All playing articles – Page 2
-
ReviewBook review: Musicians in Motion: 100 Exercises with and without Instrument
Ruth Phillips reviews a book about helping musicians improve their posture, build strength and prevent injuries
-
ReviewThe Bridge: Connecting Violin and Fiddle Worlds
Alex Laing reviews a book bringing together two disparate genres of string playing
-
Focus8 ways to improve Baroque performance
Tips from The Strad’s archive on the use of vibrato, bow strokes and rhythmic hierarchy
-
ArticleHow a forgotten chamber masterpiece finally saw the light
A powerfully expressive chamber work by one of the most important British composers of the interwar years failed to make it into print – but why? As Rebecca Clarke’s 1923 Rhapsody for cello and piano is published for the first time, John York, who recorded the piece with cellist Raphael ...
-
Premium ❘ FeatureFrom the Archive: December 1909
The pseudonymous ‘L.H.W.’ gives his thoughts on teaching, in an article he might himself call ‘profuse and extravagant in expression’
-
FocusPerforming entirely by reflex, by cellist Leonid Gorokhov
The Russian musician and Hochschule für Musik und Theater, Hannover professor describes how he trains himself to transcend the physical restraints of playing
-
Premium ❘ FeatureHow to play with a flexible bowing arm by cellist Gary Hoffman
The American musician explains how he developed a supple and varied bow arm motion, guided by his ear and musical instinct
-
Focus5 views on teaching and performance from William Pleeth
The late British cellist and teacher of Jacqueline du Pré spoke to The Strad in June 1996 at the age of 80
-
Premium ❘ FeatureThe 4 stages of memorising music for performance
With the right concepts and skills, any musician can successfully learn music by heart, as Gerald Klickstein explains
-
Focus6 tips for smooth bow changes
Advice on smooth and inaudible bow changes at the tip and the heel from The Strad's archives
-
Focus5 views on playing the perfect harmonic
Learning how to do harmonics properly is invaluable to a player’s left hand, bow arm and intonation – as the following tips from The Strad's archive demonstrate.
-
FocusLeft-hand pivots and the crab fingering system with bassist François Rabbath
The French soloist and teacher advises on how to improve intonation and dexterity on the double bass. From the October 2015 issue
-
ArticleViolinist Jascha Heifetz imitates bad playing
Violinist Jascha Heifezt gives a wincingly accurate impression of a bad performance he once heard of Vieuxtemps' Fourth Violin Concerto - proving not only his gifts as a performer, but also as a sharply observant comic. Read former Heifetz pupil Sherry Kloss's article: Studying the violin with ...
-
BlogsCellist Lynn Harrell on the art of playing up high
The American musician tells Pauline Harding that many tuning problems stem from a lack of exposure to the upper registers
-
ArticleViolinist performs while suspended upside down from bridge
Félix Analís performs his violin while suspended upside down from a bridge in Xalapa, Mexico.Subscribe to The Strad or download our digital edition as part of a 30-day free trial. To purchase single issues click here.
-
Premium ❘ FeatureHow to use bowing angle to vary articulation by cellist Colin Carr
How to vary the attack and timbre of a note by modifying the angle of the bow to the string
-
Premium ❘ DebatePersonality is no longer encouraged in musical performance
Not too long ago mass audiences and critics alike revered overtly personal performances, yet today superimposing one's personality over that of the composer is regarded as poor musicianship, writes Henry Roth
-
BlogsPerforming from memory has given our string quartet new life
After twelve years together, playing and recording from memory were key to an exciting rebirth for the Chiara Quartet, writes cellist Gregory Beaver
-
ArticleGreat teachers on film: Bernard Greenhouse
Do you know what happens when a person is frightened? He pulls back, and shrinks . This destroys the sense of beauty' Cellist Bernard Greenhouse gives a masterclass on the first movement of Haydn's Second Cello Concerto in Kronberg. Buy the August 2011 issue, featuring tributes to ...
-
ArticleSteven Isserlis on using the right amount of vibrato
You do need vibrato to emphasise phrasing and emotion, but not as an automatic part of your sound' Cellist Steven Isserlis puts former BBC Young Musician of the Year winner Guy Johnston through his paces in Rachmaninoff's Cello Sonata at the International Musicians' Seminar Prussia Cove, and ...
- Previous Page
- Page1
- Page2
- Page3
- Next Page
