemble, known equally for jazz as well ANGELA LYONS
as classical performances, has seized the opportunity to record
Beethoven’s complete string quartets, drawing attention to their
international and contemporary appeal as they do so. Not content with picking a single recording
studio, the group has travelled the world during its 2019-20 concert season, recording the works
in seven di erent countries. e tour has also provided them with the chance to introduce Marie
Chilemme as the quartet’s permanent violist. On page 28 the players speak to Charlotte Gardner
about the di‹cult process of replacing an integral member of their ensemble, and about the
exciting new period of growth ahead.
While artistic challenges are par for the course during the career of a musician, the question of
whether to retire from performance in later life can be one of the most complicated decisions. For
some, the idea is unthinkable, while for others, leaving the stage while at the top of their technical
game is of paramount importance. Pauline Harding speaks to a range of string players at di erent
stages in their careers on page 60 to get to the heart of a deeply sensitive and personal topic.
Elsewhere in this French-themed issue we examine the early development of Jean-Baptiste
Vuillaume. ough the luthier is highly regarded – and with over 3,000 known instruments
bearing his name – his formative years are sketchily understood. Jonathan Marolle seeks to rectify
this on page 34 with a close examination of six of Vuillaume’s early instruments, all of which
make the case for the Frenchman’s great skill as a craftsman and artist.

,!8£3ħ' 1-;, editor
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Cover photo Julien Mignot to January 2010 at www.thestrad.com
www.thestrad.com FEBRUARY 2020 THE STRAD 7