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With vibrato the question isn't just about more or less, but also about variety of sound


It is a wonderfully expressive tool when used sensitively, but soloists especially should take greater advantage of the various vibrato possibilities, writes violist Hartmut Rohde

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How can violinists create a personal sound?


Once upon a time, violinists just wanted to get as close to Heifetz's sound as they possibly could. But now that golden standard no longer applies, Jessica Duchen asks, how do the stars of today mark themselves out as special?


Is playing the viola a different art from playing the violin?


Not so, according to Philip Dukes, who argues that the technical requirements of the instruments overlap considerably and players benefit from studying both

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If you want the industry to change, you have to be willing to enact a change yourself


The violinist and co-founder of the Manchester Collective on her musical philosophy and forging new ground in an increasingly conservative music world

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In their focus on technical prowess, conservatoires neglect music theory


Instinct isn't enough for true musicality. Instead of simply drilling technique, performers should have a profound an understanding of music theory, argues cellist David Watkin

Gwendolyn masin

Playing the violin places constant strain on the body, yet we leave posture to chance


A holistic approach to teaching should treat healthy body position as seriously as scales and etudes


What French television's classical talent show 'Prodiges' can teach us about elitism


The programme, a classical equivalent of The X Factor, has proven to be hugely popular. Does it matter that the young contestants are not exactly prodigies?

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