COPIED
2 mins

QUESTIONS TO GET YOU STARTED

WHY DO YOU WANT TO GO ON A COURSE?

Think about what you want to achieve and how much time you need to do it.

WHAT DO YOU WANT TO STUDY?

Are you looking for an intensive masterclass course with star teachers to stretch you? A friendly environment of like-minded amateurs to practise chamber music with? Or do you want to try a completely new style of playing or repertoire?

WHO DO YOU WANT TO MEET?

Would you like to attend a course together with your pre-formed chamber group, or play with lots of different people? Do you want to be among those of a similar standard and just have fun, or really stretch yourself by playing with the cream of the crop?

WHERE WOULD YOU LIKE TO SEE OR GO?

Residential courses are a great opportunity to travel and explore new places as well as to work on your technique. Are you looking for the intensity of living and working on a campus together with others, or would you rather maintain your own space when the lessons are over and stay in a hotel?

WHEN CAN YOU FIT IN THE COURSE?

If you’re a student – or a teacher – then the summer holidays are the obvious choice, but there are courses happening all year round.

WHEN IS THE DEADLINE?

Make sure you check whether the course organisers n eed to receive your application by a certain date.

HOW WILL YOU GET THERE?

I f you’re flying to your destination, be aware of any instrumentc arrying restrictions imposed by the airline you are travelling with.

CROSSING BORDERS

If you are travelling to a different country, play it safe b y taking a ‘passport’ for your instrument and bow – a full description and photographs stored separately from the case.

HOW WILL YOU SUPPORT YOURSELF DURING THE COURSE?

Financial help is sometimes available to those who need it – check the codes in our listings for the courses that offer it.

DON’T FORGET…

Butler Adult Strings Camp (see page 34)
TOP PHOTO WALTER SHELTON JR. BOTTOM PHOTO COURTESY IMS PRUSSIA COVE

concert dress if performance is part of the course, and some smart shoes u sheet music that you’ll need and any spare chamber music you might want to try u to organise finances to cover your trip or financial aid, if you qualify

♦ ahumidifier (if you’re going to be in a different climate)

♦ aspare set of strings u alightweight music stand

♦ apractice mute for last-minute practice emergencies

♦ arecording device if you want to have a lasting record of classes

 ♦ nail clippers if your fingers aren’t in playing shape 

 ♦ if you’re a cellist, a spike holder to protect delicate flooring 

♦ clothes pegs if there’s a chance of any al fresco performances 

 ♦ books (or a tablet) in case you need to get away from it all 

 ♦ your toothbrush!

Students from IMS Prussia Cove (see page 29)
This article appears in January 2023 and String Courses supplement

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This article appears in...
January 2023 and String Courses supplement
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Editorís letter
We’vecome a long way over the past twelve
Contributors
PARISANDREW (Opinion, page 23) is a British luthier
LETTER of the MONTH
Letters, emails, online comments
Classica l unclassifed
News and events from around the world this month
NEWS IN BRIEF
Santiago Cañón-Valencia kicked off Copa Airlines flight bit.ly/3WZQte4
OBITUARIES
ANDREW DAWES Canadian violinist Andrew Dawes died on
PREMIERE of the MONTH
In memory of
Petz Vienna
www.pk.at/shop
Good as gold
CELLO STRINGS
Life lessons
The US cellist on how a disciplined early approach enabled him to embrace the possibilities of new experiences
A birthday celebration
POSTCARD from...
BLINK IF YOU DARE
Daniel Pioro is a violinist to watch – uncompromising about speaking his mind, whether it comes to challenging mediocrity, championing new works or combining ancient and modern. He talks to Tom Stewart about his philosophy, his new album, and the fresh ideas he is bringing to his ongoing residency at London’s Southbank Centre
DANIEL PIORO ON HIS VIOLIN
The violinist has played a modern instrument inspired by the ‘Viotti’ Stradivari since 2012
FROM RUSSIA WITH LOVE
A bow made entirely from ivory has long been considered an enigma as it has never been attributed to a country, let alone to a maker. Now Gennady Filimonov reveals its origins – made by one of the finest and most respected Russian artisans in history
ONCE MORE, WITH FEELING
How does repetition in instrumental practice benefit our playing? Pedro de Alcantara provides tips on how to bring some creativity and intentionality into your practice time
SINGING A NEW SONG
Following major competition successes, the US violinist Maria Ioudenitch has made her debut recording based on song arrangements treated with understated nuance. She tells Rita Fernandes about the forthcoming album
LEARNING CURVES
How did the old Cremonese makers work out their archings? Gareth Ballard presents a detailed method for analysing the various curves – and creating your own from the same principles
The competitive advantage
How can you win at a competition, even if you don’t pick up a prize? Charlotte Gardner gleans the advice of top figures in the music industry on how to make the most of the experience
CESARE CANDI
A close look at the work of great and unusual makers
Making a soundpost jig
Makers reveal their special techniques
MY SPACE
A peek into lutherie workshops around the world 
Berlin’s Oberlin
Points of interest to violin and bow makers
BEETHOVEN GROSSE FUGE OP.133
Teaching & Playing
GROSSE FUGE
Dem Kardinal Erzherzog Rudolph gewidmet
Scaling the heights
Thoughts on effective scale and arpeggio practice
Reviews
Your monthly critical round-up of performances, recordings and publications
RECORDINGS
AKIHO LigNEouS Suite; Deciduous; Speaking Tree Ian Rosenbaum
BOOKS
The Northern Silence: Journeys in Nordic Music and
From the ARCHIVE
The pseudonymous ‘Lancastrian’ (Dr William Hardman) interviews virtuoso violinist Adolph Brodsky, then principal of the Royal Manchester College of Music
IN THE NEXT ISSUE
FRENCH FOCUS
MARIO BRUNELLO
The Italian cellist recalls the first time he performed Bach’s Sonatas and Partitas on the violoncello piccolo, and how the experience informed his understanding of the composer
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
COURSES FOR PLAYERS AND TEACHERS
PLAYERS KEY Instruments vn violin va viola vc
COURSES FOR MAKERS
Luthier Chris Sandvoss works on a cello back
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January 2023 and String Courses supplement
CONTENTS
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