All Premium ❘ Feature articles – Page 7
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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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In Focus: An 1807 violin by William Ferguson
David Rattray details an instrument by the Scottish maker
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Trade Secrets: Making an invisible neck graft
A procedure that takes a little longer than the standard method, but results in an almost undetectable fitting
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My Space: Jurgen Preyer
The Netherlands-based luthier built the workshop in my garden, soon after moving in
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Making Matters: The imitation game
In 1927 a cache of documents came to light, purportedly from the Stradivari workshop – and fooled some of the leading experts of the day. Carlo Chiesa explains how the case turned out to be an elaborate forgery
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Masterclass: 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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Orchestra auditions: Success strategies
Orchestra auditions are the ultimate examination for many college-age players, so is there a blueprint for achievement? Femke Colborne asks pedagogues and orchestra principals how they prepare students for the experience, in this feature from May 2014
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College auditions advice: When you’re ready
Those three little words needn’t chill your spine in the audition room: Joanne Talbot asks the examiners what they’re looking for when you stand in front of them. From September 2000
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Spiccato 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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Bow 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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American Master: William Salchow
With a career spanning six decades, William Salchow has had a huge influence on bow making in America. In this November 2012 interview conducted by former student Sue Lipkins, Salchow talks about everything from Wurlitzer’s and Mirecourt to creating the perfect head
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North America focus: Pioneer Spirit
America has long been a land of opportunity for the talented luthier, whether professional or hobbyist, immigrant or national. Philip Kass explores the lives and work of six gifted US makers from the late-19th to mid-20th century, in this article from November 2008
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Sound Sculptor: Sam Zygmuntowicz
Ten years on from Strad3D, project co-developer Sam Zygmuntowicz talks to Chloe Cutts about the impact of the groundbreaking study of violin form and function within the context of the story of American lutherie and his own journey as a maker and researcher. From January 2017
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Violin 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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My Space: Sam Zygmuntowicz
The luthier’s workshop, based in Brooklyn, New York, is spread across two floors, and includes a ‘salon’ where customers can test their instruments. From May 2015
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Fresh perspectives: A scanner in the works
In this lutherie feature from January 2009, violin maker Sam Zygmuntowicz explores how high-tech ways of analysing violins and their sound could help makers and even influence the future forms of instruments
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In Focus: Team Player
Sam Zygmuntowicz examines the large proportions of this 1796 Mantegazza viola, which give it a powerful sound that makes it ideal for string quartets. From December 2003
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In Focus: From Strad to Slava
The ’Duport’ cello is a fine example of Stradivari’s ‘Form B Piccola’. Samuel Zygmuntowicz examines Rostropovich’s own instrument, in this article from October 1997
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Beethoven 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
