All Features articles – Page 17
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Premium ❘ FeatureSession Report: Early Inspirations
Violinist Tessa Lark’s new collaborative album, The Stradgrass Sessions, brings together the musical influences of her childhood, fusing bluegrass, folk, jazz and classical styles. The project might easily have been delayed by Covid-19, but her musical partners were only too happy to record remotely
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Premium ❘ FeatureNot Quite Cinderella: The Viola in Late-Georgian Britain
Britain during the late Georgian era was fertile ground for the viola as a serious chamber and solo instrument – and witnessed a flourishing in standards of playing and making, writes Kevin MacDonald
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Premium ❘ FeatureThe Lost Art of Cremonese Violin Archings
The old Cremonese luthiers’ method of designing violin archings has been lost in the mists of time. Andrew Dipper uses evidence from 18th-century manuals to propose how they might have done it, through a system encompassing string lengths, internal forms… and a lot of mathematics
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Premium ❘ FeatureAll for one: Nicola Benedetti
When violinist Nicola Benedetti launched her Benedetti Sessions at the beginning of this year she had no idea that the mass-participation workshops for string players and teachers would be stalled by Covid-19. Undeterred, she moved the programme online, which, as she tells Peter Somerford, was no bad thing
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Premium ❘ FeatureBach Cello Suites on the Double Bass: A New Register
Although learning Bach’s Cello Suites at pitch on the double bass has only relatively recently become commonplace, they are now featured on music college syllabuses around the world. Virtuoso bassist and conservatoire professor Leon Bosch explains how he introduces the works to his students
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Premium ❘ FeatureGiuseppe Ceruti: In the name of the father
The Cremonese luthier Giuseppe Ceruti is often overlooked in favour of his more famous son, Enrico. Duane Rosengard examines two matching double basses by Giuseppe to discover the secrets of his making style
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Premium ❘ FeatureSession Report: Final Frontier
The Jerusalem Quartet’s second instalment of Bartók string quartets brings a new delicacy and clarity to these works, which are so often portrayed as brutal. Violinist Alexander Pavlovsky and violist Ori Kam discuss their approach with Tom Stewart
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Premium ❘ FeatureHeart of the matter: Schumann’s Cello Concerto
Schumann’s Cello Concerto is often seen as dark and troubled, and its advocates have struggled to bring it the recognition it deserves. Now, Josephine Knight’s discoveries have led to a new edition and recording which shed a fresh light on this work, writes Peter Quantrill
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Premium ❘ FeaturePride of Norway: The Strad calendar 2021
The Strad’s 2021 Calendar celebrates 15 years since the start of the Dextra Musica foundation, whose instrument collection has swiftly become one of the finest in the world. Unlike many other valuable collections, these instruments are in daily use. John Dilworth highlights some of the treasures
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Premium ❘ FeatureDigital Double Act: TwoSet Violin
Over the past eight years, Brett Yang and Eddy Chen of TwoSet Violin have become an increasingly popular source of humour and inspiration for string players worldwide through their hugely successful YouTube channel. A more recent foray into staging live shows was a shot in the dark. Kimon Daltas meets ...
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Premium ❘ FeatureLutherie Collectives: The Wisdom of Crowds
Violin making is traditionally a solitary career, so why are so many luthiers and bow makers choosing to join collectives? Peter Somerford talks to the founders and members of such groups around the world to discover the benefits of pooling resources, knowledge and time
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Premium ❘ FeatureIn search of perfection: finding the right bow
Violinist and Metropolitan Opera concertmaster Benjamin Bowman has spent his entire playing career in search of ever more subtle and responsive bows. Here, he charts his journey to finding his ‘forever bow’, and advises string players on how they, too, can invest in this most important of assets
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Premium ❘ FeatureSession Report: Family connections
For her latest recording, violinist Viktoria Mullova has collaborated with her son, jazz bassist Misha Mullov-Abbado in an eclectic array of duets. Harry White speaks to the pair about the project’s origins and about working with family
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Premium ❘ FeatureD. C. Dounis: Training the brain
For Demetrius Constantine Dounis, the secret of good technique came from developing the brain and memory, as well as the arms and fingers. James Dickenson examines what made his ideas so special, and why he became one of the 20th century’s most influential teachers
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Premium ❘ FeatureLutherie in Mexico: Adapting to Change
The history of stringed instrument making in Mexico is one of adaptability and innovation. Pablo Alfaro and Jaime G. González show how European arts and crafts were rapidly adopted by the indigenous people, and how the 20th century saw more creativity than ever
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Premium ❘ FeatureIsaac Stern: Generosity of Spirit
In celebration of Isaac Stern’s centenary this month,Tully Potter surveys the great violinist’s many and varied chamber music collaborations
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Premium ❘ FeatureWriting a Cadenza: Creativity Unchained
Cadenza writing has enjoyed a renewed surge in popularity over recent years. Pauline Harding talks to soloists, teachers and competition jurors about why the trend has been growing, and why more performers should take the plunge
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Premium ❘ FeatureSession Report: Different Voices
At a recording session for the Dudok Quartet Amsterdam’s latest Haydn release, Peter Quantrill finds an ensemble at ease with themselves, their producer and the exacting process of creating Classical ‘perfection’
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Premium ❘ FeatureAlma Moodie: From Praise to Obscurity
Australian-born violinist Alma Moodie was a celebrated performer in her day – a protégée of Carl Flesch who collaborated with many leading composers. However, her contribution to the violin canon has been largely forgotten, writes Tatjana Goldberg
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Premium ❘ FeatureVihuela de Arco: Unlocking the secrets of the past
A popular instrument of the Middle Ages, the vihuela de arco is only known today from contemporary references and pictures. Javier Martínez explains its significance in the history of bowed instruments, and debunks some of the myths surrounding it
