Playing debates – Page 3
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DebateOpinion: From the Heart
In the Covid-19 crisis, musicians have begun to film their playing from home. Andrew Mellor asks whether these raw and sometimes less-than-pristine performances have killed off classical music’s ‘cult of perfection’
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DebateAfter Corona, pay inequality among musicians will be unsustainable
The great disparity in wages between soloists and rank-and-file musicians has been highlighted by the Covid-19 crisis, writes Andrew Mellor
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DebateOpinion: Go your own way
Musicians today are encouraged to play it safe by a recording culture that encourages perfect homogeneity. But, writes violist Paul Neubauer, it is still possible for individuality to thrive
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ArticleOpinion: ‘The cello has never been more popular’
In the years since Gregor Piatigorsky first set out to boost the cello’s profile, the instrument has seen a massive growth in popularity, particularly through the efforts of crossover artists, says Yoshika Masuda
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DebateOpinion: In the Public Eye
The primary purpose of a musician is to be heard by an audience – yet so many performers are self-conscious about the idea of their practice being observed and judged. Perhaps it’s time to practise out in the open, writes Toby Deller
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Premium ❘ ArticleOpinion: going international
Despite the large number of young and talented British string players, few seem to make an impact as leading soloists on the world stage. Charlotte Gardner explores the reasons for this phenomenon
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Premium ❘ FeatureIs repetitive practice a good or a bad thing?
A prolonged, sickening and monotonous repetition of a section of music or the legitimate means of mastering a difficult passage? Joseph O'Doherty weighs up the two sides.
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DebateClassical musicians should play more sports
String players often shy away from sports for fear of damaging themselves, but the benefits far outweigh the dangers, says cellist and tennis enthusiast Maria Kliegel
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Premium ❘ DebateEarly vibrato was one aspect of a vastly different sound world
A response to Beverly Jerold’s article 'Did early string players use continuous vibrato?' by Kevin Class
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Premium ❘ DebateHistorically informed performance on modern instruments is misguided
Historically informed performance is all well and good, argues Julian Haylock, but continuing to play on modern instruments just results in the worst of both worlds
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DebateYoung musicians too often make musical decisions based on impressing the listener
As artists grow older they hear more in the music, says Orion Quartet violist Steven Tenenbom, who urges younger musicians to learn as much as they can from their mentors – and delve deeper into the music themselves
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DebateOpinion: How should a musician respond to a string breaking on stage?
Nobody can blame a musician for their string breaking on stage. But, says Charlotte Gardner, the way a performer responds is certainly within their grasp
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DebateShould classical artists embrace music video singles?
More core classical artists these days are mimicking their contemporaries in the pop world by releasing music video singles to accompany their albums. Charlotte Gardner asks whether this is a positive development
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FocusDo string players who refuse to embrace popular music face extinction?
String players must embrace the vernacular of today’s popular music or risk being consigned to a bygone era, writes electric violinist Tracy Silverman
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DebateWhy do string players often sound so different on disc than live?
Too many string players are unable to take ownership of their recorded sound because they lack an external perspective, says Charlotte Gardner
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FocusTwo ♭ or not two ♭ – on the Adagio from Bach's Violin Sonata no.1
Excessive reverence for Bach’s manuscript is leading violinists to make a mistake early in the first sonata, writes Hagai Shaham
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DebateWith vibrato the question isn't just about more or less, but also about variety of sound
It is a wonderfully expressive tool when used sensitively, but soloists especially should take greater advantage of the various vibrato possibilities, writes violist Hartmut Rohde
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DebateIs playing the viola a different art from playing the violin?
Not so, according to Philip Dukes, who argues that the technical requirements of the instruments overlap considerably and players benefit from studying both
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BlogsIf you want the industry to change, you have to be willing to enact a change yourself
The violinist and co-founder of the Manchester Collective on her musical philosophy and forging new ground in an increasingly conservative music world
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FocusYou can only diversify the audience by having a diverse group of people on stage
Half a century since the New York Phil hired its first black musician, the percentage of black and Latino players in US orchestras remains woefully low. But some organisations are taking action towards inclusivity