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Should classical artists embrace music video singles?


More core classical artists these days are mimicking their contemporaries in the pop world by releasing music video singles to accompany their albums. Charlotte Gardner asks whether this is a positive development

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Do string players who refuse to embrace popular music face extinction?


String players must embrace the vernacular of today’s popular music or risk being consigned to a bygone era, writes electric violinist Tracy Silverman

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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?

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From the archive: Technique or tone?


This article from The Strad, September 1954, argues that the trend among students of pursuing mechanical brilliance at the expense of beauty of tone is misguided

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Nurturing limb-differences in students


The benefits of accommodating and encouraging limb-different string students far outweigh the challenges for teachers, says University of North Texas lecturer Elizabeth Chappell


Joshua Bell: Don't impose bowings and fingerings on your students


There is no ‘one size fits all’, argues the American violinist. It is important to discuss why students chose their fingerings and why there may be better alternatives

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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

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