Playing – Page 29
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Premium ❘ FeatureSession Report: No holds barred
For Amandine Beyer and her Gli Incogniti period ensemble, the string symphonies of C.P.E. Bach represented an opportunity to record difficult but exhilarating repertoire. Charlotte Gardner recalls attending the 2019 sessions, as the album nears its release following Covid-19 delays
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Premium ❘ FeatureEvolving interpretations: The long and winding road
The development of the great violinists from fresh young artists to profound musical thinkers can be charted through their recorded interpretations. Nathaniel Vallois uses his time in lockdown to examine changes in the playing style of some of the best-known names
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Premium ❘ FeatureMasterclass: Alban Gerhardt on Saint-Saëns Cello Concerto no.1
In the first of two articles, the German cellist shows the importance of pulse, planning and precision in the first two movements of this underestimated Romantic concerto
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Premium ❘ FeatureFrom the Archive: December 1920
A reader (and a master of the long sentence) pens a letter extolling the merits of British violins and makers, in contrast to the current trend for Italian instruments
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Premium ❘ FeatureMasterclass: Hagai Shaham on Brahms Violin Sonata no.3
In his explorations of the first movement, the Israeli violinst discusses the German composer’s clear performance instructions, intimate Romantic style and self-critical nature
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Premium ❘ FeatureFrom the Archive: November 1940
One year into the Second World War, The Strad laments the limited prospects for British musicians, despite the indisputable need for music in such troubled times
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Premium ❘ FeatureDover Quartet: United in sound
After twelve years together, the Dover Quartet is marking its graduation to the ranks of mature ensembles with a new Beethoven recording cycle and a residency at the Curtis Institute. The players speak to Charlotte Smith from the Bravo! Vail Music Festival
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Premium ❘ FeatureSession Report: American dreams
On his latest album, German violinist Frank Peter Zimmermann devotes himself to the works of Bohuslav Martinů and Béla Bartók, two immigrants to the US in the wake of the Second World War, as Tom Stewart reports
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Premium ❘ ArticleSoundpost: Letters to the Editor October 2020
A selection of letters The Strad receives each month from its readers around the world: October 2020 issue
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Premium ❘ NewsAnalysis October 2020: Sounds like team spirit
Like so many other music establishments, record labels were blindsided by the effect of the pandemic – but despite the restrictions, have carried on producing high-quality recordings. By Harry White
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Premium ❘ FeatureMasterclass: Haydn C major Cello Concerto
Red Priest’s Angela East discusses her approach to phrasing and sound in the first movement, and the influence of Baroque and early-Classical vibrato, bowing and style
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Premium ❘ FeatureMidori: Active Listener
From getting to the core of new works to appreciating her students’ motivations, Midori is on a constant search for understanding. Toby Deller finds out how the Japanese-American violinist communicates this passion to those around her
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Premium ❘ FeatureEnsemble Diderot: Hidden Gems
This month Ensemble Diderot releases The Berlin Album, the latest in its ‘cities’ recording series, juxtaposing works by established 17th- and 18th-century composers alongside those of lesser-known contemporaries. Ensemble founder and violinist Johannes Pramsohler speaks to Pwyll ap Siôn about why these works deserve greater attention
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Premium ❘ FeatureSession Report: Early Inspirations
Violinist Tessa Lark’s new collaborative album, The Stradgrass Sessions, brings together the musical influences of her childhood, fusing bluegrass, folk, jazz and classical styles. The project might easily have been delayed by Covid-19, but her musical partners were only too happy to record remotely
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Premium ❘ FeatureSession Report: Final Frontier
The Jerusalem Quartet’s second instalment of Bartók string quartets brings a new delicacy and clarity to these works, which are so often portrayed as brutal. Violinist Alexander Pavlovsky and violist Ori Kam discuss their approach with Tom Stewart
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Premium ❘ FeatureHeart of the matter: Schumann’s Cello Concerto
Schumann’s Cello Concerto is often seen as dark and troubled, and its advocates have struggled to bring it the recognition it deserves. Now, Josephine Knight’s discoveries have led to a new edition and recording which shed a fresh light on this work, writes Peter Quantrill
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Premium ❘ FeatureMasterclass: Rosalind Ventris on Vieuxtemps Viola Sonata op.36
The British violist details the virtues of this underappreciated B flat major Sonata, with all of its structural surprises and ‘Jekyll and Hyde’ twists and turns
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Premium ❘ FeatureFrom the Archive: September 1930
The pseudonymous cellist and columnist ‘Ike’ observes how classical music lovers are becoming more plentiful, thanks to the wireless – even if they won’t recognise it themselves
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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
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Premium ❘ FeatureFrom the Archive: August 1910
Author William C. Honeyman responds to an article suggesting that priceless instruments should be kept in museums rather than in players’ hands
