Anthony Marwood
When I started out, violinists were somewhat segregated. To be a soloist, you had to be perceived as only that. I always felt that soloists who couldn’t play chamber music beautifully had no right to call themselves artists. Thankfully things have changed and it’s considered a strength now to have a flexible and ‘interesting’ career.
When I was 14 years old I went to play to Emanuel ‘Manny’ Hurwitz. This was a stroke of huge good fortune, as Manny’s vast wisdom, knowledge, kindness and fabulous sense of humour guided me for the next four years and beyond, although later I also studied with the marvellous David Takeno. Manny did not believe in taking a narrow path, and encouraged me to expand my musical learning experiences in many directions. This was certainly a reflection of his own career as a chamber musician, soloist, teacher and orchestral concertmaster.
READ MORE
Purchase options below
Find the complete article and many more in this issue of
The Strad
-
November 2019
If you own the issue,
Login to read the full article now.
Single Issue - November 2019
|
|
|
€5.49
Or 549 points
|
|
|
Annual Digital Subscription
Only €
4.58 per issue
|
SAVE
17%
|
|
€54.99
Or 5499 points
|
|
|
About The Strad
Sarah Chang discusses her passion projects and we explore the lives of Chicago's early bow makers. Joseph Curtin examines bridges, there's a look at Brazil's classical music and Alisa Weilerstein reveals her Sentimental Work. Plus David Kim on sautillй.