Playing – Page 15
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Premium ❘ FeatureSession Report: Focusing the lens
For the LGT Young Soloists, recording a newly commissioned string symphony by Philip Glass provided ample opportunity for detailed and thoughtful music making – as the group’s artistic director, Alexander Gilman, tells Toby Deller
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Premium ❘ ArticleSoundpost: Letters to the Editor January 2022
A selection of letters The Strad receives each month from its readers around the world: January 2022 issue
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Premium ❘ FeatureFrom the Archive: January 1892
Pedagogue George Brayley offers a list of Violin Don’ts – possibly intended as New Year’s Resolution ideas for readers
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Premium ❘ ArticleSoundpost: Letters to the Editor December 2021
A selection of letters The Strad receives each month from its readers around the world: December 2021 issue
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Premium ❘ FeatureHeifetz as teacher: Words from the master
Ayke Agus served as Heifetz’s personal accompanist during classes and performances for the last 15 years of his life. Here, she shares recollections of his practice routine and teaching methods with Enrico Alvares
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Premium ❘ FeatureMasterclass: A lesson in performing short pieces by Wolfgang Emanuel Schmidt
The cellist gives advice on how to present Fauré’s Élégie, Elgar’s Salut d’amour, and Saint-Saëns’s ‘The Swan’ with colour, contrast and expression
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Premium ❘ FeatureSpiccato and sautillé - two important bow strokes which are often confused
Making the bow come off the string is a delicate art. Rok Klopčič looks at various approaches in this investigation from May 2004
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Premium ❘ FeatureBow hold: Gripping times
From the awkward grips of the past to the relaxed approach of today, the bow hold has come a long way. Globalisation has a lot to do with it, argues John Krakenberger in this feature from February 2003
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Premium ❘ Focus‘Be natural and share your love for music’: Gary Karr’s Life Lessons
The celebrated American solo bassist discusses the importance of expression and communication in music making
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Premium ❘ FeatureViolin Bow Hold: No holds barred
The position of the fingers on the bow can make all the difference to dynamics and tone production. Rok Klopčič examines the bow holds of leading violinists and pedagogues, in this feature from October 2007
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Premium ❘ FeatureBeethoven Violin Concerto: The Beethoven Letters
Detlef Hahn and Andrew Manze reveal their differing views on the Beethoven Violin Concerto in an exchange of correspondence about the new Urtext edition. Taken from the March 2010 issue
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Premium ❘ FeatureChad Hoopes: State of independence
Chad Hoopes launched his career with a spectacular win aged 13 in the Junior division of the Menuhin Competition in 2008, but in subsequent years, the forward-looking, innately positive US violinist has deliberately taken less obvious paths to musical success, as he tells Toby Deller
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Premium ❘ FeatureScottish folk baroque fusion: When worlds collide
In the Baroque and early Classical eras a succession of Scottish and Italian composers took an interest in fusing Scots fiddle and song melodies with Italian art music structures. Kevin MacDonald investigates the trend
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Premium ❘ FeatureSession Report: A question of balance
Italian violinist Fabio Biondi’s new album of Bach Sonatas and Partitas for solo violin marks a unique opportunity to challenge established interpretations and beliefs surrounding these seminal works, writes Rita Fernandes
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Premium ❘ ArticleSoundpost: Letters to the Editor November 2021
A selection of letters The Strad receives each month from its readers around the world: November 2021 issue
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Premium ❘ FeatureMasterclass: Richard O’Neill on Brahms’ String Quartet no.3 op.67
The Takács Quartet violist looks at the first and third movements of this well-loved B flat major work, where his instrument is thrown into a rare spotlight
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Premium ❘ FeaturePoetic injustice: Ysaÿe
On the 150th anniversary of Ysaÿe’s birth, Andrew Morris revisits the violinist’s string compositions and finds them rich in virtuosity and melancholy, but now largely lost from the repertoire. From July 2008
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Premium ❘ FeatureJanine Jansen: A spiritual connection
Even for one of the most revered violinists, it is a daunting task to get to know twelve of the world’s finest Stradivaris, many with jaw-dropping pasts, within only a few weeks. Janine Jansen talks to Pauline Harding about how she did just that for a new recording and documentary