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:

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 [email protected].

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