The Strad Podcast

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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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 people Advice 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_

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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_   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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ ‘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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_

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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_

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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_

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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad X: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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) 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_

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.  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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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.  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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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! 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_

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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_

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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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) 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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. 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   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 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. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_