Viola

Nathan Braude: “My Main Challenge Is Taking My Viola Every Day, Searching, and Coming a Little Closer to What I Feel inside of Me Each Time”

Nathan Braude (principal viola of the Gürzenich Orchester Köln and professor at the Royal College of Music London) talks to Viola Magazine about his career, his transition from violin to viola, and much more.

Nathan Braude: “My Main Challenge Is Taking My Viola Every Day, Searching, and Coming a Little Closer to What I Feel inside of Me Each Time” Open »

Violoncello

Maya Fridman: “Of Course, Improvising Gives Me a Lot of Ideas to Choose From When I’m Composing, but I Try to Push Myself Outside My Comfort Zone in Order to Create Something Fresh”

Cellist and composer Maya Fridman talks about what inspired her latest album, “The Power of Indifference,” and how it takes a different mindset to compose than it does to improvise.

Maya Fridman: “Of Course, Improvising Gives Me a Lot of Ideas to Choose From When I’m Composing, but I Try to Push Myself Outside My Comfort Zone in Order to Create Something Fresh” Open »

Music

Design and Implementation of Online Music Teaching in the Context of Closed Isolation for Epidemic Prevention and Control: A Case Study of Guangzhou Xinhua University’s Closed Isolation

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Design and Implementation of Online Music Teaching in the Context of Closed Isolation for Epidemic Prevention and Control: A Case Study of Guangzhou Xinhua University’s Closed Isolation Open »

Guitar

José Vigil: “The Guitars Made Today in Granada Are Not a Direct Evolution of the Old Guitars”

Taking a walk through Granada can feel like stopping time. Strolling down Molinos street, each step we take is like the beat of a metronome. In the Realejo neighborhood’s Campo del Príncipe, we meet guitar maker José Vigil, and we sit down for a nice coffee and chat before visiting his workshop just a few feet away.

José Vigil: “The Guitars Made Today in Granada Are Not a Direct Evolution of the Old Guitars” Open »

Piano

Artur Pizarro: “I Really Wanted to Go Bechstein Rather Than Steinway Because of the Characteristics of the Sound of the Piano. I Wanted Something a Little Bit More Refined and With More Ties to a European Piano Sound, an Old German Piano Tradition Rather Than a More Modern, Homogenized Standard Sound”

In this interview, Portuguese pianist Artur Pizarro discusses his project of recording the complete Beethoven Concertos on two Bechstein pianos during the COVID-19 pandemic. The project began in 2019 when he was invited by Julia Jones, the conductor of the Wuppertal Symphony Orchestra, to perform Beethoven’s Fourth Concerto in Germany. Impressed with the orchestra’s work, Pizarro suggested that they record the entire set of Beethoven’s concertos. However, due to the pandemic, the project had to be delayed until 2021. Pizarro discusses the logistical difficulties of rehearsing and recording during the pandemic, selecting the appropriate pianos, and how they managed to finance the project. Despite the challenges, Pizarro expresses satisfaction with the recordings’ outcome.

Artur Pizarro: “I Really Wanted to Go Bechstein Rather Than Steinway Because of the Characteristics of the Sound of the Piano. I Wanted Something a Little Bit More Refined and With More Ties to a European Piano Sound, an Old German Piano Tradition Rather Than a More Modern, Homogenized Standard Sound” Open »

Double Bass

Giuseppe Ettorre: “I Think You Should Play Music Because It Is a Part of Your Being”

Performer Giuseppe Ettorre talks about his inspirations and approaches to playing the bass, as a soloist and in the orchestra. The first double bass soloist at the Orchestra of La Scala of Milan shares his thoughts on what has helped him find success in competitions, recordings, and playing, from listening to Jaco Pastorius to being efficient in the practice room.

Giuseppe Ettorre: “I Think You Should Play Music Because It Is a Part of Your Being” Open »

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