The Strad Podcast: Recent Episodes
The Strad
Exclusive insights into the world of string playing, teaching and instrument making from The Strad magazine: Essential reading for the string music world since 1890
Suzuki-trained violinist and teacher Meghan Faw speaks to online editor Davina about How to tailor the Suzuki Method to different students – after all, all pupils are different and not one single approach is going to fit them all! Meghan speaks about her personal experiences with the method, and what she’s learnt throughout her career implementing the method in her teaching.
Find out more about Meghan's work at learnviolinonline.org and on Instagram @suzukiviolinteacher.
Read her article How to adapt the Suzuki Method for adult learners - violinist Meghan Faw
Read our article in our September 2024 issue: Mother tongues: Global Suzuki Method
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Listen to our previous episodes in this series:
Listen: The Strad Podcast: How to hold a masterclass with violinist Paul Huang
Listen: The Strad Podcast: how to teach collaborative skills with violinist Annie Fullard of the Cavani Quartet
Listen: The Strad Podcast: How to practise effectively with violinist Ray Chen
Andante - Sonata no.2
Bach
Meghan Faw, violin
Violinist Paul Huang speaks to online editor Davina about How he holds a masterclass, fresh from attending the Music@Menlo Summer Festival in August 2024. What do masterclasses mean to Paul, and should we even call them masterclasses? Paul talks about his methods of conducting classes to ensure that not only students get the most out of the shared experience, but the teacher as well.
Stay tuned for our next episode: how adapt the Suzuki Method with violinist Meghan Faw.
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Serenade Espagnole
Chaminade
Paul Huang, violin
Photo courtesy: Marco Borggreve
Violinist Annie Fullard speaks to online editor Davina Shum about how she teaches collaborative skills in her capacity as a chamber music teacher at various institutes and also as a member of the Cavani Quartet. She is the co-author of the upcoming book The Art of Collaboration: Chamber Music Rehearsal Techniques & Teambuilding which will be published by Oxford University Press this autumn.
Listen to why she believes curiosity and openness is key to creating a good chamber musician – and person – as well as why she thinks we should live in a chamber music world.
Stay tuned for our next episode: how to hold a masterclass with violinist Paul Huang.
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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String Quartet no.2 in A minor, op.13 – I: Adagio – Allegro vivace
Felix Mendelssohn
Cavani Quartet
Our guest in this episode is none other than our September 2024 cover star, Ray Chen. If you’re one of his many followers on social media, you’ll know that the violinist has his own community-based practice app, Tonic, which aims to make practising a little less lonely and more collaborative.
In this episode, Ray and online editor Davina chat about how to get the most out of your practice, including Ray’s previous experiences practising when he was younger, managing your time and psychology, as well as why we shouldn’t neglect practising performance.
Read Ray's cover feature here!
Stay tuned for our next episode: how to teach collaborative skills with violinist Annie Fullard
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Tears of the Kingdom – The Legend of Zelda
Player 1
Ray Chen, violin / Royal Philharmonic Orchestra / Cristian Mǎcelaru, conductor
Decca Classics
Photo courtesy Meredith Truax
Julia Reddy is the host of the Violin Class Podcast and teaches a studio comprising solely of adult learners. She and online editor Davina had a chat about how adult students can be proactive and design their own musical curriculum beyond the practice room - a completely different game from teaching children. What are your favourite ways to enrich your musical education?
Find Julia's Violin Class podcast: https://www.violinclass.co/podcast
Recommended listening:
How to immerse yourself in the violin world Violin practice strategies for busy peopleAdvice from an adult violin student Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Many of us as string players will find ourselves teaching in one way or another throughout our careers. We learn and pass on this great legacy of tradition that has gone before us. But what else informs our teaching? How do we find our groove, so to speak, as teachers and players?
Cellist Guy Johnston spoke with online editor Davina about finding his teaching style, particularly after returning to his alma mater, the Eastman School of Music in Rochester.
What’s it like, returning to the hallowed halls of your former school where you now call your former teachers colleagues? Guy shares his ‘a-ha’ moments of inspiration that he brings into his teaching, as well as his journey to delve into the wealth of teaching resources left to us from cello pedagogues of the past.
Find out more about Guy’s favourite resources here
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Night Seasons: I – Nox Perpetua
Rebecca Dale: Night Seasons
Guy Johnston, cello / Tenebrae / Philharmonia Orchestra / Nigel Short
Signum Classics
If you’ve read our February 2024 issue, you would’ve read our feature on the long-lost work by Ysaÿe, his Poème concertant. Violinist Philippe Graffin has recorded the work that had been undiscovered for more than a century – he joins online editor Davina in this episode to speak about uncovering Ysaÿe’s forgotten works, the history and inspiration of the piece, plus how he hopes to cement these lost works as staples of violin repertoire in the future.
Read: Ysaÿe’s Poème concertant: shining a light on a long-forgotten piece
Watch: Video: Ysaÿe’s Secret Sonata by violinist Philippe Graffin
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Poème concertant - Ysaÿe
Philippe Graffin, violin / Royal Liverpool Philharmonic Orchestra / Jean-Jacques Kantorow
Rêves
Avie
Photo credit: Marco Borggreve
How do you feel about improvising on a stringed instrument? While there are many musicians who specialise in this craft, you wouldn’t have to search far for string players where mention of the words ‘improv’ and ‘solo’ is enough to strike fear into their hearts.
Violist and composer Jessica Meyer spoke to online editor and cellist Davina about how the word ‘improvisation’ can be seemingly daunting for string players, and how it helps to approach it as ‘making choices’. She shares her story with incorporating improvisation in her warm-ups, and how the mind-body connection of music making inspires her and her students to create their own exercises to further enhance their playing.
Jessica’s new composer/performer portrait album I long and seek after will be released on 22 March on New Focus Recordings.
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‘O elegant giant’ from Space in Chains for soprano and viola
Viola and composer – Jessica Meyer
Soprano – Melissa Wimbish
Photo credit: Bill Struhs
Double bassist Michael Rieber is the first solo double bass player from the NDR Elbphilharmonie Orchestra in Hamburg. Not only does he hold a principal position in one of Europe’s top orchestras, he’s also released a recording of French works called Nuits Blanches.
How does Michael find the time to take on two very high-calibre jobs and projects? Michael shares with online editor Davina the lessons he’s learnt throughout his orchestral career, including why patience is critical when it comes to preparing repertoire – both new and frequently revisited, as well as how he structures his preparation time.
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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César Franck: Sonata in A major I. Allegretto ben moderato (transcription by Balthasar Brockes)
Alfred Desenclos: Aria and Rondo for Double Bass and Piano II. Rondo
Nuits Blanches
Michael Rieber, double bass / Norbert Goerlich, piano
Es Dur
Photo credit: Jewgeni Roppel
Violinist Alena Baeva spoke with online editor Davina recently about the music of Stravinsky – specifically the Divertimento from The Fairy’s Kiss, which was arranged by Samuel Dushkin for violin and piano. She spoke about how this music encourages the player to harness the power of the imagination to showcase the kaleidoscope of colours displayed in Stravinsky’s writing.
She also speaks about staying spontaneous, as well as her approach and tips to playing tricky double stops. Plus, you’ll also hear about what instrument and bows she used to record her latest album, Fantasy.
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Divertimento from The Fairy’s Kiss K049
Pas de deux. Adagio
Stravinsky (arr. Samuel Duskin for violin and piano)
Alena Baeva, violin / Vadym Kholodenko, piano
Fantasy
Alpha Classics ALPHA1021
Photo credit: Jean-Baptiste Millot
Maja Bogdanović is no stranger to a busy life – she enjoys an international solo and chamber career as well as collaborations with regular musical partners, including her husband the violinist Daniel Rowland. Maja’s shared her thoughts with us previously on thestrad.com about travelling not only with a cello, but also with a small child. How does Maja stay on top of things? She and fellow cellist Davina Shum chatted about strategies for keeping an ideal mindset when you’ve got a busy career, including looking after your mental and physical health, as well as having a caring community around you, to avoid burnout and stress.
Do you have a particular strategy or mantra that you employ to avoid burnout and stress? Send an email to thestrad@thestrad.com.
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Cello Concerto No. 1- Op. 33 - I. Allegro non troppo
The Carnival of the Animals- R. 125 - The Swan
Camille Saint-Saëns
Lalo • Saint-Saëns
Maja Bogdanović, cello / RTS Symphony Orchestra / Bojan Sudjić
Challenge Classics CC 72949
If you’ve got a copy of our new February 2024 issue, (or seen it online) you would’ve seen our Masterclass feature on the first movement of Brahms’s Violin Sonata no.2, op.100 with violinist Daniel Kurganov. The interview for the Masterclass feature was just a tiny part of a larger conversation that, in addition to Daniel’s musical and technical advice on the work, included his wider thoughts on historical performance and the meaning of authenticity.
Have a listen to an excerpt online editor Davina's interview with Daniel, which starts off with him giving a bit of historical context on the piece that he has recorded and released recently with pianist Constantine Finehouse, on their album The Brahms Age.
Watch: Video premiere: Brahms Violin Sonatas on authentic instruments
Read: Daniel Kurganov: on starting the violin at age 16
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Brahms Violin Sonata no.2 in A major op.100
I: Allegro amabile
Daniel Kurganov, violin / Constantine Finehouse, piano
The Brahms Age
Hänssler Classic
In our quest for virtuosic brilliance and flair in our music making, as string players, sometimes we forget that coming back to basics is important for solving many problems in our playing and performance. Many people to get distracted by the complexities of a particular obstacle, or perhaps try and tackle too many problems at once, leading to a sensory overload. Or perhaps overcoming challenges in string playing is so overwhelming and anxiety-inducing that you don’t know where to start!
Here to chat with online editor Davina in this episode is cellist Gabriel Schwabe, who is also a cello professor in Cologne and Maastricht. He advocates an awareness or ‘scanning’ of one’s playing and set-up, to pinpoint simple ways to solve problems and unlock one’s playing potential. He shares his favourite strategies, provides a few examples of how basic things have helped his playing and his students, as well as some useful exercises to stay on top of his playing.
Read Gabriel's Q&A on Bridge's 'Oration' Cello Concerto and his listening guide on the piece.
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IV: Allegro giusto
Bridge: Oration – Concerto elegiaco for cello and orchestra
Gabriel Schwabe, cello / ORF Vienna Radio Symphony Orchestra / Christopher Ward
NAXOS 8.574320
Photo credit: Studio Monbijou
Rachel Cooper is a violin teacher who was recently awarded the Emerging Artist Award given by the Dallas Symphony Orchestra at the 2023 Women in Classical Music Symposium. She’s a Suzuki teacher, a violin and chamber music coach at Junior Guildhall and works for Nicola Benedetti’s education initiative, the Benedetti Foundation. As part of her award and her continuing professional development, Rachel is planning to put her teaching approaches into a book, to help inspire music teachers to inject a little bit of magic into their lessons.
What’s so distinctive about Rachel’s teaching? Rachel speaks to online editor Davina about the concept of ‘3D learning’ and creative teaching – emphasising an all-round approach to music, including how something feels and sounds – not just how something looks – to embed information in a way that students understand and ultimately unlock students’ progress. She speaks about how tailoring her teaching methods to students gives you skills to become a better and more effective teacher.
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Visit Rachel’s website: https://rachelcooperviolin.com/
Photo credit: The Shannons Photography
Violinist Mahaliah Edwards spoke to online editor Davina recently about her approaches to teaching students in a wide range of scenarios, which call for actively involving pupils in music making and learning, and with Mahaliah taking on the role of ‘being the teacher that she would’ve like to have had.’ Perhaps you’re a string teacher interested in hearing some ways to inject inspiration into lessons, particularly after a holiday break, or when students seem to become disinterested – Mahaliah shares her ideas behind music lessons with a broad perspective, and how teachers can also learn from their pupils.
Visit Mahaliah's website: mahaliaedwards.com
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Photo credit: Olivia Davy-Hoffman
The city of Cremona is revered as being the historical birthplace and home of the violin and violin making, with luthiers today still emulating the models of Stradivari, Guarneri and the like. But what about the makers in nearby Brescia? Despite being geographically close, the city of Brescia has a remarkably different story, producing instruments and makers with their own distinct style.
Here to shine a light on Brescian instrument making is Sydney-based luthier Linda Lespets, who puts into historical context what life was like for makers such as da Salo, Maggini and Rogeri and what influenced the choices they made when making their instruments.
Linda is the host of The Violin Chronicles podcast - check it out here.
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The topic of adult beginners and adult learners is one that resonates with many readers of The Strad. Here to chat with online editor Davina about the mindset of adult students is violinist and teacher Rachael Ridge, who has written extensively on the subject for thestrad.com. She’s the founder of the Adult Violin Academy and speaks about her experience teaching adults – particularly as adults will approach learning an instrument very differently from a child.
She speaks about the importance of growth and progression, having a community, not being afraid to make mistakes and to take risks, as well as other factors, that will help adult learners on their musical journey.
Find out more about Rachael here and her Adult Violin Academy Facebook group here.
Check out some of Rachael's blogs below.
The dark side of being an adult violin beginner: Rachael Ridge
10 tips on how to stay motivated as an adult beginner violin student
What are your experiences and challenges as an adult learner? Let us know at thestrad@thestrad.com
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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This year, cellist Laurence Lesser celebrates his 85th birthday, as well as 50 years at the New England Conservatory, where he is president emeritus. His numerous students appear in concert halls, orchestras, teaching studios and more around the world. He speaks to online editor Davina about his teaching methods and approaches, including the ‘what, why and how’ of cello playing, plus how teaching has informed his playing throughout the years.
The New England Conservatory will celebrate Larry’s 85th Birthday and 50 Years at the Conservatory with a concert at Jordan Hall on 13 November at 7:30pm with pianist Minsoo Sohn. From October to May, Larry will also be curating First Mondays at Jordan Hall, a concert series featuring musical friends and NEC alumni. Each concert is free and open to the public with online RSVP. Find out more here: https://necmusic.edu/concerts
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Bloch - Schelomo (Solomon), Hebraic Rhapsody for Cello and Orchestra
Laurence Lesser, cello / NEC Philharmonia / Hugh Wolff, music director and conductor
Fauré - Après un rêve
Laurence Lesser, cello / HaeSun Paik, piano
Photo credit: Carlin Ma
Hailing from a family of viola players are Dana and Mikhail Zemtsov. Ahead of the release of their album Fathers and Daughters, the Zemtsovs spoke with me about being part of a viola dynasty. How did this collective of violists come about? What makes a typical violist? The duo share how the family is united by instrument, as well as painting a picture of life home in a viola household, plus what it’s like to work professionally with your family members
The Zemtsovs's Fathers and Daughters album with pianists Anna Federova and Borys Federov will be out on 3 November 2023 on Channel Classics. Find out more here: https://lnk.to/fathersdaughters
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Cielito Lindo (arr. Dana Zemtzov)
Dana Zemtsov, Mikhail Zemtzov, violas
Fathers and Daughters
Channel Classics
Recent visitors to thestrad.com may have noticed a video that premiered called Racing Horses, featuring a spirited performance from the cello and piano Cheng2 Duo, comprising siblings Bryan Cheng on cello and Silvie Cheng on piano. Racing Horses features on their upcoming album Portrait, which contains works by composers of Asian heritage, as well as two arrangements of Chinese folk songs, Racing Horses being one of them.
In an international operation that involved Bryan in Romania and Silvie in New York, both siblings joined online editor Davina for a conversation recently about the choices behind their album’s programming, how music can be used to celebrate heritage, diversity and representation, as well as doing justice to traditional Chinese instruments on the cello and piano. Plus, the two share details of what music-making was like during their childhood in Canada.
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Racing Horses/Sai Ma (赛马) by Huang Haihuai
Cheng2 Duo
Bryan Cheng, cello / Silvie Cheng, piano
Portrait
Centrediscs
Photo credit: Andrej Grilc
Playing as a principal player in a string section of an orchestra certainly has its challenges – but how do you learn how to lead a section? There’s plenty of tuition on audition preparation and orchestral repertoire for students – but it's unlikely many string players attend a class called ‘Leading 101’ while at college! It’s certainly a job that comes with gained experience and feedback. Here to share his learning experiences of leading a section is violist Daniel Foster. Daniel joined the National Symphony Orchestra in Washington DC in 1993 and was appointed to principal viola in 1995 – sitting next to his father who was associate principal! As he reaches an important milestone of 30 years with the NSO, he shares his approach and philosophy on leading a string section.
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Perhaps somewhat frustrated with the scarcity of double bass repertoire, Valentina Ciardelli is committed to finding and creating new repertoire for double bassists.
Valentina is the founder of the How I met Puccini project, transcribing arias for double bass and other stringed instruments. She speaks about showcasing and celebrating the double bass for what it is, idiomatic writing, and the ever-fascinating parallels between string playing and voices.
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Che puoi Farmi, non ti temo - fantasia su La Rondine per 2 Contrabbassi
Valentina Ciardelli, Manuel dell'Oglio - double basses
Photo credit: Juno Snowden/ Trinity Laban Conservatoire of Music and Dance
Violinist Pavel Berman is in the rather unique and fortuitous position of having the opportunity to play on the 1702 'David Oistrakh' Stradivari violin – not only that, but he has recorded the Shostakovich Violin Sonata recently with pianist Maria Meerovitch, a work that was written for Oistrakh himself!
What’s it like, coming face-to-face with the legacy of Oistrakh both in the music on your stand and the fiddle in your hand? Pavel spoke to online editor Davina about playing this special instrument, how it compares to other Strads and Guarneris he’s played before, and how the sound of the violin lends itself to Shostakovich.
Pavel Berman and Maria Meerovitch’s album Passacaglia will be released on Orchid Classics on 6 October 2023, featuring violin sonatas by Shostakovich and Respighi.
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II – Allegretto
Violin Sonata op.134
Dmitri Shostakovich
Pavel Berman, violin / Maria Meerovitch, piano
Passagcalia
Orchid Classics ORC100262
Photo credit: Franco Monti
Ahead of an upcoming performance with the London Philharmonic Orchestra, violinist Christian Tetzlaff spoke to Davina about performing Bartok’s Violin Concerto no.2. When did he first encounter it? What are his favourite moments? How does he get through the monumental work in one piece?
Christian will be performing the Bartok on 30 September with the London Philharmonic Orchestra and Edward Gardner.
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I: Allegro non troppo
III: Allegro molto
Bartok – Violin Concerto no.2 Sz.112
Christian Tetzlaff, violin / Finnish Radio Symphony Orchestra / Hannu Lintu
Ondine
Photo credit: Giorgia Bertazzi
Violinist Rachel Podger is no stranger to the pages of The Strad magazine, having featured in several articles and reviews throughout her prolific career. Ahead of her busy upcoming season, which sees her as artist in focus at London’s Kings Place, artistic director of Brecon Baroque Festival, a recording release of the Goldberg Variations, plus principal guest directorships with Tafelmusik in future seasons, Rachel makes her first appearance in the podcast to speak about the tools of her trade – including how she met her 1739 Pesarini/Pazarini violin, other instruments she’s met throughout her career, plus an explosive anecdote about a gut E-string.
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Bach Toccata and Fugue
Tutta Sola
Rachel Podger, violin
Channel Classics
Cellist Matthew Barley spoke to Davina recently about Schoenberg’s Verklärte Nacht, or Transfigured Night – a piece which is so epically challenging and takes the players and listeners on an emotional journey.
Matthew speaks about bringing other disciplines of theatre, electronics, dance and lighting to present a theatrical version of the work, which will be performed with the Mullova Ensemble in October.
The programme will be performed at Milton Court (London) on 18 October and Turner Sims (Southampton) on 19 October 2023.
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Photo credit: Marcus Tate
You may have seen a video premiere on thestrad.com last week of a film called Absinthe featuring cellist Alexander Hersh. Absinthe is more than a film series – it’s also an album of music featuring works that were written before the European ban of the highly alcoholic drink, the music from which provides the soundtrack to a crazy narrative that sees Alexander being haunted by a cello-shaped bottle of green liquid. Alexander speaks to online editor Davina about combining film making, editing, directing, acting – not to mention music making – in collaboration with some close friends to build a creative form of storytelling that provides numerous access points for a wide range of audiences, as well as what classical music can learn from other creative industries.
Watch the first instalment of Absinthe here.
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Scriabin Poem, Op. 32, No. 1 in F-Sharp Major
Alexander Hersh, cello / Victor Santiago Asuncion, piano
The musical world was shaken in October 2022 when news broke out of Geoff Nuttall’s passing. Geoff was the founding first violinist of the St. Lawrence String Quartet, an ensemble that has enchanted audiences worldwide since 1989 and served as ensemble in residence at Stanford University since 1998.
The St. Lawrence’s co-founding violist Lesley Robertson joins online editor Davina in this episode, reminiscing about Geoff – including his incredible energy, his connection with audiences, plus the musical work that is the most fitting musical epitaph, featured in the group’s recent release of Haydn string quartets.
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Haydn String Quartet in B flat major op.76 no.4 ‘Sunrise’
I Allegro con spirito
St. Lawrence String Quartet
Phenotypic Recordings
Photo credit: Marco Borggreve
Coming to US audiences in October is Aleksey Igudesman’s show The Music Critic, which, with a cast of musicians and the actor John Malkovich, combines classical music, comedy and theatre to focus on 'the most horrible reviews of the most beautiful music ever written.'
Aleksey spoke to online editor Davina recently about the ideas behind the show, what we can learn from reviews and critics, as well as how to deal with a bad review.
Watch the trailer for The Music Critic here
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Schumann Piano Quartet - Andante cantabile
Dvorak Piano Quintet - Scherzo
Violins: Aleksey Igudesman, So-ock Kim
Viola: Max Baillie
Cello: Tanja Tetzlaff
Piano: Hyung-ki Joo
Gracing the headlines recently is the Aizuri Quartet, which has announced two new members of the ensemble in advance of its busy 2023/24 performing season. The upcoming year sees the quartet performing a range of repertoire around the US. Here to speak with online editor Davina in this episode is violinist Emma Frucht, who shared her insights and strategies for life on the road as a quartet – including how to prepare new works for a tour, ways to cope while travelling, as well as how the quartet makes the most out of its rehearsal time – particularly when time is limited.
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Komitas Vardapet (arr. Sergei Aslamazian) – Armenian Folk Songs
Yergink Ampel A (It's Cloudy)
Earthdrawn Skies
Aizuri Quartet
Stephanie Baer is a violist who, in addition to serving as director of string studies and orchestras, plus professor of viola and chamber music at NYU Steinhardt, has enjoyed a multi-faceted musical career within the New York community. Notably, Stephanie held the chair of principal viola in the Broadway production of The Phantom of the Opera for 22 years. Phantom closed on Broadway earlier this year, but Stephanie shares with online editor and cellist Davina Shum on how she got started playing in Broadway shows, as well as how the versatility required in musical theatre bands and orchestras feeds your classical playing.
She speaks about the Broadway Orchestra, unique to NYU Steinhardt, which aims to train up students to play in musicals and ready themselves for a freelance career. Also discussed are strategies for keeping things fresh when you’re playing the same show every night!
Read Davina's articles about musical theatre here:
Read: Opinion: A case for depping
Read: How I completed a 118-show run (without losing my mind)
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Happening from 6 to 12 August this year is the Silkroad Global Musician Workshop. Silkroad was founded by Yo-Yo Ma and aims to use arts to inspire cultural exchange and collaboration.
Cellist and director of the Global Musician Workshop Mike Block shares how musicians representing different cultures, traditions and disciplines come together for the training programme, which is modelled after the genesis of the Silkroad Ensemble, and creates an environment that fosters learning and collaboration. Mike emphasises the individuals behind every instrument and culture and how this leads to unexpected, yet rewarding exchanges.
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Garfield's Blackberry Blossom
Biribá Union
Mike Block, cello / Christylez Bacon, beat-box / Patricia Ligia, electric bass
Photo credit Kelly Lorenz
The principles of yoga are so easily transferred to string playing and vice versa – concepts such as thinking about one’s breath, mindfulness, discipline and being kind to oneself. Violinist Melissa White is a trained yogi and co-founder of Intermission, a programme that unites body, mind, breath and music making with yoga and meditation. She spoke to online editor Davina Shum just before she embarked on working at the Heifetz Institute as the yoga instructor and chatted about her journey into discovering yoga, the role of the breath in string playing, as well as her favourite exercises and approaches in incorporating yoga with her music making.
Check out the Intermission YouTube channel here: https://www.youtube.com/@intermission1777
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Photo credit: Dario Acosta
Can you imagine playing Kreisler’s violin? If you’re Francisco Fullana, you don’t have to imagine. He is lucky enough to get to play the 1735 Guarneri ‘del Gesù’ 'Mary Portman, ex-Kreisler' violin, thanks to Clement and Karen Arrison through the Stradivari Society of Chicago.
He joins online editor Davina Shum in this episode to 'nerd out' on fine violins, speaking about the relationship he has cultivated with this violin over six years of playing and exploring the instrument.
Francisco also shares how the violin contributed specifically to his new album Spanish Light, which comprises works by Spanish composers, including Turina, Sarasate, Granados and more.
Spanish Light is out on Orchid Classics on 21 July 2023.
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Romanza andaluza - Pablo de Sarasate
Francisco Fullana, violin / Alba Ventura, piano
Spanish Light
Orchid Classics ORC100250
Photo credit: Miguel Arranz
When you hear the word ‘eclectic’, what do you think of? Random, perhaps? Eclectic does not mean random, as illustrated by the guests of this episode from the Dudok Quartet.
Violinist Marleen Wester and cellist David Faber speak to online editor Davina Shum about the quartet’s new album What Remains, an eclectic mix of repertoire spanning 1000 years. What brings together music from the medieval era to the modern day? Marleen and David speak about how different voices coming together in the form of repertoire, instruments and quartet personnel are the grounds for collaboration and linking tradition with progression.
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What Remains (String Quartet no.4) – Joey Roukens
I: Oscillations
II: Motectum
Dudok Quartet
What Remains
Rubicon
Photo credit: Green Room Creatives, Yuri Andries
Luis Cabrera the principal bass of the Netherlands Philharmonic Orchestra and a professor at the Guildhall School of Music and Drama in London. When he’s not doing either of those jobs, he’s tackling some monumental solo repertoire – Bach’s Cello Suite no.1… on double bass! Luis chats with online editor Davina Shum about his long journey preparing and recording this suite, his approaches to playing solo Bach, as well as strategies for playing a work not technically written for your instrument.
Watch Luis perform the Courante from Bach Cello Suite no.1: https://bit.ly/3NZhxYk
Read Edicson Ruiz's thoughts on the Bach Cello Suites on double bass in our July 2023 issue Sentimental work.
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II - Allemande
Suite for Solo Cello no.1 in G major BWV 1007
Johann Sebastian Bach
Luis Cabrera, double bass
Photo credit: Elbert Besaris
Most string players will get to a point in their career where their faithful instrument has served them to the best of its ability, and the time has come for the player to think about upgrading to a fine instrument. It can be very exciting, the prospect of finding the best instrument, but also daunting – we don’t have to mention how expensive fine instruments go for, which understandably means that a lot of these options are out of reach for students or young emerging artists.
Violinist Peter Herresthal spoke with online editor and cellist Davina Shum about making the transition from a student instrument to a fine instrument, having worked for Dextra Musica and now serving as artistic director of the Anders Sveaas Trust – both of which have a collection of fine instruments that are loaned to up-and-coming artists. He speaks about his experience acquiring his Guadagnini, other violins he’s met along the way, as well as the different options and strategies young artists can take when looking for a fine instrument.
Read our article Postcard from Oslo: ‘Master to Master’ symposium in our May 2023 issue
Read about Johan Dalene's recent Stradivari acquisition, courtesy of the Anders Sveaas Trust
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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III: Rounds
Violin Concerto op.23
Thomas Adès
Peter Herresthal, violin / Norwegian Radio Orchestra / Andrew Manze
BIS
Photo courtesy Mats Bäcker
Tessa Lark’s long awaited Stradgrass Sessions album is out on 5 May, comprising a melting pot of styles, influences and collaborations in one disc. She spoke online editor Davina Shum recently about how her musical upbringing in Kentucky combining Americana and classical has shaped her, the versatility of her c.1600 Maggini violin, plus why one of the tracks on her album has her chasing good vibes.
Read our Session Report on the album in our October 2020 issue here.
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Le Soka – Cheese in the Wine
Tessa Lark, violin
The Stradgrass Sessions
First Hand Records
Photo credit: Benjamin Allen
TwoSet Violin celebrated a significant milestone late in 2022: upon reaching 4 million subscribers on YouTube, the violin comedy duo put on a performance of a lifetime with the Singapore Symphony Orchestra, with Brett Yang playing the Mendelssohn Violin Concerto, and Eddy Chen joining him later for the Bach Violin Concerto for two violins. Not only this, but for the occasion, Tarisio loaned the pair two Stradivari violins from 1708 – the ‘Empress Caterina’ and ‘Regent Superb’. What an opportunity!
Brett Yang chats to online editor Davina Shum about his experience playing this instrument, what it taught him about his playing, as well as other instruments he’s played throughout his career.
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III Allegro molto vivace
Violin Concerto in E minor op.64
Felix Mendelssohn
Brett Yang, violin / Singapore Symphony Orchestra / Rodolfo Barraez, conductor
How many people does it take to perform the Mendelssohn Octet? In the case of Malin Broman, one. You might remember her pandemic-era video where she performed all eight parts of the finale – including that fiendish opening in the second cello part. Malin speaks to online editor Davina Shum about her journey into multi-instrumentalism and the versatility and different perspectives that come with playing other instruments.
Watch Malin’s videos here!
One performer plays Mendelssohn’s Octet
Eight Malin Bromans perform ‘A Room of One’s Own’ by Britta Byström
Passacaglia by Händel/Halvorsen - but not as you know it!
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IV: Presto
Octet in E-flat major op.20
Felix Mendelssohn
Malin Broman, vn 1 / Malin Broman, vn 2 / Malin Broman, vn 3 / Malin Broman, vn 4 / Malin Broman, va 1 / Malin Broman, va 2 / Malin Broman, vc 1 / Malin Broman vc 2
Luthier and bow maker Iris Zhulla features in The Strad March issue Trade Secrets with a step-by-step guide on repairing a bow thumb groove with epoxy and modelling clay. Iris speaks about the importance of repairing, restoring and preserving our bows, given the precarious situation of pernambuco wood at the moment. Rather than writing off bows that require extensive surgery, Iris advocates repair whenever possible, as well as better education for players, students and their parents on simple, everyday habits we can instil to keep our bows in better health for longer.
Read Iris’s Trade Secrets on repairing a bow thumb groove with epoxy and modelling clay in the March 2023 issue here.
Learn about and donate to Alliance-USA here: https://www.alliance-usa.org/donate/
Watch Lynn Hannings speak about the pernambuco crisis: CITES changes and ramifications at the Women in Lutherie Conference 2022 here: https://www.youtube.com/watch?v=zPSO51H33DM
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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The technique of playing double-stopped octaves can strike fear into the hearts of many a cellist – it certainly can be a daunting and overwhelming concept for players. But it doesn’t have to be. Here to give his tips on practising and teaching octaves for cellists, as well as how to avoid ‘mental catastrophising’ is Seth Parker Woods. Seth is a Grammy-nominated cellist who is assistant professor of practice - Cello and Chamber Music at Thornton School of Music, University of Southern California, and he provides a Technique article in our brand new March issue on this topic.
Seth’s album Difficult Grace will be released on 14 April on Cedille Records.
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Allemande
Suite for Solo Cello in G major BWV 1007
Johann Sebastian Bach
Seth Parker Woods, cello
Recorded by Sang Wook ’Sunny’ Nam at Jacob’s Well Mastering
Photo credit: Michael Yu
Fresh from her Senior Division victory at this year’s Sphinx Competition is violinist Njioma Grevious, who speaks with online editor Davina Shum about competitions and performance. She shares her chosen preparation strategies, what helps her embody the character of the piece she’s playing on stage, as well as her hopes for her future career. Plus, what can string players learn from flute players?
Watch Njioma’s performance of the Samuel Coleridge-Taylor Violin Concerto in the Sphinx Competition Senior Division finals here:
https://www.youtube.com/watch?v=b9D65zvapo0&list=PL5BN_oivpxmQFFkf2xh4RNCB7TZk_GJKt
Other podcast episodes you may like:
Listen: The Strad Podcast Episode #34: Maria Ioudenitch on her competition success
Listen: The Strad Podcast Episode #17: Nikolaj Szeps-Znaider on competitions
Listen: The Strad Podcast #13: Dr. Renée-Paule Gauthier on dealing with performance anxiety
Photo credit: Jiyang Chen
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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How do you feel about scales? Many people would agree that they play a necessary part in our musical education as string players, though most people will have had mixed feelings about implementing them in practice.
Violist of the PUBLIQuartet, composer and educator Nick Revel speaks to online editor Davina Shum about the role of scales in his playing, both past and present. Nick has devised a play-along tool for practising scales and arpeggios called DragonScales and he shares what this scale system can offer the modern player.
Find out more about DragonScales here. Sheet music is available here.
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Fly Trap
Dream Collider
Nick Revel
Sapphire Records
Photo credit: Ryan Scherb
Patricia Kopatchinskaja speaks to online editor Davina Shum about her recent programme of Janáček, Bartók and Brahms – including how she has to embody the composers’ wishes on stage. Not only has she recorded this programme of violin sonatas with pianist Fazil Say, she has also taken it on tour. How does she keep the pieces fresh and spontaneous on the road and in collaboration? Have a listen to her insights on performing these works.
Check out Patricia and Fazil's 'Strad Recommends' album review in the February 2023 issue here:
Find the album here: https://lnk.to/JanacekBrahmsBartokAr
The duo will be on tour with the programme on the following dates:
2 June: Baden Baden
3 June: Essen
4 June: Madrid
5 June: Barcelona
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I: Con moto
Sonata for Violin and Piano JW IIV7
Leoš Janáček
Patricia Kopatchinskaja, violin / Fazil Say, piano
Brahms, Bartók and Janáček
Alpha Classics
Alpha 885
Photo credit: Marco Borggreve
As well as being violinist of the Danish String Quartet, Rune Tonsgaard Sørensen is also a member of the folk trio Dreamers’ Circus. In an aim to pass on the traditions of Nordic folk music to the next generation of musicians, the trio has devised a resource called Handed On – a project comprising original folk music in the form of sheet music and YouTube videos. If you’re interested in incorporating more (or any) Nordic folk music in your lessons, listen on to what Rune has to say. He spoke about the role of folk music in his own education, the parallels between Handed On and the Suzuki Method, as well as having more variety of repertoire in lessons.
Find out more here https://www.handedon.com/
https://edition-s.dk/music/dreamers-circus/dreamers-circus
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Mads Hansens Polka
Stormpolskan
Handed On
Dreamers’ Circus
Photo credit: Caroline Bittencourt
Alisa Weilerstein is embarking on a multi-year project called Fragments – comprising all 36 movements of Bach’s solo cello suites, interweaved with new commissions from 27 diverse composers. Alisa speaks to online editor Davina Shum about how this project came about, how a combination of theatrical elements come together to provide a unique musical experience, and why it’s good to jump into seemingly daunting projects with both feet.
Fragments 1&2 will premiere in Toronto on 28 January. Alisa will perform Fragments 2 in Irvine, CA (12 March) and Fragments 1 in Santa Barbara, CA (10 March), La Jolla, CA (14 March) and at New York’s Carnegie Hall (1 April)
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Courante
Suite for Solo Cello no.2 in D minor - Bach
Alisa Weilerstein, cello
PENTATONE PTC5186751
Photo credit: Marco Borggreve
Liam Byrne’s website states that he ‘spends most of his time playing either very old or very new music on the viola da gamba’ – often involving electronics. Perhaps you might think of the viola da gamba playing only historical music – Liam shared with online editor Davina Shum his approach of playing a wide range of repertoire with new technology and how in doing so, it opened up a world of colour and timbre.
Liam will appear at the d&b Soundscape event on 20 January 2023 at Sound Unwrapped, Kings Place. Find out more information here.
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Long Phrases for the Wilton Diptych – Nico Muhly
Concrete
Liam Byrne, viola da gamba
Photo credit: Tom Roelofs
Because of their rarity and exquisite craftmanship, the famed violins of Guarneri ‘del Gesù’ fetch a high price – including the 1741 ‘Vieuxtemps’ which boasts the title of the world’s most expensive violin. Recently, violinist David Garrett fulfilled a lifelong dream of acquiring a del Gesu violin from 1736 – he joins online editor Davina Shum in this episode to speak about what ‘del Gesù’ violins mean for him, as well as his new ‘del Gesù’ Club, where owners, players and collectors of ‘del Gesù’ violins gathered to play, observe and discuss all things ‘del Gesù’.
Find out more about David’s ’del Gesù’ Club at guarneridelgesu.com
Read David's account of acquiring his 1736 ’del Gesù’ violin here.
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6 lieder op.34 II Auf Flügeln des Gesanges – Felix Mendelssohn
The Four Seasons 'Winter' II Largo – Antonio Vivaldi
David Garrett, violin
Iconic
Deutsche Grammophon
Photo credit: Christopher Koestlin
Violinist Gwendolyn Masin is an intrepid explorer of neglected violin works throughout history. In this episode, she shares with me three short pieces that she believes really should enjoy more time in the spotlight of staple repertoire; by Vítězslava Kaprálová, Mario Castelnuovo-Tedesco and Lazare Saminsky.
Interested in exploring these works? Here are links to the scores and Gwendolyn's recommended recordings:
Pieces in order of mention:
- Vítězslava Kaprálová, Burlesque
Score:
http://www.kapralova.org/EDITION.htm
- Recording
https://www.youtube.com/watch?v=BkHDYcaKeWw
- Mario Castelnuovo-Tedesco, Ritmi
Score:
https://imslp.org/wiki/Ritmi,_Op.15_(Castelnuovo-Tedesco,_Mario)
+
https://mariocastelnuovotedesco.com/works_with_opus/ritmi/
- Recording:
https://www.youtube.com/watch?v=b3ptU5zQ-X8&t=6s
- Lazare Saminsky, Hebrew Rhapsody
Score:
https://www.universaledition.com/lazare-saminsky-2717/werke/hebraeische-rhapsodie-9936
Recording (by Orsolya Korcsolán):
https://www.youtube.com/watch?v=tPnIQCeT1Cw
Read Gwendolyn's online article 'Shining a light on Poldowski' here
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Tango
Irène Wieniawska (Poldowski)
Gwendolyn Masin, violin / Vera Kooper, piano
Legends
Orchid Classics ORC100210
Photo courtesy Neda Navaee
Online editor Davina Shum speaks to Heather Noonan, the vice president for advocacy, League of American Orchestras. Heather attended the 19th CITES meeting in Panama City, where on 25 November, a decision was made to keep pernambuco wood under CITES Appendix II, with modified wording. What does that mean for you? Heather explains what the modified classification entails, as well what measures musicians and bow makers can take to ensure the future of this precious wood.
Read: Future of pernambuco decided at CITES convention
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If you’re a player, you’ve probably learnt from an early age to respect the bridge. Here to demystify the topic slightly for players is Aubrey K Alexander, winner of two gold medals for her viola and cello bridges at the International Violin Bridge Competition in October 2022.
Find out how long it typically takes her to make a bridge, as well as the challenges that come with crafting such an intricate component of a stringed instrument, as well as what German Shepherd puppies have to do with bridges.
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Julia Perry (1924-1979) was an American composer, who studied at Tanglewood, Juilliard and in Paris with Nadia Boulanger, where she won the Boulanger Grand Prix for her Viola Sonata. She was the recipient of two Guggenheim Fellowships and also studied in Italy with Luigi Dallapiccola. Despite her prolific achievements, Perry's work has fallen into obscurity, including her Violin Concerto of 1963.
Here to shine a light on her work is violinist Curtis Stewart, who will be giving the premiere performance of Perry’s Violin Concerto with the Experiential Orchestra and James Blachly on 2 December in New York. Curtis speaks with online editor Davina Shum about the unexpected logistics of programming an unknown work, as well as the challenges that come with the piece, and why this work should be performed more often.
Curtis will perform Julia Perry's Violin Concerto on Friday 2 December 2022 at 8pm with the Experiential Orchestra and James Blachly, at the DiMenna Center for Classical Music, 450 West 37th Street, New York, NY. More information can be found here.
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This episode is brought to you in association with For-Tune Strings.
Today’s podcast guest is cellist Anastasia Kobekina, who was lucky enough to have the opportunity to help develop For-Tune’s new Opal Gold cello strings, through a series of trials and feedback. Not many string players get the chance to have direct input on their ideal set of strings: Anastasia shares with online editor Davina Shum what she looks for in an ideal string, including the type of sound and playability.
Do you have an opinion on an issue raised in The Strad or on The Strad online, why not write us a letter? If yours gets chosen as The Strad’s Letter of the Month, a set of For-Tune Opal Titan violin or cello strings will be all yours! Email thestrad@thestrad.com
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Fandango Per Violoncello Solo
Giovanni Sollima
Anastasia Kobekina, cello
Ellipses
Mirare MIR 604
Photo credit: Julia Altukhova
Sisters Soo-Jin and Soo-Kyung Hong are the violinist and cellist respectively of Trio Con Brio Copenhagen. They speak to online editor Davina Shum about their fine Italian instruments that they play – Soo-Jin a 1670 Andrea Guarneri and Soo-Kyung a Grancino cello c.1600. Soo-Jin and Soo-Kyung speak about how these two instruments – or ‘old fellows’ in their words – prefer certain climates, as well as what they do to keep their instruments happy. It’s not always easy, it seems!
The members of Trio Con Brio Copenhagen are artistic directors of Chamber Music at Lundsgaard, a Postcard from which will appear in the March 2023 issue of The Strad. Underscoring the intro and outro of this episode is the third movement from Arensky's Piano Trio in D minor from the trio's album Shostakovich/Arensky Piano Trios, out on Orchid Classics.
Both players are endorsed by Jargar Strings and Thomastik-Infeld Vienna. Soo-Kyung plays her Grancino cello courtesy of the Augustinus Foundation.
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III Elegia. Adagio
Piano Trio no.1 in D minor, op. 32
Shostakovich/Arensky Piano Trios
Trio Con Brio Copenhagen
Orchid Classics
Photo credit: Nikolaj Lund
Sophie Kauer is a 21-year-old cellist who features in a new film called TÁR. Directed by Todd Field and starring Cate Blanchett in the title role as Lydia Tár, a monumental figure in classical music, Sophie features as a new recruit in a German orchestra. It’s not your typical gig coming out of music college – in fact, Sophie is still in the middle of her undergraduate studies! Sophie shares with online editor Davina Shum her experience of scoring a role in a full-length feature film, as well as the challenges that come with not only acting, but delivering the Elgar Cello Concerto in front of a cast and crew.
The TÁR concept album is out now on Deutsche Grammophon. TÁR will have wide release in the US on 28 October, with UK release set for January 2023.
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Elgar Cello Concerto in E Minor Op. 85: 4, Allegro
Music from and Inspired by the Motion Picture TÁR
Sophie Kauer, cello / London Symphony Orchestra / Natalie Murray Beale
Deutsche Grammophon
Exploring the topic of historically-informed performance in this episode is violinist Alina Ibragimova. She’s got a new album out now of the Telemann Fantasias for solo violin, that she’s recorded on a venerable Amati instrument, with a baroque bow and gut strings. Alina shares her personal journey of discovering historically informed performance, as well as some tips to approaching the style – including how it’s not just about playing without vibrato.
Alina is the first violinist of the Chiaroscuro Quartet, which features in our November 2022 Session Report. Check it out here: https://www.thestrad.com/for-subscribers/session-report-the-chiaroscuro-quartet-on-mozarts-prussian-quartets/15496.article
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Fantasia no.7 in E flat major TWV 4020
I: Dolce
Telemann Fantasias for Solo Violin
Alina Ibragimova, violin
Hyperion
Photo credit: Eva Vermandel
Our October issue explores the topic of how an orchestra’s home concert hall affects its sonic fingerprint. In this episode, concertmaster of the New York Philharmonic, Frank Huang, speaks to online editor Davina Shum about the Philharmonic’s brand new David Geffen Hall. How do a hall’s acoustics affect what Frank asks of his section, and beyond? How is this hall different from the Philharmonic’s previous home, the Avery Fisher Hall? Frank shares his initial impressions of the new hall, his favourite halls he’s played in, as well as how he’s looking forward to exploring the sound in the new venue.
New York Phil Returns Home will be held from 12 to 18 October, while two opening galas will be held on 26 and 28 October. Click here for more information.
Check out Boston Symphony Orchestra's principal double bassist Edwin Barker's Opinion: Does an orchestra's home hall affect its sound?
This article features in our October 2022 issue, on sale now.
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Photo credit: Chris Lee
Fiddler Anne Harris was looking to expand her violin sound from her current 1961 Roth violin, when, while scrolling on Instagram, came across Amanda Ewing – the first Black female luthier on record in the United States. After striking up a new relationship and with the help from GoFundMe, Amanda will make a new instrument for Anne, making it the first violin ever to be commissioned between two African American women.
Their conversation with online editor Davina Shum illustrates the importance of representation, including how Amanda got into lutherie, how Anne communicates her vision to Amanda, as well as how personality of an instrument’s sound lies not only in the wood, but in the hands of the maker.
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Photo credit: Mike Belleme, courtesy GoFundMe
Serbian-French violinist Nemanja Radulovic has new album coming out called Roots. It contains a very international and diverse programme, with pieces from Serbia, to North Macedonia, Spain, Brazil, France, Japan, plus many more countries. Nemanja also spoke about the role of violin playing during his childhood, including his musical heroes and the influences of the West and East in Serbia.
Read our June 2022 feature ‘Serbian String Playing: Free Spirits’ here: https://www.thestrad.com/for-subscribers/serbian-string-playing-free-spirits/14831.article
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L’Indifférence – Tony Muréna and Joseph Columbo
Nemanja Radulović, violin / Double Sens
Roots
Arrangements by Aleksander Sedlar and Nemanja Radulović
Warner Classics
Photo credit: Sever Zolak
Violinist Charlie Siem chats to online editor Davina Shum about the Beethoven Violin Concerto and the two Romances, which he has recently recorded on Signum Classics. He speaks about how he first encountered the works, what’s going on in his head during the orchestral introduction to the concerto, plus how he deals with Beethoven’s sometimes gnarly pianistic writing.
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Violin Concerto in D major op.61
Ludwig van Beethoven
I: Allegro ma non troppo
III: Rondo. Allegro
Charlie Siem, violin / Philharmonia Orchestra / Oleg Caetani, conductor
Signum Classics
SIGCD704
Norwegian violinist Bjarte Eike, with his group the Barokksolistene, created the Alehouse Sessions in 2017, which is now being followed up by the Playhouse Sessions. It takes inspiration from music-making scenes in 17th century England, during the times straddling Oliver Cromwell’s Commonwealth and the Restoration of the Monarchy with King Charles II.
Bjarte and his colleagues create a show environment that is not just about the music, but embraces high-risk creativity as well as making mistakes. He also speaks about the importance of live audiences, including how Bjarte uses booze to bring the audience into his curated alehouse environment.
Bjarte and the Barokksolistene will appear in Purcell’s Playhouse and The Alehouse Sessions Double Bill at the Southbank Centre on 23 September. More information can be found here.
The Jolly Pilgrim
Can She Excuse Puck’s Wrongs
Bjarte Eike, violin/director / Barokksolistene
The Playhouse Sessions
Rubicon Classics
Photo credit: Ivan Korč
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Augustin Hadelich has a new album out now, called Recuerdos – featuring works by Sarasate, Prokofiev, Britten and Tarrega, brought together, perhaps surprisingly, by a Spanish theme. Augustin explains what draws these pieces together.
The piece that gives the album its name, Recuerdos de la Alhambra features some rather impressive ricochet bowing on Augustin’s recording. If you struggle with ricochet – let’s be honest, who doesn’t? – then listen out for Augustin’s thoughts and approaches to this technique.
Read Augustin's interview on recording Suzuki repertoire: https://bit.ly/3o4gQPy
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Britten Violin Concerto in D Minor, Op.15 - II. Vivace - Animando – Largamento
Augustin Hadelich, violin / WDR Symphonie Orchestra / Christian Măcelaru, conductor
Tarrega - Recuerdos de la Alhambra (Arranged by Ricci)
Augustin Hadelich, violin
Recuerdos
Warner Classics
Photo credit: Suxiao Yang
Celebrating our education-themed September 2022 magazine, online editor Davina Shum chats to pedagogue and cellist Richard Markson about how to teach the concept of sound and tone.
Richard is a former student of cello greats Paul Tortelier and Pierre Fournier, and holds a senior fellowship at Trinity Laban Conservatoire of Music and Dance in London. He speaks about the importance of singing, organic movement, and listening to a range of music – not just string players! – in an effort to communicate tricky concepts across to students.
Find our September 2022 magazine here
Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards.
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Comprising violinists Nick Kendall and Charles Yang, and double bassist Ranaan Meyer, Time For Three joins online editor Davina Shum for a conversation about triple concertos. How does the group maintain the synergy of a chamber ensemble against the backdrop of a symphonic orchestra?
In light of commissioned works by Pulitzer-winning composers Kevin Puts and Jennifer Higdon, Nick, Charles and Ranaan share their approaches towards working together, as well as remotely during the pandemic, plus the boys share their favourite string techniques implemented on their new album Letters for the Future.
Time For Three will perform Kevin Puts’s Contact on 28 July with the Philadelphia Orchestra and Erina Yashima at the Saratoga Performing Arts Center. More information can be found here
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II: Codes (Scherzo)
Contact – Kevin Puts
Letters for the Future
Time For Three / Philadelphia Orchestra / Xian Zhang
Deutsche Grammophon
Most people are considered lucky if they get to play a Strad in their lifetime. Violinist Timothy Chooi is lucky enough to have been granted use of two Stradivari instruments within a decade! In 2015 he was loaned the 1717 ‘Windsor-Weinstein’ Stradivari from the Canada Council for the Arts, which he played up until this year, when he was loaned the 1709 ‘Engelman’ Strad from the Nippon Foundation.
Using various analogies, Timothy speaks about his experiences playing these fine instruments, including how despite their mystical status, it’s not always smooth sailing. He also shares how playing old instruments informs his playing of modern instruments and vice versa.
Timothy will appear in recital with pianist Julien Quentin at the Verbier Festival on 28 July. More information can be found here: https://www.verbierfestival.com/show/mainstage-2022-07-28-1600/
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Sunshine on Tashkurgan
Chen Gang (1935-)
Timothy Chooi, violin / Michelle Cann, piano
Photo credit: Den Sweeney
Partners in life and in music David Finckel and Wu Han speak about chamber music and sharing of musical experiences as they celebrate 20 years of Music@Menlo Chamber Music Festival and Institute, of which they are artistic directors. With artistic integrity at the fore, they speak about inspiring the next generation of musical pioneers with the mentality that nothing is impossible.
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Read about Menlo alumna Gloria Chien here: https://www.thestrad.com/news/husband-and-wife-duo-receive-2021-cms-award-for-extraordinary-service-to-chamber-music/13919.article
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Chopin: Cello Sonata in G minor op.65
III: Largo
David Finckel, cello / WuHan, piano
Photo credit: Lisa-Marie Mazzucco
Violinist Carolin Widmann covers 1000 years of repertoire in her latest album, L’Aurore, including works by Hildegard von Bingen, J.S. Bach, Ysaye, Enescu and George Benjamin. She speaks to online editor Davina Shum about what all these pieces have in common, including finding freedom within the form with such diversity of pieces. Carolin speaks about the importance of singing in achieving free, musical communication, and how the different ways composers use musical notation can achieve surprisingly similar results.
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J.S. Bach: Partita no.2 in D minor BWV 1004 - Allemanda
L’Aurore
Carolin Widmann, violin
ECM 2709
Photo credit: Lennard Rühle / ECM Records
American cellist John-Henry Crawford chats to online editor and fellow cellist Davina Shum about Latin American music. John-Henry, or JH has recently released an album called Corazón, featuring music by Villa Lobos, Piazzolla, Ponce, Gismonti and more. He spoke about how his passion for Latin American music was ignited, how JH’s experience learning the Spanish language has informed the way he approaches these pieces musically, as well as how cellists need to adapt when playing with a classical guitarist.
Here's JH and JiJi's video performance of Água e Vinho: https://www.thestrad.com/video/new-video-john-henry-crawford-and-jiji-perform-agua-e-vinho/15040.article
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Manuel Ponce - Estrellita Arranged by JIJI / Jascha Heifetz
Carlos Guastavino (1912-2000) – Pampamapa
John-Henry Crawford, cello / Victor Santiago Asuncion, piano / JIJI, guitar
Corazón
Orchid Classics ORC100198
Photo credit: Lindsay Adler
It's our 50th episode! Thank you to everyone who's tuned in so far!
Our latest episode features violinist Itamar Zorman. He speaks about a musical odyssey that explores repertoire from Israel, Sudan, New Zealand, Mexico and many more countries, plus how playing unknown global repertoire informs his playing of classic violin repertoire.
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Wanderings – Moshe Zorman
Violin Odyssey
Itamar Zorman, violin / Ieva Jokubaviciute, piano
First Hand Records FHR119
Photo credit: Jamie Jung
Violin and conductor duo of Zina Schiff and Avlana Eisenberg speak to online editor Davina Shum about their musical and familial collaboration. They speak about their new album with the Royal Scottish National Orchestra comprising the music of American composer William Grant Still.
What’s it like for Zina, to be conducted by her daughter? What was it like for Avlana, listening to her mother practise throughout her childhood? The duo speak about the power of familial connection in music making, plus Zina provides a little introduction to William Grant Still, to those who are unfamiliar.
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Summerland
Violin Suite II: Mother and Child
William Grant Still
Zina Schiff, violin / Avlana Eisenberg, conductor / Royal Scottish National Orchestra
Naxos
First concertmaster of the Berlin Philharmonic Orchestra Noah Bendix-Balgley shares his audition process for winning the top job, as well as his personal experiences playing some of the most challenging, exposed, notorious, yet beautiful concertmaster solos in orchestral repertoire. He shares advice for violinists going for concertmaster auditions, as well as why he believes a concertmaster job is a truly fulfilling role.
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Romance for violin and piano op.23
Amy Beach
Noah Bendix-Balgley, violin / Ohad Ben-Ari, piano
Photo credit: Nikolaj Lund
Luthier Korinthia Klein offers tips to players on keeping instruments in good shape as the seasons change. She illustrates the importance of keeping a level-headed, informed approach when dealing with minor instrument and bow ailments, in an aim to empower players to become responsible caretakers for their instruments.
Check out Korinthia’s article Basic Maintenance: Avoiding instrument carnage as featured in our January 2021 issue.
Korinthia’s book My Violin Needs Help!: A Repair Diagnostics Guide for Players and Teachers is available from her website.
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Photo credit: Itzel Avila
Cellist Billy Tobenkin shares his thoughts on starting an instrument as an adult. Billy had a career as a writer and copy editor before delving into the world of cello at the age of 25. 15 years later, Billy works professionally as a cello teacher and performer in LA. He shares his experiences of starting the instrument with no musical background, the challenges faced by adult beginners, as well as words of advice to avoid discouragement.
Check out Billy’s website at adultcello.com
Sergei Rachmaninov – Cello Sonata in G minor op.19
III Andante
Billy Tobenkin, cello / Tae Yeon Lim, piano
The New Zealand String Quartet celebrate its 35th anniversary in 2022. We hear from founding member Gillian Ansell about the quartet’s early days in 1987, first violinist Helene Pohl and cellist Rolf Gjelsten about keeping quartet and married life separate, and newest member Monique Lapins’s philosophies for including all voices equally in a professional quartet.
Watch the NZSQ perform works by New Zealand composers here: https://www.nzsq.org.nz/watch
Check out thestrad.com for the latest news and articles on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB
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Douglas Lilburn, String Quartet in E minor
I – Andante
II - Allegretto
Naxos Classical (2015)
Producer: Norbert Kraft & Bonnie Silver, Engineer: Norbert Kraft
Photo credit: Bruce Foster
What do NBA basketball and cello choir have in common? Cellist and basketball enthusiast Amit Peled shares the educational and professional benefits of playing in an ensemble where all members play the same instrument, as demonstrated in his Mount Vernon Virtuosi CelloGang.
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Johannes Brahms: Symphony no.3 II Andante
Arranged for eight cellos and piano by Konstantin Blagojevic
Amit Peled and the Mount Vernon Virtuosi CelloGang
Solus et Una
CTM Classics
Photo credit: Philip Bermingham
Cellist Jan Vogler speaks about the magic of music festivals. As artistic and general director of the Dresden Music Festival, he shares how early memories of the Marlboro Music Festival are linked to special moments in his life, how he hopes to create an environment where ideas, culture and friendships are cultivated, as well as why concert programmers should look to the youth of today when exploring diversification of musical genres.
The 45th Dresden Music Festival Magic takes place from 11 May until 10 June. More information can be found here.
Jan’s new album Pop Songs will be released 6 May on Sony Classical.
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Air ‘When I am Laid in Earth (Dido’s Lament)’
From Dido and Aeneas
Henry Purcell
‘Der Hölle Rache kocht in meinem Herzen’
From The Magic Flute K.620
Wolfgang Amadeus Mozart
Pop Songs
Jan Vogler, cello, / BBC Philharmonic Orchestra / Omer Meir Wellber
Sony Classical
Photo credit: Marco Grob
In a week where we explore how musicians are affected by environmental issues, violinist Kerenza Peacock speaks about how musicians share similar qualities to trees – including the ability to communicate widely without words and the benefits of a constructive, collaborative community. Using connection through music, Kerenza was recently responsible for coordinating a video of 94 violinists from 29 countries playing in harmony and in solidarity with sheltering Ukrainians in the outbreak of the war.
Arboretum Suite for solo violin and strings
III - The Vanishing Mahogany of the Amazon
Air – Oliver Davis
Kerenza Peacock, violin / Royal Philharmonic Orchestra / Paul Bateman, conductor
Signum Records
Trad. Ukrainian: Verbovaya Doschechka
Violinists Support Ukraine
http://violinistssupportukraine.com/
Photo credit: Benjamin Ealovega
Cellist Ani Aznavoorian shares the significance of playing music that celebrates and commemorates her Armenian culture. As well as continuing her cultural heritage through music, Ani also speaks about doing so in another way, as the proud player of a cello crafted by her father Peter Aznavoorian.
On 15 May 2022, the Music Institute of Chicago Presents The Aznavoorian Duo in Gems from Armenia - a concert celebrating the sounds of their ancestors through a panoramic survey of Armenian classical music. The concert will be held at Nichols Concert Hall, Evanston, IL at 3pm CT. More information can be found here.
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Chinar Es – Komitas Vartabed (1869-1935)
Ani Aznavoorian, cello / Marta Aznavoorian, piano
Gems of Armenia
Cedille Records
CDR 90000 209
Photo credit: Lisa-Marie Mazzucco
Cambridge-based cellist, teacher, music consultant, author and editor Naomi Yandell has written extensively on aspects of string teaching, including Trinity sightreading books, Take your bow and Top Banana: 20 performance pieces with attitude for young string players with Celia Cobb and numerous Opinion pieces for The Strad, including her latest article in the April 2022 issue.
She chats to fellow cellist and teacher Davina Shum about beginner bow hold strategies – a concept that many teachers profess to have a rather hit-and-miss success rate with students. Naomi highlights the importance of ‘feel’, using relatable analogies, tailoring one’s method to the student, as well as advocating the use of short bows for children.
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Some of Naomi's previous Opinion pieces:
https://www.thestrad.com/debate/opinion-reset-refresh-restore/14593.article
https://www.thestrad.com/playing-hub/opinion-the-long-and-short-of-it/10498.article
https://www.thestrad.com/debate/opinion-make-em-laugh/13436.article
https://www.thestrad.com/playing-hub/sightreading-is-a-skill-that-should-be-taught-early/7050.article
https://www.thestrad.com/debate/opinion-a-light-touch/11046.article
The Kronos Quartet are no strangers to musical activism, using their creative collaborative powers to speak out against injustices of the world, shine a light on forgotten voices and spread the message of peace and hope through their music-making.
Founding violinist David Harrington speaks about the work Mỹ Lai by Jonathan Berger, a work inspired by the previously unspoken story of American soldier Hugh Thompson who saved numerous civilian lives during the 1968 massacre in Vietnam. In light of recent global events, David speaks about the power musicians hold and must harness to share critical messages, as well as how nearly 50 years of the Kronos Quartet have shaped his life.
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Mỹ Lai Lullaby
Mỹ Lai – Music by Jonathan Berger and Libretto by Harriet Scott Chessman
Kronos Quartet / Vân-ÁnhVõ / Rinde Eckert
Smithsonian Folkways Recordings
Photo courtesy of Kronos Performing Arts Association
Norwegian violinist Eldbjørg Hemsing presents our April 2022 Masterclass on Grieg’s Violin Sonata no.2. She chats to online editor Davina Shum about the characteristics and idiosyncrasies of traditional Norwegian music, including the distinctive Hardanger fiddle, as well as the importance of active performing and conversation to keep folk traditions alive.
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Grieg - Violin Sonata no.2 in G major op. 13
III Allegretto animato
Eldbjørg Hemsing, violin / Simon Trpčeski, piano
Grieg: The Violin Sonatas
BIS Records BIS-2456 SACD
Borgström – Violin Concerto in G major op.25
II Adagio
Eldbjørg Hemsing, violin / Vienna Symphony / Olari Elts
Borgström & Shostakovich: Violin Concertos
BIS Records BIS-2366 SACD
Photo credit: Nikolai Lund
Women in Lutherie aims to create a safe, open space for women and female-identifying luthiers to empower women and girls at the bench worldwide. Founded by Jennifer Creadick and Jeemin Kim during the pandemic as a series of online Zoom chats, the group has since expanded to continue making space and support for women in the industry. Florence-based luthier Paris Andrew spoke to online editor Davina Shum about the shared experiences of female luthiers that drives the motivation for the group, as well as why the community is necessary and the group’s plans for the future.
Website: https://www.womeninlutherie.org/
Instagram @womeninlutherie
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Coco Tomita is a rising star in the violin world. A former semi-finalist in the BBC Young Musician competition in 2020, she is currently studying at the University for Music Hanns Eisler in Berlin. Having recently released her debut album Origins on Orchid Classics, she reminisces about performing in 2020 with the pandemic just around the corner, as well as the challenges she faced while forging a solo career over the last two years.
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Lili Boulanger: Two pieces for violin and piano
I - Nocturne
Francis Poulenc: Sonata for violin and piano
I – Allegro con fuoco
Coco Tomita, violin / Simon Callaghan, piano
Origins
Orchid Classics ORC100194
Violinist Philippe Quint speaks to online editor Davina Shum about new ways of programming and presenting music, through exploration of the music of Charlie Chaplin and Astor Piazzolla. He speaks about how his shows employ multimedia and narration to enhance story telling through music.
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Smile: Theme from ‘Modern Times’
Charlie Chaplin’s Smile: Song Arrangements for Violin & Piano
Philippe Quint, Joshua Bell, violins / Marta Aznavoorian, piano
Warner Classics 2-585381
Photo credit: John Gress
Winner of both the Tibor Varga and Joseph Joachim International Violin Competitions in 2021, violinist Maria Ioudenitch speaks to online editor Davina Shum about her recent competition success. Maria shares how she prepares to keep match-fit for competition performances, both musically and mentally. She shares how she deals with performance nerves, offering advice to young musicians starting out on dealing with the pressures of competing. Plus we hear about her exciting plans and ambitions for the future. Maria was born in Russia, moving to Kansas City at the age of three. She studied at the International Center for Music at Park University, in Kansas City with Ben Sayevich, the Curtis Institute of Music with Pamela Frank and Shmuel Ashkenasi and the New England Conservatory with Miriam Fried.
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Ysaÿe: Sonata no.5 for Solo Violin in G major
II Danse rustique
Maria Ioudenitch, violin
Photo credit: Jenny Chou
Founder of the Arco Project Louise Lansdown and double bass student Njabulo Nxumalo speak to online editor Davina Shum about the long-distance teaching partnership between Royal Birmingham Conservatoire and the Morris Isaacson Centre for Music in Soweto, South Africa. Louise shares her vision for the project, as well as the challenges and importance of the scheme, while 21-year-old Njabulo shares his first-hand experiences of growing up with the project, from starting on the violin, to winning competitions and studying double bass at Stellenbosch University.
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Violinist Rachel Barton Pine and composer Billy Childs speak about working together in collaboration in the lead-up to the premiere performance of Billy’s Violin Concerto no.2, which will be performed on 12 February with the Boulder Philharmonic Orchestra and Michael Butterman. Listen to Billy’s inspiration for the piece, his way of writing for strings as a pianist, Rachel’s approach to working with a living composer and her love of exploring sonority.
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Rachel Barton Pine performs Prelude and Allegro from Billy Childs’ Four Portraits: https://youtu.be/_kUBecSkJ1Q?t=227
Incident on Lapenteur Avenue
Blues Dialogues: Music by Black Composers
Rachel Barton Pine, violin / Matthew Hagle, piano
Cedille Records
CDR 90000 182
Photo credit for Rachel Barton Pine: Lisa-Marie Mazzucco
Violist Nils Mönkemeyer speaks about Mozart's Sinfonia Concertante - including his collaboration with long-time friend and musical colleague Julia Fischer and the blend of solo and chamber roles in the piece. Nils also shares his thoughts on playing the viola part scordatura, as well as the time he had the chance to play Mozart's viola!
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https://tickets.lpo.org.uk/events/sinfonia-concertante
https://www.thestrad.com/reviews/nils-m%C3%B6nkemeyer-vivaldi-rolla-tartini-paganini-sciarrino/12643.article
Paganini: Sonata for gran viola & orchestra in C minor, MS 70
Vivaldi - Paganini - Tartini
Nils Mönkemeyer, viola / L'arte del mondo /Werner Ehrhardt
Sony 19439730032
Photo credit: Irène Zandel
Violinist Sean Lee chats to online editor Davina Shum about performing all 24 Paganini Caprices... in one concert! Listen to how he has prepared for such a mammoth undertaking, including how the task is like training for a marathon; Sean's personal challenges with the Caprices, and performing them with pianist Peter Dugan.
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Paganini X Schumann
Caprice no.21
Sean Lee, violin / Peter Dugan, piano
New year online subscription sale! Get 20% off with the code PODCAST2022 here: https://bit.ly/3nCuGc9
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Violinist Julia Fischer speaks to online editor Davina Shum about the Mozart Violin Concertos. Find out which one she performed first, as well as her favourite, plus her approaches to teaching the works and performing without a conductor. Julia also speaks about the joy of performing chamber works... as a pianist!
Find out more about Julia's Mozart performances with the LPO:
https://www.lpo.org.uk/what-s-on/julia-fischer-artist-in-residence.html
Violin Concerto no.5 in A major, K219 I Allegro aperto - Adagio - Allegro aperto
Julia Fischer - The Mozart Violin Concertos
Julia Fischer, violin / Netherlands Chamber Orchestra / Yakov Kreizberg, conductor
Pentatone PTC 5186 453
Photo credit: Uwe Arens
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In this exclusive interview with The Strad, violinist Alexandra Conunova shares the traumatic and harrowing story of when her 1785 Guadagnini violin was seized by Moldovan customs officials at Chisinau airport. Hear in her own words what happened on that day, the lengths she went to in order to get her violin back, and what she has learned from the experience.
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Kian Soltani shares his thoughts on Shostakovich’s epic Cello Concerto no.1 in conversation with online editor Davina Shum. He speaks about his initial inspiration for working on the piece, unexpected challenges that arise when performing, as well as why cellists need to regard themselves as athletes, especially during the holiday season.
Kian’s LPO concert: https://tickets.lpo.org.uk/events/119589
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Cello Unlimited
Kian Soltani, cello
Deutsche Gramophone 4860518
Photo credit: Juventino Mateo
Alun Thomas is a UK-based violinist, writer and Alexander Technique specialist. Alongside his feature Thoughts That Count in the January 2022 issue of The Strad, he spoke with online editor Davina Shum about his first encounter with Alexander Technique, as well as the basic, fundamental principles that string players can employ, including physical awareness, lengthening, ease and mindfulness.
Find out more about Alun’s work here: www.violinlessons.live
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At only 15 years of age, violinist Leia Zhu began her role as artist in residence with the London Mozart Players in October 2021. She speaks with online editor Davina Shum about her life balancing travelling, performance and school work, as well as her work with LMP's education and community outreach programmes to bring classical music to a wider audience.
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Tchaikovsky Violin Concerto in D major op.34
Leia Zhu, violin / London Mozart Players
Photo credit: Zhutek
Violinist Caroline Pether is the leader of Manchester Camerata and teaches at Royal Birmingham Conservatoire. She speaks with online editor Davina Shum about the joy of playing in chamber orchestras – including how leading an ensemble is much like being a film director, allowing individual musicians to exercise freedom of expression within a clear overall vision, as well as Caroline’s favourite pieces to lead and direct from the violin.
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Songs of Solitude no.1
Caroline Pether, violin
UNTOLD: Caroline
Cellist Pablo Ferrández speaks to fellow cellist Davina Shum about Classical cello concertos ahead of his European tour with the Academy of St Martin in the Fields. He speaks about the Classical style, his instrument set up, choosing musical editions, as well as travelling with a cello during the time of Covid.
Find out more about Pablo’s London and European performances in early December.
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Haydn Cello Concerto no.1 in C major I: Moderato Pablo Ferrández, cello / Spanish Radio Television Orchestra / Pablo González, conductor
Photo credit: Igor Studio
Violinist Chad Hoopes chats to online editor Davina Shum about his approaches to teaching and learning as professor of practice in violin at Meadows School of Arts, Southern Methodist University. He speaks about teaching students who major in various disciplines in an environment that encourages a broad, liberal arts education.
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Mendelssohn/Adams Violin Concertos
Chad Hoopes, vln / MDR Leipzig Radio Symphony Orchestra / Kristjan Järvi
Naïve 5368
Photo credit Jiyang Chen
Double bassist Leon Bosch speaks with online editor Davina Shum about the life and works of Giovanni Bottesini, in the year celebrating the bicentenary of his birth. Revered in bass circles as a revolutionary, Bottesini was also a renowned performer, composer and conductor in his day. Leon will be performing works by Bottesini on 7 December at Wigmore Hall, as well as at ‘Bottesini Day’ at Trinity Laban Conservatoire of Music and Dance on 17 December.
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Fantasie Sonnambula The Virtuoso Double Bass: Giovanni Bottesini, volume 1 Leon Bosch, double bass / Sung Suk Kang, piano Meridian CDE 84544
Photo credit: Juno Snowdon. Art direction: Adam Hypki
Following publication of his new book The Bach Cello Suites: A Companion, cellist Steven Isserlis spoke to online editor Davina Shum about consulting various musical sources, from different editions to manuscripts. Steven also speaks about making bowing and fingering suggestions for the new Henle edition of the Dvořák cello concerto, and how musicians need to make an informed choice for their preferred interpretation.
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Sarabande from Cello Suite no.5 in C minor BWV1011
Steven Isserlis, cello
Johann Sebastian Bach: The Cello Suites
Hyperion CDA67541/2
Photo credit: Jean Baptiste Millot
Sibling duo Sheku and Isata Kanneh-Mason chat to online editor Davina Shum about their new collaborative album Muse, featuring the works of Barber and Rachmaninov. They also spoke about why they chose to record this repertoire, how Isata deals with difficult piano parts, as well as how they keep professional and family life separate.
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Rachmaninov: Cello Sonata in G minor op.19 III Andante
Muse: Sheku Kanneh-Mason, cello / Isata Kanneh-Mason, piano
Decca Classics
Violinist and music director of Manchester Collective Rakhi Singh speaks about the challenges of creative processes and finding freedom within form, as well as not being discouraged by temporary setbacks and how landscape can influence sound.
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https://manchestercollective.co.uk/automata
https://manchestercollective.co.uk/metal
‘Khuda’i’ from Quarry
Rakhi Singh
Bedroom Community Records
Violinist and president of the Carl Nielsen International Competition Nikolaj Szeps Znaider speaks about his experience of competitions, including what he wishes he knew when he was a contestant, advice to young musicians entering competitions, and his wish to create a positive competition environment, leading to the formation of Espansiva! – an off-stage platform for competition contestants to meet fellow musicians and industry experts in an inspiring setting.
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Apply here by 30 October: http://carlnielsencompetition.com/
Violin concerto, op.33: Prelude. Largo – Allegro cavallerésco
Nielsen: The Symphonies and Concertos (Live)
Nikolaj Szeps-Znaider, vln / New York Philharmonic / Alan Gilbert
Da Capo 6.200003
Photo credit: Lars Gundersen
Classical/R&B fusion cellist and vocalist Ayanna Witter-Johnson speaks about her musical journey, tips on song writing using a string instrument, and the logistics of playing and singing simultaneously.
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Flow My Tears – John Dowland
Arranged by John Aram, featuring Ayanna Witter-Johnson (cello and vocals)
Violinist Jack Liebeck took on a monumental lockdown project – while others were making sourdough or learning new languages, he decided to record all six solo violin sonatas by Ysaÿe. He speaks about his journey to complete this project, the idiomatic nature of Ysaÿe's writing, and which solo sonata he connected to the most.
Jack's new recording is released on 8 October 2021 on Orchid Classics.
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SIX SONATAS FOR SOLO VIOLIN, OP.27 Eugène Ysaÿe (1858-1931) Sonata No.5 in G major Dedicated to Matthieu Crickboom 14. L’Aurore. Lento assai Jack Liebeck, violin
Orchid Classics ORC100179
Cellist Nicolas Altstaedt speaks to online editor Davina Shum about the Lutosławski cello concerto – a piece which is quickly becoming performed more and more since Rostropovich’s premiere in 1970. Nicolas talks about his approach to learning the complexity of the score, tricky technical passages and the liberation of playing a contemporary work.
Nicolas performs this work on 1 October with the London Philharmonic Orchestra, which will be available to watch free for 48 hours from 13 November on Marquee TV.
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I. Fujarka (Piccolo) Lutosławski: Little Suite (Mala suita) Shostakovich; Weinberg; Lutoslawski: Cello Concertos Nicolas Altstaedt, cello / Michal Nesterowicz, conductor / Deutsches Symfonie-Orchester Berlin Channel Classics CCS38116
Photo credit: Marco Borggreve
Dr. Renée-Paule Gauthier is a violinist and high-performance coach for musicians. In this episode about performance anxiety and nerves, she spoke with online editor Davina Shum about self-compassion, assessment vs judgement when playing and dealing with inner battles when the stakes are so high.
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Renée's website and podcast: www.mindoverfinger.com
Ahead of his performance on 23 September at the InClassica International Music Festival in Dubai, violinist Maxim Vengerov chats to online editor Davina Shum about three different pieces of violin repertoire: Tzigane by Ravel, Seascapes by Alexey Shor and Meditation by Massenet.
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Lalo: Symphonie Espagnole; Saint-Saens: Violin Concerto; Ravel: Tzigane
Maxim Vengerov, vln / Antonio Pappano, conductor / Philharmonia Orchestra
Warner Classics B019GRSR7A
Photo credit: B. Ealovega
Violist Jesus Rodolfo chats to online editor Davina Shum about his distinctive instrument – a copy of the 1696 ‘Spanish Court’ Stradivari. Listen to him speak about seeing the original instrument for the first time as a child, intricate details of the instrument, and how playing a modern instrument can benefit one’s playing.
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Excerpt of III. Andante from Cello Sonata in G minor by Rachmaninov used with permission from Jesus Rodolfo
Violinist Joshua Bell chats to online editor Davina Shum about the music of Astor Piazzolla – 2021 being the centenary of the composer’s birth. Ahead of his performance of The Four Seasons of Buenos Aires at the BBC Proms with the Academy of St Martin in the Fields, Joshua spoke about his experiences playing the music of Piazzolla, taking the music seriously and unexpected string techniques.
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Joshua Bell’s Seasons – Vivaldi vs Piazzolla: https://www.bbc.co.uk/programmes/m000z2j0
Excerpt of 'Oblivion' by Astor Piazzolla used with permission from Joshua Bell.
Joshua Bell, violin
Carel Kraayenhof, bandoneon
Edgar Meyer, double bass
Sony Classical 88697 52716 2
Photo credit: Phil Knott
Violinist Anne Akiko Meyers speaks about commissioning works and cadenzas, pairing the old with the new and how she works closely with composers. Ahead of her premiere performance of 'Fandango' by Arturo Marquez, she speaks about the uniqueness of mariachi style and technique.
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Excerpt of 'Fantasia' by Rautavaara used with permission from Anne Akiko Meyers
Photo credit: David Zentz
Ahead of his album release ‘The Four Seasons,’ 13-year-old violinist Christian Li speaks with online editor Davina Shum about his life as a young musician: his practice routine, warm-up exercises, pre-performance routines, as well as what he likes to get up to when he’s not playing the violin.
Christian is a student of Dr Robin Wilson, head of violin at the Australian National Academy of Music.
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Excerpt of Concerto No.4 in F minor RV 297 ‘Winter’ I. Allegro non molto used with permission from Christian Li and Decca Classics
Christian Li violin
Melbourne Symphony Orchestra
Howard Penny cello
Donald Nicolson harpsichord
Nicholas Pollock lute
Photo credit: Albert Comper
This episode features Hannah Roberts - principal cellist of Manchester Camerata and professor of cello at Royal Northern College of Music and Royal Academy of Music. She speaks to online editor (and fellow cellist) Davina Shum about incorporating studies and etudes in playing and teaching.
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Live recording of Frank Bridge Sonata for cello and piano used with permission from Hannah Roberts.
Hannah Roberts, cello
Simon Parkin, piano
Cellist Johannes Moser chats to online editor Davina Shum about the emotional rollercoaster that is the Elgar Cello Concerto, as well as playing with quality projection and an Olympian setup ahead of his performance at the BBC Proms on 9 August.
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Excerpt of Cello Concerto in E Minor, Op. 85: I. Adagio - Moderato used with permission from Johannes Moser and PENTATONE.
Elgar and Tchaikovsky
Artist: Johannes Moser
Conductor: Andrew Manze
Orchestra: L'Orchestre de la Suisse Romande
PTC 5186570
Photo credit: Manfred Esser-Haenssler Classic
Hsin-Yun Huang is a violist on the faculty of the Juilliard School and Curtis Institute of Music. In conversation with The Strad's online editor Davina Shum, she shares her philosophies that help inform her playing and teaching.
Hsin-Yun has written an article about the parallels between Chinese calligraphy and string playing, which features in our August 2021 issue. Read it here: https://bit.ly/3BMckep
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Photo credit: Raymond Huang
Violinist and The Strad March 2021 cover star Francesca Dego speaks to Davina Shum about her experiences of playing Paganini's old violin: the Guarneri 'del Gesù' 'Il Cannone'.
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Photo credit: Patrick Allen
Violinist Benjamin Baker speaks about performing all six sonatas and partitas by Bach, as well as how playing solo Bach can inform his playing of contemporary works, and vice versa.
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Photo credit: Kaupo Kikkas
Cellist Maja Bugge shares her top five tips for teaching improvisation and composition to string players.
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'Shelter' by Maja Bugge used with permission from the artist.
majabugge.com
Welcome to the very first episode of The Strad podcast. Violinist Lisa Batiashvili speaks to online editor of The Strad Davina Shum ahead of her performance of the Sibelius violin concerto for Audi Summer Concerts. Listen to hear Lisa’s personal insights on the piece, advice for violinists new to the piece and what it’s like to perform during a pandemic.
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Excerpt of Sibelius violin concerto in D minor, first movement used with permission from Lisa Batiashvili.
Tchaikovsky/Sibelius
Lisa Batiashvili Staatskapelle Berlin Daniel Barenboim
UPC: 00028947960386
Photo: Chris Singer