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  • Beethoven Around the World - film stills - 025
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    Ébène Quartet: The Freedom of Instability

    2020-01-09T12:00:00Z

    Currently making international appearances to mark Beethoven’s 250th birthday as well as celebrating 20 years since its foundation, the Ébène Quartet is riding high now that violist Marie Chilemme has become an established member. But, the players tell Charlotte Gardner, replacing former violist Mathieu Herzog was no easy matter following ...

  • Rachel Podger
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    ‘You have to give yourself over to this painful journey’

    2019-12-26T13:07:00Z

    Complex, knotty, cryptic – the treacherous elements of Biber’s Rosary Sonatas are a rite of passage for Baroque violinists and their instruments alike. Rachel Podger, who joins a long list of early music specialists to record the work, talks to Philip Clark about how she and her violin survived the ...

  • Menuhin May 2016 issue
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    Three Lives in One

    2019-12-09T12:36:00Z

    Yehudi Menuhin’s extraordinarily multifaceted life and career more than surpassed the traditional role of the solo concert violinist. Here friends, family and colleagues who knew him, studied with him and worked alongside him describe their association with and memories of the great man

  • _IV_4725
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    Expanding the limits

    2019-12-06T12:00:00Z

    Georgian violinist Lisa Batiashvili has recently taken on new challenges, among them artistic directorship of the Audi Summer Concerts festival and performing on the soundtrack to The White Crow . But, she tells Toby Deller , she finds equal joy in creating wonderful interpretations from long-term partnerships 

  • Amati_VA_1677_belly
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    A Massive Achievement

    2019-10-31T09:25:00Z

    Made in 1677, the ‘Romanov’ Nicolò Amati viola is one of the maker’s late masterpieces. Alberto Giordano and Rudolf Hopfner investigate its turbulent history and examine how it fits into the Amati family’s oeuvre

  • AYS_UCLA-128_hi res2
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    Turning Over a New Leaf

    2019-09-27T13:00:00Z

    Since her professional debut almost 30 years ago, Sarah Chang has maintained a glittering solo performing and recording career. But, as she tells Charlotte Smith, her more recent desire to take on ‘passion projects’ has led to fulfilling chamber and contemporary collaborations 

  • _D3_0274edit03
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    A Human Heart

    2019-09-04T14:00:00Z

    To mark the centenary of the completion and premiere of Elgar’s Cello Concerto, cellist Raphael Wallfisch  reflects upon the period and circumstances surrounding the work’s creation and subsequent life

  • _DSC5641 StockholmsKonserthus27 April©Jan-Olav Wedin
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    Passing the Torch

    2019-07-31T16:00:00Z

    Expert encouragement in their early years helped turn the Belcea Quartet into one of today’s most formidable chamber ensembles. Twenty-five years after they started out, they talk to Tom Stewart about passing on their experience to the next generation – as well as continuing to gain knowledge themselves 

  • Bosch surrounded by young musicians from the I, Culture Orchestra in Poland, for which he acted as double bass tutor from 2013-14
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    Leon Bosch: Irrepressible Drive

    2019-07-17T00:10:00Z

    South African-born double bassist Leon Bosch has held top orchestral posts and performed as a soloist on multiple international stages since arriving in the UK in 1982. But, as he tells Kimon Daltas , now is not the time to rest on his laurels, as new works and new challenges ...

  • TAMESTITantoine_0319PM-071 HD © Philippe Matsas
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    Bach Renewed: Antoine Tamestit

    2019-06-27T13:07:00Z

    French violist Antoine Tamestit releases not one but two albums of Bach arrangements in 2019: the viola da gamba sonatas and the Goldberg Variations for string trio. He reveals his innovatory and thoughtful approach to these challenging works in conversation with Carlos María Solare 

  • Figure 7. Smith_MS_21_PG (4.19 cmyk)
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    Forms of mystery

    2019-05-10T22:48:00Z

    Andrea Zanrè and Philip Ihle conclude their examination of Stradivari’s moulds, with the aid of micro-CT imaging by Rudolf Hopfner, by exploring whether the Cremonese master may have used more than the twelve forms that survive in the Museo del Violino