Yehudi Menuhin’s extraordinarily multifaceted life and career more than surpassed the traditional role of the solo concert violinist. Here friends, family and colleagues who knew him, studied with him and worked alongside him describe their association with and memories of the great man
A knowledge of French Baroque dance can open up new ways of approaching and performing Bach’s Cello Suites, argues cellist Ulrich Heinen. In this practical guide, he highlights the many steps and gestures evoked in the works.
2019-11-13T14:23:00+00:00By Pauline Harding
ln the first of two articles, Leila Josefowicz explores ideas of feverishness, hallucination, death and resurrection in the second movement of a great 20th-century concerto
As the founder of Music in Vision, Kathleen Ross has built a business from supplying professional musicians for on-camera roles. Introducing instrumentalists to the world of film and TV can be challenging, but, she writes, ensuring that musicians in background parts are convincingly portrayed is well worth the effort
The Royal Danish Orchestra has been adding to its collection of fine stringed instruments for centuries – but there is revolution as well as evolution behind its distinctive string sound, which is unmistakable whatever the repertoire and whoever the conductor, finds Andrew Mellor
Why it took nearly a century for an important, beautiful concert piece for cello and piano from a 20th-century female composer to be published is incomprehensible. We can certainly blame contemporaneous sexist attitudes towards women, but was there also something more personal here?
Music director Manfred Honeck has brought a distinctly European flavour to the Pittsburgh Symphony. Gavin Dixon spoke to him at his summer festival in Wolfegg, Germany, as he prepared to embark on a tour of Europe with his Pittsburgh forces – and discovered how his time as a violist in ...
The London-based instrumentalist was helped by physiotherapy and Pilates
2019-10-15T04:57:00+01:00By Pauline Harding
The German violist looks at how to tackle the challenges in the first movement of this important audition piece with style, panache and calm
Breathing naturally is one of the first principles of Alexander teaching - and it's a must for anyone who suffers from stage fright, says Joseph Sanders
Since her professional debut almost 30 years ago, Sarah Chang has maintained a glittering solo performing and recording career. But, as she tells Charlotte Smith, her more recent desire to take on ‘passion projects’ has led to fulfilling chamber and contemporary collaborations
The New York String Orchestra Seminar, one of America’s first orchestral training programmes for young musicians, celebrated its 50th anniversary in December 2018. Bruce Hodges attended rehearsals and concerts of the landmark season, and looks ahead to the ensemble’s December 2019 edition
For many classical enthusiasts Brazilian music can be summed up in the folk-inspired compositions of Villa-Lobos. Naxos’s multivolume series The Music of Brazil is set to broaden awareness, beginning with several 19th- and 20th-century composers whose string and orchestral works at once mirrored and defied their country’s colonial history, writes ...
Former concertmaster John Georgiadis tells Julian Haylock his memories of the London Symphony Orchestra
2019-09-17T10:54:00+01:00By Pauline Harding
The German cellist looks at the importance of connection, colour and line in the work’s third movement
The Royal College of Music professor found a solution in Alexander technique
A response to Beverly Jerold’s article 'Did early string players use continuous vibrato?' by Kevin Class
A delay in getting an accurate diagnosis only exacerbated the violinist’s shoulder problem
2019-09-04T13:00:00+01:00By Tully Potter
Jacqueline du Pré’s 1965 recording of Elgar’s Cello Concerto set the benchmark for every cellist who followed her. Tully Potter explores the enduring popularity of her powerful and iconic performance
At this year’s Suntory Hall Chamber Music Garden festival in Tokyo the Kuss Quartet performed a complete Beethoven cycle on the ‘Paganini’ quartet of Stradivaris, on loan from the Nippon Music Foundation. Gavin Dixon spoke to the players about this very special project – and learnt a little more about ...
The British artist tells Laurinel Owen why he plays with a long endpin and its effect on technique and sound production
Burgundy’s Musique & Vin festival has quickly grown from its humble origins to encompass a rich diversity of elements, not least first-rate performances from international artists and an instrument loan scheme for young musicians. Charlotte Gardner spoke to those involved in this unique project
The Strad writer E. Polonaski bemoans the number of string players with suspect intonation in our March 1893 issue
Igor Bezrodnyi, violinist, teacher and conductor, interviewed for The Strad shortly before his death in 1998