Playing – Page 26
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Premium ❘ FeatureYampolsky study: Wrist-crippling finger-twister
Rok Klopčič gives tips on getting your hands around the fiendish Yampolsky study in this article from June 2009
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Premium ❘ FeatureFrom the archive: Interpreting Bach
When asked to record Bach’s Cello Suites, violist Simon Rowland-Jones chose to produce his own edition from which to work. He discusses his approach and the various problems it posed.
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Premium ❘ FeatureSession report: Bach unravelled
With her long-awaited recording of the Bach Sonatas and Partitas finally here, Korean violinist Kyung Wha Chung discusses her special affinity with the works and explains how 50 years of playing them has shaped her approach Taken from the October 2016 issue of The Strad
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Premium ❘ FeatureMasterclass: Antoine Tamestit on Brahms Viola Sonata op.120 no.1 third and fourth movements
Folk dance and fireworks all feature in Antoine Tamestit’s discussion of the third and fourth movements, in the second of two articles about the complete F minor Sonata
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Premium ❘ FeatureFrom the Archive: August 1901
Dr T.L. Phipson recounts the curious case of one ‘Roslin le Beau’, whose exploits on the streets of 1860s London fell afoul of the law
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Premium ❘ FeatureEsther Yoo: A sunny disposition
In the past few years, US violinist Esther Yoo has seen her career blossom as a soloist and chamber player. And despite the pandemic, she has seized every opportunity to grow as a musician, as she tells Amanda Holloway
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Premium ❘ FeatureBach Solo Violin Partitas: Lord of the dance
Three centuries ago, Bach had completed his set of six Sonatas and Partitas for solo violin. In the second of two articles, Lewis Kaplan, senior member of the Juilliard School faculty, discusses interpretation of the three partitas – with reference to Bach’s autograph score
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Premium ❘ FeatureFemale violinists of 18th-century England: Portrait of a lady holding a violin
Taking a Regency portrait of an unknown violinist as his starting point, Kevin MacDonald investigates the lives and careers of Louise Gautherot and other female violinists of Georgian England
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Premium ❘ FeatureSession Report: Weathering the storm
Violinist Karen Gomyo’s new album, dedicated to Astor Piazzolla and recorded during the Covid-19 pandemic, was a profound and personal project for all involved, writes Rita Fernandes
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Premium ❘ DebateOpinion: Solo exploring
There is so much more to the unaccompanied violin repertoire than the works of Bach, Paganini and Ysaÿe, writes James Dickenson
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Premium ❘ FeatureBach Solo Violin Sonatas: At heart a fugue
Three centuries ago, Bach had completed his set of six Sonatas and Partitas for solo violin. In the first of two articles, Lewis Kaplan, senior member of the Juilliard School faculty, discusses interpretation of the three sonatas with reference to Bach’s autograph score
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Premium ❘ FeatureVilla-Lobos and the cello: A voice for Brazil
Heitor Villa-Lobos began his musical career as a cellist and wrote numerous works for the instrument, including the monumental Second Cello Concerto. However, his primary interest lay in promoting the folk traditions of his Brazilian homeland rather than advancing the cello’s virtuoso repertoire, writes Felipe Avellar de Aquino
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Premium ❘ FeatureSession Report: Waxing Lyrical
Violist Timothy Ridout’s recording of Schumann and Prokofiev transcriptions was the perfect opportunity to reconnect with a favourite vocal work from his childhood, as he tells Toby Deller
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Premium ❘ FeatureMarius May: Sovereign Voice
Marius May, who died last year, led the generation of British cellists that emerged after Jacqueline du Pré. Here, Simon May tells the story of his younger brother’s astonishing flowering as a teenage musical talent, and his eventual decision to withdraw from performing life
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Premium ❘ ArticleSoundpost: Letters to the Editor July 2021
A selection of letters The Strad receives each month from its readers around the world: July 2021 issue
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Premium ❘ FeatureMasterclass: Antoine Tamestit on Brahms Viola Sonata op.120 no.1 first and second movements
Antoine Tamestit discusses how he found an ideal piano–viola balance and came to love Brahms, after a long struggle. Here he covers the first and second movements, in the first of two articles
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Premium ❘ FeatureFrom the Archive: July 1931
Violinist–conductor Philip Cathie laments the decline of the amateur player, possibly a consequence of the growth in recorded music over the past decade
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Premium ❘ FeatureBomsori: Singing from the heart
For Korean violinist Bomsori, the past year has been one of her busiest yet, with numerous live and streamed performances and her first solo recording for Deutsche Grammophon. As she takes her next steps on the road to international renown, she shares her guiding principles with Andrew Mellor
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Premium ❘ FeatureJoseph White: Making history
Cuban-born violinist Joseph White’s 1875 debut with the Philharmonic Society of New York was both a triumph and enormously significant – as the orchestra’s first performance with a soloist of African descent. Yavet Boyadjiev explores the event itself and the circumstances surrounding it
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Premium ❘ FeatureSession Report: Symphony of three
For the Sitkovetsky Trio, the challenge of recording Ravel’s Piano Trio was combining three disparate solo voices to sound as one – but the reward was a performance far greater than the sum of its parts, the players tell Tom Stewart
