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Contributors

LORENZO FRIGNANI

(Giuseppe Sgarbi, page 52) is president of the Italian Association of Professional Luthiers (ALI) and has written and edited several publications on classical instrument making and antique plucked instruments. He is currently engaged in research on the conservation and cataloguing of historical instruments.

BOB GILLESPIE

(Teaching adolescents, page 46) is professor of string education and string pedagogy at Ohio State University in Columbus, OH, US. He is a past national president of the American String Teachers Association (ASTA). In 2020 he will receive its Paul Rolland Lifetime Achievement Award for his contribution to string pedagogy.

CHRISTINE HOOCK

(Technique, page 84) is professor of double bass at the University of Salzburg and president of the International Sperger Society for double bass. She gives masterclasses worldwide, performs at international festivals and releases CDs encompassing repertoire from early music to jazz and modern electronic works.

ALEX LAING

(Books, page 100) is artistic director (music) of the King’s High School in Warwick. He is also the founder and leader of the Darwin Ensemble, coach and conductor for the National Children’s Orchestra of Great Britain, and conductor and tutor for the Benedetti Foundation.

THEO MARKS

(Trade Secrets, page 68) received a masters degree in fine arts in the Netherlands before attending the Scuola di Liuteria in Parma, Italy. He currently builds violins, violas and cellos in Weesp, just outside Amsterdam, and two of his violas are played by members of the city’s Royal Concertgebouw Orchestra.

HUGH WITHYCOMBE

(Madder root pigments, page 38) makes and restores violins, violas and cellos in Canberra, Australia. He is a regular participant at the Oberlin Violin Makers Workshop in Ohio, US

This article appears in January 2020 and String Courses supplement

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January 2020 and String Courses supplement
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Editor’s letter
To evolve as an artist requires courage and openness.
Contributors
LORENZO FRIGNANI
SOUNDPOST
Letters, emails, online comments
On The Beat
Conservatoires in the UK are responding to a rising
OBITUARIES
Violinist Hansheinz Schneeberger died on 23 October
New tricks
A fresh look at what the violin and cello can do
COMPETITIONS
1 The Simply Quartet has won first prize at the Carl
Top lots from the London sales
Old Italians and a modern bow proved popular at this ! autumn’s auctions,as
Sticky situation
‘During the 30 years I spent working as a violinist
Life lessons
The American violinist recalls the path that led him to found the genre-defying Kronos Quartet
The heart of Amadeus
What is it about Mozart’s music that responds to young
EXPANDING THE LIMITS
The vintage cars have been wheeled out of the Audi
SEEING RED
Madder root has been used since ancient times to provide a deep red pigment - but the process of making it remains mysterious. For the past three years Hugh Withycombe and Guy Harrison have tested different methods to get the recipe just right - and can now reveal their findings
Growingpains
Violinist and Ohio State University professor of music education Bob Gillespie has taught countless teenage string players. Here he explores adolescent character traits, and shares with teachers his valuable guide to dealing with adolescent moods and logic
ON THE BORDERS OF GREATNESS
Giuseppe Sgarbi’s instruments have a unique vibrancy and individuality, while still respecting the traditional Cremonese forms. Lorenzo Frignani examines his career, as well as that of his son Antonio, to suggest why his work deserves more recognition than it has in the past
THE SCORE: FRIEND OR FOE?
The multiple editions of a piece can confuse a musician. Should we always work from an urtext edition in an attempt to access the composer’s most authentic voice? Or can edited versions with interpretative markings be helpful? Cellist Pedro de Alcantara guides us through this minefield
ANSALDO POGGI
Ansaldo Poggi’s fame and reputation have had an incredible
A peninsular bench extension
Ideas for a workplace addition that is completely accessible from all three of its sides
STEPHEN QUINNEY
LOCATION Toronto, Canada
The DNA of design
David Beard argues that the old Cremonese makers had a geometric system of design ‘recipes’ to create the vast number of different instrument patterns we see today
BERG VIOLIN CONCERTO
In the second of two articles, Leila Josefowicz discusses the Adagio of the second movement, in the context of the Viennese School and the Neue Sachlichkeit era
Sound and phrase
The importance of developing a refined, balanced technique to communicate a nuanced musical line on the double bass
Reviews
Mathis Mayr in groundbreaking Feldman PAGE 95
From the ARCHIVE
An unsolved mystery from 1869: T.L. Phipson relates how a c.1709 Stradivari violin vanished without trace – and as far as we know, remains missing to this day
SHEKU KANNEH-MASON
For the British cellist, Elgar’s Cello Concerto brings back a wealth of memories from his earliest years studying the instrument - and of trying to play like Jacqueline du Pre
Welcome
Welcome to the 2020 edition of String Courses. Formerly
START YOUR COURSE HUNTING HERE!
Before you start combing through the string courses listed in this guide, take a look at these suggestions to help find the course that’s right for you
QUESTIONS TO GET YOU STARTED
WHY DO YOU WANT TO GO ON A COURSE?
COURSES FOR PLAYERS AND TEACHERS
MITTENWALD INTERNATIONAL DOUBLE BASS MASTERCLASS, GERMANY
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January 2020 and String Courses supplement
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