Pauline Harding
Pauline started playing the violin when she was four years old and studied music at the York University. She decided she wanted to be a writer when she was six, and so The Strad has been the perfect place for her to combine her passions. Outside the office, she is working for a doctorate in African archaeology at University College London.
Premium ❘ FeatureMasterclass: Leila Josefowicz on Berg Violin Concerto Second Movement - part 1
ln the first of two articles, Leila Josefowicz explores ideas of feverishness, hallucination, death and resurrection in the second movement of a great 20th-century concerto
Premium ❘ FeatureMasterclass: Augustin Hadelich on Beethoven’s Violin Concerto first movement - part 1
In the first of two articles, Augustin Hadelich looks at direction and flow in the first movement of this notoriously simple and yet deceptively difficult work
Premium ❘ FeatureMasterclass: Tai Murray on Beethoven’s ‘Triple’ Concerto Part 1
In the first of two articles, violinist Tai Murray discusses individuality, balance and tempo in the lengthy first movement of the op.56 concerto for piano, cello and violin
Premium ❘ FeatureMasterclass: Moray Welsh on Schubert’s Arpeggione Sonata first movement
Moray Welsh looks at the cello version of the first movement, whose successful execution requires boundless musicality, lyricism and technical finesse
Premium ❘ FeatureMasterclass: Tai Murray on Beethoven’s ‘Triple’ Concerto Part 2
Violinist Tai Murray discusses balance and colour in the first movement of the op.56 work for violin, cello, piano and orchestra, in the second of two articles
Premium ❘ FeatureTechnique: Using Ševčík to tackle flying staccato on the cello
How analytical, targeted practice can help you to overcome any problem in the repertoire
Article‘He could hear and see talent, and he loved it’ - Pinchas Zukerman remembers Isaac Stern
Zukerman shares his memories of his mentor Stern, in honour of the great violinist’s 100th anniversary
Premium ❘ FeatureTechnique: Swing bowing
How to inject new rhythmic fluency and flexibility into your playing by working on jazz
Premium ❘ FeatureMasterclass: Henri Demarquette on Franck’s Violin Sonata (Cello Version)
The cellist looks at the conflicts of French atmosphere and German Romanticism in the first and second movements
Premium ❘ FeatureTechnique: Scales for violists
A system specifically for the viola, which has not been adapted from violin alternatives
Premium ❘ FeatureTechnique: Legato and Lyricism
Ideas to help you grow your sound and articulate every note within each bow
Premium ❘ FeatureMasterclass: Liisa Randalu on Smetana’s Quartet no.1, ‘From My Life’
Violist Liisa Randalu of the Schumann Quartet gives her perspective on the first movement of the Czech composer’s passionate and dramatic semi-autobiographical work
Premium ❘ FeatureTechnique: Training Musicality
Exercises and advice to help build musical awareness and understanding
Premium ❘ FeatureMasterclass: Augustin Hadelich on Beethoven’s Violin Concerto first movement - part 2
The German–American violinist considers ensemble, character and line in the first movement of this great Classical work, in the second of two articles
Premium ❘ FeatureTechnique: A scientific approach to violin resonance
How a basic knowledge of acoustical physics can help us to produce a richer, more ringing tone
Premium ❘ FeatureTechnique: A 30-minute routine to keep your playing on top form
Ideas to help violinists and violists maintain high technical and musical standards around a busy regime
Premium ❘ FeatureTechnique: Sound and phrase
The importance of developing a refined, balanced technique to communicate a nuanced musical line on the double bass
Premium ❘ FeatureMasterclass: Nils Mönkemeyer on Stamitz First Viola Concerto
The German violist looks at how to tackle the challenges in the first movement of this important audition piece with style, panache and calm
Premium ❘ FeatureTechnique: Sautillé
Tips to help you master a bow stroke vital for making a good impression at any orchestral audition
Premium ❘ FeatureMasterclass: Daniel Müller-Schott on Franck Violin Sonata (Cello Version)
The German cellist looks at the importance of connection, colour and line in the work’s third movement