All Featured Stories articles – Page 77
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Premium ❘ ArticleSoundpost: Letters to the Editor September 2021
A selection of letters The Strad receives each month from its readers around the world: September 2021 issue
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Premium ❘ FeatureMasterclass: Natalie Clein on Haydn Cello Concerto in D major
The cellist discusses the improvisational freedom, humour and joy that are central to her own interpretation of the first movement of this popular audition piece
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FocusEsther Yoo’s instrument and bow
Read violinist Esther Yoo’s personal insights on the tools of her trade
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BlogsForgotten in HIStory: shining a light on female composers through the ages
Violinist Ellie Consta reflects on her journey to uncover works by forgotten female composers as the founder and artistic director of Her Ensemble: the UK’s first women and non-binary string ensemble
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FocusMystery lady: investigating female violinists in Georgian England
Upon stumbling across a portrait of an unnamed musician, Kevin MacDonald delved into the lives of several female violinists in the 18th-century, all with fascinating stories
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FocusMusical architecture - sound in time and space
Violist Hsin-Yun Huang writes about how acknowledging the ephemerality of music in space and time allows for greater freedom and joy in music-making
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NewsMusicologist creates interactive map of female composers
Musicologist and music teacher Sakira Ventura created the map to shine a light on female composers who otherwise would be lost in obscurity
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FocusEthel Smyth: life as a suffragette and composer
A life including political activism and a stint in prison didn’t stop Ethel Smyth’s extensive musical output. Taken from the August 2008 issue.
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Premium ❘ FeatureEthel Smyth: A woman of substance
Ethel Smyth’s talents as a composer have long been overshadowed by her political activism and her battles for women’s rights. In her 150th anniversary year, it’s time to celebrate her distinctive string music, says Catherine Nelson, in this article, taken from the August 2008 issue
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Focus‘A subtle blend of delicacy and strength’ - Five female composers from Russia and Poland
In this extract from March 2011, Ian Lawrence explores the string music of Gubaidulina, Firsova, Bacewicz, Bruzdowicz and Szymanska
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FocusPaul Neubauer: Sentimental Work
The US violist explores Joan Tower’s solo viola work Wild Purple, a testament to the close working relationship between the composer and the performer. From the November 2016 issue
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BlogsScaling the walls: what musicians can learn from bouldering
Cellist and online editor Davina Shum examines the parallels between rock climbing and music-making and how an approach in one discipline can inform the other
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FocusHow it started, how it’s going: four top violists share their beginnings
In this compilation of extracts from our regular feature ‘Life Lessons,’ read about how four leading viola players started out on their instrument
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Focus‘A bright key without inhibitions’ - Lewis Kaplan on Bach’s Solo Violin Partita in E major
In this extract from the August 2021 issue, Lewis Kaplan concludes his analysis of the Bach’s Solo Violin Sonatas and Partitas
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FocusExploring the second movement of Brahms Viola Sonata in F minor
In this extract from August 2015, violist Rainer Moog guides us through the nostalgic second movement of op.120 no.1
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Focus7 bow hold insights from historical string players
The way of holding a bow is a topic of endless discussion. Here is what seven influential string players of the past had to say about it
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FocusJulian Rachlin’s tips on the first movement of Brahms Viola Sonata no.1
Tips on finger placement, bow distribution and character in the F minor sonata, taken from the March 2018 Masterclass
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FocusClarinet or viola? The history of Brahms op.120
In this extract from 1997, Michael Freyhan examines the history behind Brahms’ viola sonatas, including the composer’s doubt that they should even be played on the instrument
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Premium ❘ FeatureŠevčík’s legacy: how important is he to string players today?
Leading performers and teachers share their views on the use of Ševčík today, in this article from September 1998. By Sarah Mnatzaganian
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Focus‘I think of the countryside when I play this’ - Antoine Tamestit on the third movement of Brahms’ Viola Sonata op.120 no.1
In this extract from the August 2021 Masterclass, violist Antoine Tamestit guides us through the Austrian countryside through rustic dance and seamless legato
