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Teaching & Playing

Idiosyncrasies, ensemble and eloquence help Philip Dukesto bring out the magic of Mozart in the first movement of this much-loved concerto for violin and viola

From Mozart Sinfonia Concertante KV364. Urtext edition, paperbound with marked and unmarked string parts. Ed. Wolf-Dieter Seiffert; Siegfried Petrenz (pf reduction); fingering and bowing vn Frank Peter Zimmermann, va Tabea Zimmermann. Order no. HN 798, ISMN 979-02018-0798-0, €25. Printed with permission of G. Henle Verlag, Munich © 2006

This is the concerto that I’ve played most in my career. For me, it’s the greatest Mozart concerto of all, and it’s particularly precious to viola players when you consider the solo viola repertoire prior to the 20th century. We have no concertos by Beethoven, Haydn or Mozart per se, but to have this one gem almost makes up for the fact that there isn’t much else. The first movement is a tour de force, the slow movement ravishing, and the presto zippy and exciting to conclude. It is a great piece to play and to listen to; the more you delve into it, the more you find. I have performed it with around 40 violinists: Tasmin Little, Clio Gould, Michael Davis, Jonathan Carney, Nikolaj Szeps-Znaider - the list goes on! I was followed by a Stasi agent around the clock when I played it with a pupil of Igor Ozim and the Dresden Staatskapelle in East Germany in 1988, before the Wall came down. It has given me interesting stories along the way.

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About The Strad

We conclude our investigation of Stradivari’s moulds and examine some radical teaching methods. Vadim Gluzman, Philip Dukes and Matthew Barley are interviewed and there’s our annual Accessories supplement, featuring carbon fibre bows, wolf eliminators, mutes and lots more.