By Martin Steinberg Luis Leguia was always a late starter. He was almost 15 when he began playing the cello but was good enough to study with Pablo Casals within three years. He went on to play with the Metropolitan…
By Matt Wehling As I round a corner in Paris, I see a French flag hanging from a third-story window. In the five years I lived in France and nearly a dozen visits since moving home to Minnesota in 2001,…
By Laurence Vittes On her dazzling new Hyperion CD, Alina Ibragimova identifies completely with the flow and spirit of Bach’s two standard violin concertos and three reconstructed keyboard concertos. Playing her circa 1775 Anselmo Bellosio violin with casual, 21st-century virtuosity…
By Cristina Schreil Violinist Jason Anick spies a resurgence in Gypsy jazz. When the Berklee College of Music instructor lectured on the genre at the American String Teachers Association’s March conference, he encountered proof of the interest he sensed had…
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By Cristina Schreil Talk about international relations. Scottish Fantasy for Violin and Orchestra, Op. 46, was composed by German-born Max Bruch, inspired by Scottish folk tunes, dedicated to a Spanish virtuoso, and performed by Taiwanese-Australian violinist Ray Chen in Washington,…
Cornelius Dufallo, Mark Dresser, Carolina Heredia, Atar Arad, and Mark Summer on the relationship between composing and performing
By Greg Olwell The new Acoustic Electric Strings Old No. 54 acoustic-electric violin came from AES’s Gary Bartig: It is a four-string violin that has some of the pleasing traits of the company’s five-string violins. To get there, the Old…