Debate – Page 3
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DebateBeyond Bach: 12 tips for better Baroque playing
A thorough knowledge of Baroque repertoire apart from the works of Bach is so important if modern players are to gain a proper understanding of Classical and Romantic works, writes Adrian Butterfield
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Premium ❘ DebateOpinion: Solo exploring
There is so much more to the unaccompanied violin repertoire than the works of Bach, Paganini and Ysaÿe, writes James Dickenson
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DebateOpinion: An integrated whole
By divorcing technique from the music, we prevent the bow from becoming an extension of our right arm and hand, writes John Crawford
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DebateOpinion: On the margins
Conservatoires should do more to make 17th-century music a fundamental part of the curriculum, writes Walter Reiter
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DebateOpinion: Follow the science
A teacher can never rest on their laurels with a pupil – it’s important to keep observing how things are going and ask questions, says Naomi Yandell
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DebateOpinion: Touching a nerve
Although nervous energy can lead to inspired playing, it can also result in performance anxiety – unless we find ways to control it, writes cellist Laura van der Heijden
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DebateOpinion: A new light
Debussy’s Sonata for flute, viola and harp is just one of many works written for that combination, and is a prime example of how loosening fixed traditions can open new and exciting sound worlds, writes Toby Deller
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DebateBuilding an international profile for French violinists
In comparison with its array of top-level cellists and string quartets, France’s violin soloists seem in general to attract less media attention globally. Charlotte Gardner investigates the causes
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DebateOpinion: Defining relevance
Classical musicians can feel concerned about their lack of consequence in the ‘real’ world. But, as the pandemic has shown, the art form is needed now more than ever – and it’s up to performers to make the case, writes Andrew Mellor
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DebateOpinion: Being conscious
Developing musical potential requires a real sense of critical awareness as students grow, writes cellist Cecilia Radic
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DebateOpinion: Original and the best?
Scouring the archives for early drafts is fine in the name of research, but when it comes to performance, the composer’s revised version is usually the more satisfying option, writes Charlotte Gardner
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DebateOpinion: Wise words
Masterclasses should be special forums in which great artists impart the insight and knowledge they have acquired over a lifetime, writes double bassist Leon Bosch
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DebateOpinion: A light touch
Learning to play harmonics early on has many potential benefits for beginner string players, as Naomi Yandell observes
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DebateBeethoven’s music is especially appropriate in the time of Covid-19
Beethoven has been denied his year of celebration by the coronavirus pandemic. But, writes Toby Deller, his ‘Heiliger Dankgesang’ is an emblem for the current crisis
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DebateOpinion: Best of both worlds
If we work together and communicate effectively there is no reason why a student cannot benefit from lessons with more than one instrumental tutor, writes Celia Cobb
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DebateAfter Corona, pay inequality among musicians will be unsustainable
The great disparity in wages between soloists and rank-and-file musicians has been highlighted by the Covid-19 crisis, writes Andrew Mellor
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DebateOpinion: Mind the gap
For classical music students, bridging the divide between training and employment is often a case of being entrepreneurial, writes Jacqueline Vanasse
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FocusAre contemporary violin makers limiting their potential to develop new ideas?
A key aim of the VSA/Oberlin Workshop ‘Obie 1’ project was to create a good original violin design that was not directly derived or copied from a previous instrument
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DebateClassical musicians should play more sports
String players often shy away from sports for fear of damaging themselves, but the benefits far outweigh the dangers, says cellist and tennis enthusiast Maria Kliegel
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FocusWhy aren't more British string players making it big internationally?
Despite the large number of young and talented string players in Britain, few seem to make an impact as leading soloists on the world stage. Charlotte Gardner explores the reasons for this phenomenon
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