Shopping Cart -

Your cart is currently empty.
Upgrade to today
for only an extra Cxx.xx

You get:

plus This issue of xxxxxxxxxxx.
plus Instant access to the latest issue of 410+ of our top selling titles.
plus Unlimited access to 33000+ back issues
plus No contract or commitment. If you decide that PocketmagsPlus is not for you, you can cancel your monthly subscription online at any time. Auto-renews at €11.99 per month, unless cancelled.
Upgrade for €1.09
Then just €11.99 / month. Cancel anytime.
Learn more
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the European Union version of the site.
Would you like to switch to your local site?
Read anywhere Read anywhere
Ways to pay Pocketmags Payment Types
Trusted site
At Pocketmags you get
Secure Billing
Great Offers
Web & App Reader
Gifting Options
Loyalty Points

From the ARCHIVE


Gregor Piatigorsky, the eminent Russian violoncellist, was only a boy at the time of the Revolution, but was already the irst ’cellist in the orchestra of the Imperial Opera at Moscow. A few years back,the gave an account of his escape over the frontier into Poland. Although Piatigorsky very nearly lost his life in this adventure the incident was not without its humorous side. It will be noticed that at that time Piatigorsky’s command of English was not so good as it is to-day, but we feel his original version should be spared the hand of an arranger: “When the Bolshevik revolution breaks out I am a boy; everyone is running away, so I take my ’cello and with musical companions we go to the frontier in a cow’s railway carriage. On the way we perform for Red soldiers. We have a hall, packed with soldiers, no room left. We play for them—beautiful Debussy, thing like that. At the end only two of the audience remains. I do not think they understand Debussy.”the fugitives reached a village on the Polish border, closely watched by Red Guards.

To resume in Piatigorsky’s own words: “On night we go across the border. I carry my ’cello over my shoulder. Suddenly bing-bang-bang! Two soldiers shoot at us. Mythealth remains goods, but my poor ’cello—inished.” “Did the shots hit it?”the was asked. “No, no.there is with us a lady opera songer. She is very awfully fat. As shethears the bangs she jumps up on my shoulders and putsther big arms round my neck… my ’cello is no more.”

Purchase options below
Find the complete article and many more in this issue of The Strad - July 2019
If you own the issue, Login to read the full article now.
Single Digital Issue
July 2019
This issue and other back issues are not included in a new The Strad subscription. Subscriptions include the latest regular issue and new issues released during your subscription.
Annual Digital Subscription
Only € 4.58 per issue

View Issues

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
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
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
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