Playing – Page 10

  • JeanGuihen Queyras Thursday 24 September 730PM
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    Jean Guihen-Queyras: A journey through time


    Recording Beethoven’s ‘Triple’ Concerto last June allowed French cellist Jean-Guihen Queyras to step back into near normality, among colleagues and friends. He tells Pauline Harding about recording at a social distance, the importance of musical ‘family’, and why working with living composers has helped him to find contemporary relevance in ...

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    Analysis January 2021: Lost at sea?


    More musicians than ever are speaking out about struggles with their mental health, but what support services are available in this time of crisis? By Peter Somerford

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    Basic Maintenance: Avoiding instrument carnage


    Luthiers often see the same basic problems when repairing instruments – and most of them could be solved by some simple care and attention from the players themselves. Korinthia Klein presents a simple guide to violin maintenance, without encroaching on the experts’ territory

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    Two-fingered Tchaikovsky: Beating the odds


    Despite losing the function of the third and fourth fingers of his left hand through focal dystonia and a shoulder injury, violinist Clayton Haslop was determined to continue playing. Here he shares his story

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    Session Report: Right place, right time


    For Renaud Capuçon, recording Elgar’s Violin Concerto with the London Symphony Orchestra and Simon Rattle was a dream come true – and one that he couldn’t allow to be derailed by Covid-19’s lockdown restrictions, as he tells Charlotte Gardner

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    Masterclass: Alban Gerhardt on Saint-Saëns Cello Concerto no.1, part 2


    Alban Gerhardt explains why it takes courage to fight tradition and forge your own interpretation – based not on what others play but on what the composer wrote – in the work’s third movement

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    Vieuxtemps cadenzas: Following the clues


    The recent discovery of another cadenza to the first movement of Beethoven’s Violin Concerto, likely by Vieuxtemps, sheds an interesting light on the early performance history of the work, writes Martin Wulfhorst 

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    Session 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 

  • Bronislaw_Huberman Library of Congress's George Grantham Bain Collection
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    Evolving 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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    Masterclass: 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

  • ArchiveDec1920
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    From 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 

  • YoelLevy
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    Masterclass: 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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    From 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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    Dover 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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    Session 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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    Soundpost: 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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    Analysis 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

  • RedPriest
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    Masterclass: 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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    Midori: 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

  • #2 ED by Alexandre Ah-Kye
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    Ensemble 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