SOUNDPOST

LETTER of the MONTH

AGE IS NO BARRIER

The 1931 article ‘Wake up, Amateurs!’ (From the Archive, July 2021) stimulated some personal reflections on amateurism. As I approach nearly 50 years as an amateur violinist who later moved to the viola, I am in awe of the fact that in my quartet there is a superb first violinist aged 85; and a wonderful 86-year-old pianist with whom to play viola sonatas, and more recently Mozart’s ‘Kegelstatt’ Trio for clarinet, viola and piano. I also occasionally play with a 92-year-old cellist, who is ready to play quartets at any time of the day or night. I have recently discovered how to practise properly, while taking lessons from a violist of the Israel Philharmonic, challenging myself to improve while ignoring the inevitable ageing processes. Amateur chamber music has been the leading agent of change in my life; it has also helped me recover from a spinal and brain injury, and return to playing. Trying to capture the magical moments of the Haydn Quartet op.20 no.2 or Beethoven’s op.59 no.1 present never-ending challenges, even after having played them a hundred times. Amateurs have the indescribable rare moments of having understood and interpreted even a tiny piece of the glorious chamber music repertoire. As Philip Cathie wrote in his article 90 years ago: ‘In all arts, as in all sports, the existence of a considerable body of amateurs is an essential indication of well-being.’ So, yes, ‘Wake up, amateurs’ – with no age ceiling involved.

BASIL PORTER Tel Aviv, Israel

SOLOIST IMAGE ELMA AQUINO

GOING SOLO

In the July 2021 issue I particularly enjoyed James Dickenson’s opinion piece on the unaccompanied violin repertoire. To the pieces he mentioned I can add Transfiguration by Peter Aviss; Geminiani’s Sonata in B flat major; Concertino Criollo op.45 by the Argentinian composer J.F. Giacobbe; Hindemith’s Sonata op.31 no.2; and David Matthews’ Three Studies op.39.

The Strad has itself contributed by publishing The White Wheat, a traditional Welsh piece for solo violin arranged by Pwyll ap Siôn, in the March 2008 issue. And there is always Alan Ridout’s Ferdinand for speaker and solo violin (words by Munro Leaf ). I am looking forward to the publication of his compendium!

PADDY FARRELL Deal, UK

HAVING A LAUGH

I recently read ‘Make ’em Laugh’ (Opinion, September 2021), in which violin tutor Naomi Yandell outlines the importance of humour in teaching. Although I agree with the idea, I’m not sure it works as well in online lessons as she implies. At least from my experience teaching the instrument to students between four and twelve years old, classes held entirely over Skype have often been dominated by problems in technology, making the atmosphere more tense and stressful than usual. Perhaps humour would help, but I have been so concentrated on getting the technical problems out of the way that I haven’t even had a chance to integrate new techniques into my teaching. I also worry that it may be disorienting for the students. However, it’s definitely worth a try, and I wonder whether any other teachers have managed to keep up the lighthearted environment better than me?

NANCY ARCHER Dearborn, MI, US

Iris Carr being filmed for her online course by Evie Troy

HAHN PHOTO DANA VAN LEEUWEN/DECCA. EVIE TROY PHOTO LEO CARR

RESTORATIVE PRACTICE

As a professional violin maker and restorer, I was pleased to see The Strad ’s feature ‘Adaptive Learning’ (On the Beat, August 2021). I bought Iris Carr’s courses on restoration and retouching because for a long time I hadn’t been pleased with the retouching pigments I was using. I couldn’t get the right colour or finish easily and I knew there had to be better products out there. Iris’s courses are excellent, well worth the money, and they gave me the information that I needed. I now use the same pigment and chemicals that she does, and I get brilliant results every time.

As I work on my own every day with very limited contact with others in the field, I think online learning is a very valuable resource. I wouldn’t have been able to access this expertise easily, so I guess I have the pandemic to thank for inspiring people such as Iris Carr and Lucas Fabro to create, film and share their courses. Hopefully this will be the start of more sharing and teaching online.

REBECCA HOUGHTON Devon, UK

ONLINE COMMENT

After footage came out of a United Airlines hostess refusing to let orchestral violinist Rachelle Hunt on board with her violin, musicians came forward with similar troubles about travelling with instruments bit.ly/3js1qU2

KATY BYRD I’ve flown with my violin or viola a handful of times and this happened to me every single time, United and Delta. Same thing: I did everything right, paid for early boarding, printed out the law and had it in hand ready to show them – same ordeal every time. It’s such a sad little power trip. Glad this one turned out OK in the end.

INGRID ZUR Brave lady! DEBBIE LYNNE Disgraceful. Several years ago I had a problem boarding. I requested a full signed statement that the person refusing boarding would reimburse me for the cost of a replacement instrument plus loss of earnings and all expenses incurred while finding the new instrument. It worked. They moaned but let me on. There was lots of overhead space. Then on the return flight I hid it under my coat! We shouldn’t need to do this.