All Focus articles – Page 73
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Focus9 perspectives on spiccato
Like riding a bicycle, mastering spiccato is all about striking the perfect balance between control and release, as these excerpts from 100 years of The Strad demonstrate
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Focus8 opinions on performance and career by violinist Ivry Gitlis
The great violinist reveals his sometimes surprising views on performance and the music business to Ariane Todes to mark his 90th birthday in The Strad's August 2012 issue
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FocusShould all string players learn how to improvise?
Dutch violinists Martin Norgaard and Tim Kliphuis believe teaching children improvisation and alternative styles of music should be a requirement of string lessons in the 21st century, writes Pauline Harding
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Focus'Playing the viola is greatly beneficial to all violinists,' says Pinchas Zukerman
The veteran violinist, violist, conductor and pedagogue is interviewed in The Strad's September 2016 issue
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FocusIs it healthy to arch your back and raise your violin when playing up high, as top soloists often do?
Top teachers Boris Kuschnir and Mimi Zweig answer a reader's question for The Strad's Teacher Talk section
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Focus'Extremes of constant vibrato or none at all do not solve musical problems,' says violinist Anne-Sophie Mutter
The violinist speaks about vibrato as an expressive device
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FocusFlying with a double bass: a checklist
Flying with a double bass can be a hugely stressful experience. Tim Woodall gives solutions for making the best of the situation
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FocusString quartets were likened to refined conversation during the 18th and 19th centuries
Edward Klorman explores the string quartet's varied treatment throughout history
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FocusRecording your playing provides easy and effective feedback. So why isn’t everyone doing it?
With techniques drawn from sport psychology you can retain more of what you learn, says musician and performance psychology expert Christine Carter
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FocusViolinist Isaac Stern in China
Captured in the 1979 Academy Award-winning documentary 'From Mao to Mozart', Isaac Stern had a transformative effect on China's classical music scene, writes Nancy Pellegrini
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Focus'Teachers should adapt their methods to students' individual techniques,' says cellist Sol Gabetta
The Strad's August 2016 cover star on the importance of being adaptable as a teacher
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FocusAsk the Experts: obtaining a five-string cello
Strad readers submit their problems and queries about string playing, teaching or making to our experts
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FocusViola players must decide whether they want a bright or dark sound, say Bruno Giuranna
The renowned violist talks to Ariane Todes about his educational influences, and shares some of his guiding principles
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FocusThere is a tiger inside this instrument’: Sol Gabetta talks about her newly acquired cello
The Strad’s August 2016 cover star speaks about adjusting to playing a c.1725 Gofriller, after twelve years with her beloved Guadagnini
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FocusThe teaching wisdom of violinist Joseph Szigeti
The great violinist's former student Arnold Steinhardt recalls lessons from the master
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FocusHow to use random practice to help long-term learning
Practising shouldn't be boring. With techniques drawn from sport psychology you can retain more of what you learn, says musician and performance psychology expert Christine Carter
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FocusIntroducing the bow to beginner violin students
American pedagogue Mimi Zweig explains how she engages new pupils
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Focus'Classical musicians must be innovative and personal, without violating tradition,' says Tim Frederiksen
The Royal Danish Academy of Music chamber tutor has a knack of putting together string ensembles that go on to achieve great things, finds Andrew Mellor
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Focus'Tone virile and fine. Personality less striking' - Carl Flesch on David Oistrakh's playing
Many of the greatest string players from the past 126 years received their first exposure in The Strad as a result of their success at international string competitions
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Focus'Teachers should never sit on juries if their students have entered those competitions,' says Aaron Rosand
String playing competitions are more popular than ever, but do they represent the best platform for launching careers? Charlotte Smith asks jurors, winners and organisers for their views
