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Playing Concertos the Ševčík Way


His method books transformed violin pedagogy, but Otakar Ševčík’s later studies based around the concerto repertoire languished until rediscovered by Endre Granat. In this article from December 2009, Granat argues that Ševčík’s analytical approach can be applied to any work

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‘We present ourselves in the best way possible on stage, but so much goes on behind the scenes’
American violinist Esther Yoo on competitions, collaborations and the importance of maintaining a positive outlook

‘A player could swap necks on a single instrument, going from Baroque for one performance and modern for the next’
How instrument necksets have been modified over the past 300 years.

The second in Lewis Kaplan's two-part look at Bach's complete Solo Sonatas and Partitas examines the composer’s use of dance forms.

'In the mid-20th century, Herrmann bows sold for the same price as those of Sartory, Fétique and Ouchard' Closely linked to the Knopfs, the Herrmann family of bow makers enjoyed particular success in the 19th century.

Violinist Karen Gomyo on how her new recording of The Four Seasons of Buenos Aires and other works by Astor Piazzolla came into being.

'Assessments of Louise Gautherot's performances by authors both male and female betray some of the underlying gender preferences of the Regency period'. The lives and careers of Louise Gautherot and female violinists of Georgian England



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