Featured Stories – Page 65
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FocusSonoko Miriam Welde: How to make a work truly your own
The best way to create a unique interpretation of a commonly performed piece is to be yourself, shares violinist Sonoko Miriam Welde
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FocusMy audition journey: Monique Irik, Sydney Symphony Orchestra
The violinist of the Sydney Symphony Orchestra illustrates her determination to win the job - even if it means trying several times
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FocusMy audition journey: Hugh Klüger, London Philharmonic Orchestra
’The player with a solid grasp of the basics usually has more chance of getting a trial’ - insights and advice on auditions from the LPO double bassist
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FocusThe Performance Project: Honing Performance Skills in a Post-Pandemic World
Following a series of interviews with over 20 world-renowned cellists, William Tan shares insights on optimising the art of performance
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Premium ❘ ArticleSoundpost: Letters to the Editor December 2021
A selection of letters The Strad receives each month from its readers around the world: December 2021 issue
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FocusMy audition journey: Guðný Jónasdóttir, Iceland Symphony Orchestra
The cellist in the Iceland Symphony Orchestra shares her audition experience and how she finds solace in the mantra ‘You win some, you lose some’
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NewsHow to prepare for an orchestral audition
First violinist in the San Francisco Symphony Catherine van Hoesen offers her advice on orchestral auditions, regarding preparation, musicality, feedback and nerves, in this extract from 2014
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FocusMy audition journey: Milan Milisavljević, Metropolitan Opera Orchestra
The principal violist of the Metropolitan Opera Orchestra shares his audition experience and tips for those looking to land an orchestral job
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FocusOpinion: Dare to be different
When selecting repertoire for that crucial audition it’s an advantage to avoid predictable choices, writes Julian Lloyd Webber, who suggests alternatives for cellists
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Focus‘The bride entered the room, her eyes flashing daggers at the groom’ - The Strad’s top wedding disaster stories
The Strad’s editorial staff and writers share their memorable stories of wedding gigs that didn’t quite go to plan
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Premium ❘ FeatureSpiccato and sautillé - two important bow strokes which are often confused
Making the bow come off the string is a delicate art. Rok Klopčič looks at various approaches in this investigation from May 2004
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Premium ❘ FeatureBow hold: Gripping times
From the awkward grips of the past to the relaxed approach of today, the bow hold has come a long way. Globalisation has a lot to do with it, argues John Krakenberger in this feature from February 2003
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FocusSentimental Work: Jeffrey Solow
Brahms’s First Symphony was the piece that inspired the American cellist to dedicate his career to music, and prompts a reminiscence of his teacher Piatigorsky
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Focus‘The objective was Bach, not Biondi’
The Italian violinist explains why the focus in playing Bach’s Solo Violin Sonatas and Partitas should be shifted from adhering to rules of historically informed performance to exploring the composer’s language and taking risks
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FocusPlaying along with Bach: composing descants for Bach’s cello preludes
Brian Forst writes about former White House violinist Peter Wilson’s journey to compose descant parts to Bach’s cello preludes - not only as a pandemic project, but as a gift for a special someone
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Premium ❘ Focus‘Be natural and share your love for music’: Gary Karr’s Life Lessons
The celebrated American solo bassist discusses the importance of expression and communication in music making
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FocusDealing with Dystonia
Violinist Bernard Zinck shares his experiences of his devastating diagnosis of focal dystonia in his forties and his rehabilitation process to resume playing
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Focus‘There’s nothing like a good bass-line!’- the role of a continuo player in Baroque music
Cellist of the CBSO Baroque Ensemble Jackie Tyler MBE shares her insights on the role of a continuo player, as well as how working with wind players and her Baroque cello set-up inform her playing
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FocusBow holds of the great violinists
How does the positioning of fingers on the bow affect sound and flexibility? Rok Klopčič examines the bow holds of leading violinists and pedagogues in this extract from October 2007
