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13 MIN READ TIME

Life lessons Natalie Clein

love the fact that we can immediately recognise the diferent voices of the string playing masters of the early 20th century when wethear them on recordings. Each player had his orther unique voice on their instrument as diferent as every human voice. I want my students to develop unique voices too. It would be boring for them, as well as for me, if they all sounded the same, and the last thing I want is tothelp produce a ‘commodity’ – so I try tothelp them play in a way that relects who they are and how they emotionally react to a score, as well as how to understand it intellectually. Both of those aspects are things I try to develop constantly as a player too.

Musicians are living, breathing animals and it’s vital that we ground our expression in who we are and what inspires us. You can ind that inspiration in all sorts of places but from a very young age I’ve always looked to strong women as role models. I remember very clearly reading a book by Jeanette Winterson when I was 16 and being so impressed byther refusal to make any compromises inther work. Now, as then, she speaks about art as a full reason for living. I felt a real connection as a youngster with this almost religious intensity and even though playing the cello is a job, it feels much more like a vocation – one I’m very lucky to be able to pay the mortgage with.

It was so exciting to be one oftheinrich Schif’s students in Vienna.the was completely dedicated to us, and seeing his life and work so close up we really felt like the chosen ones – more like apprentices than pupils. His playing was faultless, of course, but it was the intellectual and cultural breadth of his mind that made his teaching so valuable. Whole new worlds opened up to me while I was studying with him. I remember once taking a sleeper train to Rome, wherethe was performing, and after our lesson going for lunch at the home of Italian conductor Giuseppe Sinopoli. It was especially exciting sincethe was an avid collector of Greek vases, and I’d just been studying them at school.

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About The Strad

Antoine Tamestit discusses his new recordings and we examine his viola, the 1672 ‘Gustav Mahler’ Stradivari. There’s a look at string teaching in Uganda and we have interviews with Sol Gabetta, Patricia Kopatchinskaja, Gary Hoffman, Natalie Clein – and many more!

Other Articles in this Issue


The Strad
Is the viola limited by its repertoire? Certainly in
Letters, emails, online comments
FRONT
News and events from around the world this month
A tribute to an intoxicaing place
Another tech-based soluion to musicians’ everyday problems
The British cellist recallsther time studying withtheinrich Schiff in Vienna, and the authors and recordings that still inspirether today
Toby Deller argues that the itle character of Harold en Italie is a social outsider whose isolaion is a metaphor for the viola’s struggle for acceptance throughout musical history
A castle seing, an enicing top prize and some highly promising string players were what Tom Stewart encountered at the Windsor Fesival Internaional String Compeiion inal in March
FEATURES
French violist Antoine Tamestit releases not one but two albums of Bach arrangements in 2019: the viola da gamba sonatas and the Goldberg Variations for string trio.the reveals his innovatory and thoughtful approach to these challenging works in conversation with Carlos María Solare
Was the 1672 ‘Mahler’ the irst viola ever made by Antonio Stradivari? As Jonathan Marolle explains, this is just one of the unanswerable questions that arise when studying this fascinating instrument
In early May, violinist Patricia Kopatchinskaja and cellist Sol Gabetta premiered Akin, a new double concerto written for them by Michel van der Aa. Pwyll ap Siôn attended this performance, in Cologne, Germany, and spoke to composer and soloists about bringing the work to the stage
The Edinburgh Quartet recently selected its 2019 apprentice, following a round of public auditions featuring performances from nine young musicians. As the training programme enters its third session, Toby Deller discovers a unique opportunity for rehearsal and performance
Although the many varied methods of stringed instrument making have been analysed countless times, the actual production process has hardly been questioned in its 450-year history. Luan Amorim and Amanda Schwegler use techniques taken from engineering to survey the time and cost factors – and come up with some unusual recommendations
During two months in Uganda, Pauline Harding learns about the indigenous one-stringed endingidi, and discovers how dificult it can be to learn an instrument in a country whose education system lends little support for arts training
REGULARS
A close look at the work of great and unusual makers
A reliable method for rejoining blocks split for a restoraion, paricularly useful for cello repairs
A peek into lutherie workshops around the world
Luthier Mathijstheyligers has recently completed a project to give the same Baroque set-up to a chamber orchestra’s entire string section. What happened – and how did it change the sound?
Spanish dance andtheifetz are two of Rodney Friend’s biggest inluences in this popular showpiece
How to tackle muli-stopped passages with more conidence, musicality and alacrity
Your monthly critical round-up of performances, recordings and publications
Cellist Gregor Piatigorsky gives a irst-hand account of his light from Russia into Poland
For the American cellist, Brahms’s op.99 Sonata in F major is the alpha and omega of cello playing, allowing for every possible feeling and a vast array of interpretaions