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LIGHTS, CAMERA, ACTION

A still from the recent Downton Abbey film, featuring actors Michelle Dockery and Matthew Goode. The background musicians were provided by Music in Vision
JAAP BUITENDIJK / FOCUS FEATURES

The astrophysicist Neil deGrasse Tyson is clearly a perfectionist. After watching the 1997 film Titanic he approached the director James Cameron with a bold observation. He pointed out that on the fateful night of 14–15 April 1912 the star formations in the night sky would have appeared completely differently from how they are depicted on film. My lasting memory of the film was thinking that surely Kate Winslet could have moved over a bit on her raft to stop Leonardo DiCaprio from succumbing to hypothermia. However, Cameron clearly felt the accuracy of this seemingly small detail was important, so he obliged by making the change for a subsequent anniversary rerelease of the film.

As a musician, it’s heartening to see this attitude. We can all bring to mind an example of an actor who has suddenly been given a few weeks (or hours) to learn an instrument, resulting in a cringeworthy screen ‘performance’. There are many videos online dedicated to ‘roasting’ these mishaps; most prolifically, the comedy duo TwoSet Violin have tapped into this subgenre. I’m on a mission to convince every production team that audiences do notice these mistakes, which break the suspension of disbelief. The UK film industry is enjoying a boom at the moment, owing to the popularity of streaming services such as Netflix and Amazon Prime. Production companies have huge budgets at their disposal, and the proliferation of concurrently filming projects means that even finding free studio time for shoots is a challenge. Consequently, there has never been a better time to work in the production industry. Supporting artists, or extras, perform a unique and invaluable role in film and TV productions, and being involved in on-camera work as a freelance cellist myself has led me to create a business out of this niche. I am now trying to ensure that professional musical performers are able to have access to exactly this kind of work.

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The Strad
December 2019
VISUALIZZA IN NEGOZIO

Altri articoli in questo numero


The Strad
Editor’s letter
Each great instrument has a story to tell. Waiting
Contributors
CELIA COBB
SOUNDPOST
Letters, emails, online comments
FRONT
Brain training
Can learning a musical instrument have a positi ve eff ect on a child’s mental health? Players and teachers give their thoughts on the psychological benefits for young people
Lighting up the sky
An aerial journey for double bass and strings
TAILPIECE Sting in the tail
Titanium continues its rise as a material for instrument fittings
Life lessons Laura van der Heijden
Seven years after winning the BBC Young Musician competition, the British cellist discusses how different forms of music making inspire her
Managing a good ending
When a child wants to stop instrumental lessons, teachers have a duty to bring matters to a positive close, argues violin teacher Celia Cobb
History in sound
This year’s Krzy?owa-Music event marked several anniversaries, among them the festival’s own fifth birthday. Tully Potter attended a wealth of chamber concerts featuring young musicians and established artists, each staged in venues of historical significance
FEATURES
A MASSIVE ACHIEVEMENT
Made in 1677, the ‘Romanov’ Nicolffati viola is one of the maker’s late masterpieces. Alberto Giordano and Rudolf Hopfner investigate its turbulent history and examine how it fits into the Amati family’s oeuvre
A TREASURY OF SOUND
The Royal Danish Orchestra has been adding to its collection of fine stringed instruments for centuries – but there is revolution as well as evolution behind its distinctive string sound, which is unmistakable whatever the repertoire and whoever the conductor, finds Andrew Mellor
Into the light
Rebecca Clarke’s 1923 Rhapsody for cello and piano was never publicly performed during the composer’s lifetime, and has only recently received proper attention in the hands of champions of British music Raphael Wallfisch and John York – who makes the case for the forgotten masterpiece as its score is finally published
Like fathers, like sons
This year marks the 50th anniversary of the death of Emile Auguste Ouchard, as well as the 40th of his son Bernard – both regarded as among the 20th century’s finest bow makers. Thomas Martin, Andrew McGill, Martin Lawrence and George Martin examine the legacy of the Ouchard dynasty, particularly focusing on their double bass bows
A CONDUCTOR’S TALE
Music director Manfred Honeck has brought a distinctly European flavour to the Pittsburgh Symphony. Gavin Dixon spoke to him at his summer festival in Wolfegg, Germany, as he prepared to embark on a tour of Europe with his Pittsburgh forces – and discovered how his time as a violist in the Vienna Philharmonic helped him to become the conductor he is today
REGULARS
DAVID STIRRAT
A close look at the work of great and unusual makers
Flattening planes
A sadly necessary task for all luthiers, which should have been taken care of by the manufacturer in the first place
HONORATA STALMIERSKA
A peek into lutherie workshops around the world
A phoenix from the ashes
Points of interest to violin and bow makers
BERG VIOLIN CONCERTO
ln the first of two articles, Leila Josefowicz explores ideas of feverishness, hallucinati on, death and resurrecti on in the second movement of a great 20th-century concerto
Teaching rhythm and bowing to beginners
How to inspire very young musicians to learn new cello playing skills
Reviews
Your monthly critical round-up of performances, recordings and publications
From the Archive
The pseudonymous ‘L.H.W.’ gives his thoughts on teaching, in an article he might himself call ‘profuse and extravagant in expression’
IN THE NEXT ISSUE
The violinist has taken over as artistic director of
LINUS ROTH
Weinberg’s Violin Concerto is a work of passionate intensity, as the German violinist found – even though he hadn’t encountered the composer unti l eight years ago