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

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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:

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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. 

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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

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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

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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.

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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

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

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. 

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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.

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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

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Photo credit: Dario Acosta

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

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.

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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

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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

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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

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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

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:

1. Vítězslava Kaprálová, Burlesque

Score:

http://www.kapralova.org/EDITION.htm

+ Recording

https://www.youtube.com/watch?v=BkHDYcaKeWw

1. 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

1. 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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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.

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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

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