Debate – Page 2
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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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Debate
Virtual reality: tool for audience engagement or passing fad?
Orchestras across the globe have been experimenting with enhancing the audience’s musical experience. What are the potential applications for VR technology, asks Peter Somerford
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Focus
Is own-label recording the right choice if you're not already established?
Creating your debut CD is only the first step on the road to success, as the subsequent marketing process can be just as difficult. Peter Somerford gathers some expert advice
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Debate
Orchestral manoeuvres in the dark: classical music organisations prepare for Brexit
With the UK and EU no closer to finalising a Brexit deal, British orchestras are facing an uncertain future in Europe – and continental players have a right to be concerned, writes Peter Somerford
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Focus
Why are female composers still markedly behind in terms of prominence?
Are quotas the solution, or do public attitudes still need to change, asks Peter Somerford
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Debate
Why do string players often sound so different on disc than live?
Too many string players are unable to take ownership of their recorded sound because they lack an external perspective, says Charlotte Gardner
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Blogs
Putting students and professors in chamber music groups together is invigorating for both
In the run-up to the Guildhall School’s first chamber music festival, cello professor Ursula Smith reflects on the mutual benefits of its unique approach
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Debate
Slow practice should be used only when needed as a learning tool
Are you wasting your time? As musicians we should be doing more to question the standard warm-up and practice regimes, writes violist Paul Neubauer
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Focus
Two ♭ or not two ♭ – on the Adagio from Bach's Violin Sonata no.1
Excessive reverence for Bach’s manuscript is leading violinists to make a mistake early in the first sonata, writes Hagai Shaham
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Debate
Performance improves when exposed to audiences – even imaginary ones
Students and parents alike need to understand that a good performance has to be developed and nurtured from the earliest stages, argues Naomi Yandell
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