Violinist.com

For the Record, Op. 379: Timothy Ridout, Natalie Lin Douglas & Patrick Yim

Fri, 24 Apr 2026 19:19:14 GMT

By Laurie Niles: Welcome to "For the Record," Violinist.com's weekly roundup of new releases of recordings by violinists, violists, cellists and other classical musicians. We hope it helps you keep track of your favorite artists, as well as find some new ones to add to your listening! Click on the highlighted links to obtain each album or learn more about the artists.

Pianist Jonathan Ware and violist Timothy Ridout.

Alto Appassionato Timothy Ridout, viola Jonathan Ware, piano

Gobi Canticle Natalie Lin Douglas, violin Patrick Yim, viola

If you have a new recording you would like us to consider for inclusion in our "For the Record" feature, please e-mail Editor Laurie Niles. Be sure to include the name of your album, a link to it and a short description of what it includes. You might also like:

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Remembering Conductor Michael Tilson Thomas (1944-2026)

Thu, 23 Apr 2026 19:48:55 GMT

By Laurie Niles: Tributes are pouring in for conductor Michael Tilson Thomas, 81, who passed away on Wednesday after a five-year battle with an aggressive and incurable brain cancer, and two months after the death of his husband - a life partner of 50 years, Joshua Robison.

Conductor Michael Tilson Thomas. Photo by Art Streiber, courtesy Shuman Public Relations.

Thomas, known in classical circles as MTT, stood atop a lifetime of achievement: as an octogenarian he held titles as Music Director Laureate of the San Francisco Symphony; Conductor Laureate of the London Symphony Orchestra; Co-Founder, Artistic Director Laureate of the New World Symphony; and Distinguished Professor of Music at the San Francisco Conservatory of Music. During his life conducted nearly all the major orchestras of Europe and the United States, and throughout his career he won 12 Grammy Awards. Born in Los Angeles in 1944 to a family with roots in the theatre, MTT began his musical studies with the piano and oboe. He went on to study piano with John Crown and conducting and composition with Ingolf Dahl at the University of Southern California, where he also played piano for students of Jascha Heifetz and cellist Gregor Piatigorsky. In 1968 Thomas worked with Leonard Bernstein as a fellowship student at Tanglewood, winning the Koussevitzky Prize for student conductors. The following year he was appointed Assistant Conductor � then later Principal Guest Conductor � of the Boston Symphony Orchestra. He went on to serve as Music Director of the Buffalo Philharmonic, Principal Guest Conductor of the Los Angeles Philharmonic and Principal Conductor of the London Symphony Orchestra. In 1987 Thomas co-founded the New World Symphony as "launching pad for people�s lives" - a professional training academy in Miami Beach, Fla designed to hone post-graduate musicians not only in their performing skills but also in entrepreneurial, collaborative and civic skills. In the intervening years Thomas worked with more than 1,200 NWS Fellows, remaining the organization's artistic director through March 2022. "MTT was a master of wrestling a dream into reality," said New World Symphony President and CEO Howard Herring as part of that organizations online tribute to MTT. "He coached us all in the process. First the dream, then the hard work�of mastering a piece of music, of building a career, of establishing an institution." In 1995 Thomas became Music Director of the San Francisco Symphony, a post he held until 2020, when he became Music Director Laureate. During those years he is widely credited with reshaping the orchestra artistically, boosting its popularity locally and raising its stature internationally. The San Francisco Symphony has announced that it will dedicate its June 18, 20 and 21 performances of Beethoven�s Ninth Symphony to Thomas, with plans TBA for a special concert in celebration of his life. On its Facebook page, the San Francisco Symphony offered a quote from MTT at his 80th birthday celebration: "The future resides in the hearts and souls of the people who are listening to our music. We must continually work to make a place where all feel they are welcome." * * * Please feel free to share your thoughts on the life and work of Michael Tilson Thomas in the comments below. Memorial Tributes to Michael Tilson Thomas for further reading (click on highlighted publication): "At heart, MTT was a creative risk-taker, powerful communicator and independent thinker. His fearless explorations provided context that brought relevance, intimacy and urgency to our relationship with music." - New World Symphony statement "Few conductors in recent history had matched his 25-year tenure with a major orchestra or put their distinctive stamp on an organization the way he did." - San Francisco Classical Voice "He was... the best teacher and demystifier of classical music for the general public since Leonard Bernstein � a popular pedagogy that Mr. Thomas carried out through award-winning television programs, videos and online educational sites." - New York Times (gift article) "Thomas, known throughout the classical world and beyond as MTT, was a man of vision, curiosity and enormous musical talent." - National Public Radio You might also like:

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A Birthday Tribute to Violinist Yehudi Menuhin

Wed, 22 Apr 2026 04:04:50 GMT

By Laurie Niles: Today marks the 110th anniversary of the birth of the great American-born British violinist Yehudi Menuhin (1916-1999), and to celebrate I wanted to re-publish a tribute that Violinist.com readers wrote to him back in 2009. I had asked readers to submit their stories, thoughts and Menuhin quotations, and when I read them I was completely bowled over. I felt as though I'd been around the world and back -- in a time machine. I was humbled by the breadth of experience in this community, its geographic diversity and its profound love for the violin - as I continue to be. I could not have found any one person who could have written a better tribute to Yehudi Menuhin than everyone wrote together. Please enjoy, and if you would like to add your thoughts about Menuhin, I invite you to do so in the comments.

Violinist Yehudi Menuhin.

Anthony Barletta: "A great violin is alive; its very shape embodies its maker's intentions, and its wood stores the history, or the soul, of its successive owners. I never play without feeling that I have released or, alas, violated spirits." - Yehudi Menuhin Tommy Atkinson: Yehudi Menuhin is the reason I have a job! In the 1970s, Menuhin came to Bermuda and wanted to provide the children of this small island with the opportunity to have a great musical education. In this vein, the Menuhin Foundation was born. The Foundation provides free instruction in stringed instruments in every single primary school in Bermuda. Each year, there are over 300 children who learn to play the violin, viola, and cello all because of Yehudi Menuhin. Eileen Kosasih: Menuhin's insights on the possible origin of music in his series The Music of Man was part of the inspiration for me to delve into research on music psychology, especially in the area of perception, its relation to cognition, and the value of aesthetics. He was one of the greatest educators, musicians, and men, whose integrity is something only to aspire to. I don't recall the exact wording of something wonderful he said, but it was along the lines of: "The greatest feeling would be if I could hear Bach Chaconne for the first time again." Sam Mihailoff: My first memories were watching PBS back in the late 50's-early 60's, my father dictated the viewing, because I was after all studying the violin...I was a most agreeable participant though...Yehudi and his sister Hephzibah (piano) gave a whole series of weekly performances...grainy black & white picture with plenty of snow (rabbit ears) and on the "wide screen" 12-inch. Daniel Jenkins: My favorite Menuhin story is from one of his books, Unfinished Journey if I recall correctly. Menuhin says that he was on tour, traveling by car across a remote stretch of northern Africa when the following event happened which really brought home to him the extent of his fame which he says he had not realized until then. As the car came around a bend the driver was forced to come to a sudden stop as due to some unexpected rain recently, there was a shallow lake where the road should have been. One car ahead of them had partially driven into the water and some of the local people were attempting to help them out. So the two people traveling with Menuhin get out of the car and are trying to explain that they have a concert to get to and they are pressed for time etc., but the locals say there is nothing they can do. They are already trying to help the people ahead of them whose car is stuck in the lake. While they are talking about all this Menuhin decides to get out of the car to see what's going on and small child from this remote village, who Menuhin refers to as an "urchin", spots him and squeaks out in French "That's Yehudi Menuhin!" Suddenly the local people mobilize and in what seemed a matter of minutes a large truck is produced which they load their car onto and it drives them across the lake to the adjoining road on the other side. (Or so says Menuhin, I always thought this story was a little dubious, but I enjoy it none the less.) Sander Marcus: Yehudi Menuhin led many lives, some of them controversial - First and foremost violinist, but also conductor, speaker, writer, teacher, politician, philosopher, cross-cultural ambassador, and more. But it as violinist that he will most certainly be remembered, and with a wide range of views. To some, he was the veritable embodiment of the supreme musical interpreter. To others, a gifted but technically flawed artist who built a career that in this era would never have been launched. To me, whether he was technically "on" or "off," his was a unique voice, instantly recognizable at every point in his long, long career on the concert stage. It was a voice that was at once compelling, human, and magnetic. I do not believe that there will be another one like him who reaches the heights of fame and influence. Painters have their canvases, eternally preserved in museums and in reproductions. We violinists - from rank amateurs to accomplished virtuosi - have the capability of preserving the past hundred years of our art through recordings. The extensive recorded legacy of Yehudi Menuhin will be his eternal monument, and very likely as controversial as his playing was at its best (and worst). If we can all learn - not only in playing the violin but in living our lives - to play and live with as much heart, as much honesty, as much intelligence, as much courage, as much soul, we will be fortunate indeed. Oliver Steiner: Many years ago I was fortunate to attend a Menuhin master class. It was a wonderful class in which lofty ideals were defined and profound insights were shared. Mr. Menuhin's lecture on forming his interpretation of the Beethoven Concerto left me feeling that I had gotten a privileged glimpse over the shoulder of a master at his work. With all of these educational and inspirational riches, what made the strongest impression on me, what had me pondering the mysteries of what I had just heard to this day, was his playing of the open A string as he began to tune his violin! That open A string spoke volumes: It sounded unquestionably like the persona of Yehudi Menuhin, and nobody else. How can a human soul so vividly permeate a single note? How can a single note seem to convey an individual's world view? As with all musical magic, one's memory is primarily of the emotional expression one felt at the moment. One has almost to force oneself to recall the objective details of the sound which triggered the feelings. Serenity from the slow arch of dynamic rising and falling, generosity from the unforced largeness of tone, depth of felling from the rich complexity of overtones released by the sensitive bow arm. It was a violin lesson to last a lifetime, given in about three seconds. Gary Kroll: When I was a young violinist the youth director from my church loaned me a recording of Menuhin's Beethoven sonatas (the one with his sister, Hephzibah, at the piano). I can still hear the wonderful sound and ensemble of those sonatas in my memory, especially the Kreutzer. Pauline Lerner: The one time I heard Menuhin play solo violin in concert was a great experience. He was supposed to conduct, but it snowed, and most of the orchestral musicians showed up late or not at all. He walked onstage carrying his violin, and told the audience that since most of the orchestra was not there, he would play something on his violin for us. He played Bach's Chaconne, and he was absolutely fantastic. Davis Brooks: In 1988 I had the fortune to be participating in a recording with Mr. Menuhin and the Brooklyn Philharmonic. During a break I was able to have a short private conversation with him and I showed him� a record jacket of a record I had brought with me to the session. The jacket was from the early Menuhin recording of the Elgar concerto. On the front was the famous picture of Menuhin as a boyish looking violinist with Elgar. He looked at the cover, sported a warm instant smile and said "what a wonderful memory". There was a pause as he immersed himself in the picture and I felt like I had been a partner to a special shared moment. I asked him if he would autograph the cover for me which he graciously did. It was the only time I ever spoke with him but it was a day that I will never forget. I later framed the cover and it is in my violin studio at Butler University. It is a treasured possession. Lydia Yoder: 'The same magic recurs in the action of the bow caressing the strings, in the motion of the fingers on the fingerboard. The same voice is summoned up as if in a dream....what you hear in yourself harmonizes with the perceptions that conform outside.' ~ Yehudi Menuhin. Naomi P.: The very first time I heard Yehudi Menuhin's beautiful music was on a CD of Bach's sonatas and partitas that I randomly picked up. I was beginning to work on my first unaccompanied sonata, and I wanted to hear different interpretations of the music. It was this CD that made me fall in love with Bach. I then started to research this amazing violinist, and read the story about how his teacher made him play the works in one sitting over and over again for endurance. I think this was one of the moments where I figured out what I had to do to be a violinist. His music continues to inspire me, and I wish I could've seen him perform live once in my lifetime. Steven Ginsberg: I think the Menuhin competition established by him for violinists under the age of 22 and now in its 25th year, available online at menuhincompetition.org is a great legacy for a violinist. Michael Snow: �I can only think of music as something inherent in every human being � a birthright. Music coordinates mind, body and spirit.� Menuhin Mariya Borozina: Menuhin is the genius of sound and phrase. Marianne Hansen: I am so moved, over and over again, by Menuhin's comments on his collaboration with Stephane Grappelli, where he praises Grappelli's improvisation skills and says he wished he could match him. But in particular, when he says that while playing with Grappelli he felt that "every note was an event, that every note had a meaning." Christopher Davis: Yehudi Menuhin's playing is a beacon of light. His strong conviction to the power of music is unnoticably heard with every note he plays. King Choi: His Brahms concerto is amazing! Yehudi Menuhin is one of the most imaginative, original and musical violinists of the 20th century! Fyoder Larue: Yehudi Menuhin + Ravi Shankar Brian Hong: When I first heard Menuhin's playing, tears immediately filled my eyes. His tone was so personal....so touching. Every single note felt like he put all of his DNA into it to make it as intimate as possible; in other words, he was making his violin sing through his body as if it was another organ attached to it. As I listened to the record, his Mendelssohn concerto, the wide array of colors and textures jumped at me like a painting by Van Gogh. Every note was different, slightly askew, like splash of red paint in the middle of a blue canvas. However, they all fit together to form a phrase of remarkable and unmistakable beauty. That day was a changing day in my musical life and that was the day I decided to study music, so I could try to make my playing soar in the clouds like Sir Menuhin. I am in debt to his playing and him. Adam Clifford: Webster's dictionary defines a virtuoso as one who excels in musical technique. Attaining virtuosity requires a perfect blend of masterful technique, heart-felt expression, and natural talent. Of all the old violinist masters, Yehudi Menuhin has won himself a place on a very high pedestal of virtuosity. Not all may agree with Menuhin's musical interpretations, ie an excessively fast tempo here or there, an overly flat note in a particular passage, etc., but Sir Menuhin had the power in his heart, in the pure essence of his being, to make one realize with the execution of even one simple note, the true value of life, music, and love. Menuhin's playing transformed violin playing into an intangible spirit, representing all things good in a very flawed world. Royce Faina: Thinking outside the box in hopes that we would make our boxes a little bigger...Menuhin... He was a renaissance man. The 20th century had very few of them, and Menuhin definitely was among the top! Margaret Lee: He was a gentleman, and I'm glad to see that most people who play the violin are like that. My father, who has also passed on, didn't get the chance to enjoy music to the extent that I did, given his background, but one thing I remember him saying was that music "gives a person elegance." Alan Wittert: To me, Menuhin's music-making unfolded as an act of nature. Those of us taken in by the music of his heart can touch eternity through, for example, the slow movements of his Bach concertos. There will never be another like him. Jude Ziliak: Menuhin was close to Willa Cather from his youth. This pairing sounds unlikely-- we don't really associate Menuhin with the USA anymore, despite his very American upbringing, whereas Cather is firmly associated with the Great Plains.� But there was a real kinship between the two. Anyone who reads "My Antonia" will see that Cather's concept of music is closely related to Menuhin's. He called her Aunt Willa, and she advised him to build his career in Europe, but to come home to the States as much as possible, to stay connected to his native soil. Stephen Kelley: A short bio of Yehudi was in my junior high library in 1965. In 1970 I saw him play the Elgar In Kansas City. Later I took up Yoga which he promoted by supporting Iyangar. This man was very great. He would have loved the humanitarian work of Barenboim, and the music education that produced conductor Dudamel. I gave my historic 78s of Yehudi, including the Bach DBL with Enesco, to Benedictine College under the care of the monks I loved. Don Sullivan: In an interview Yehudi Menuhin said of music, "If there is only one definitive way to play a piece of music, then it is not very good music." I was glad to hear that, because with that philosophy we are open to artistic expression. Not that we have license to neglect the composer's or writer's original essence and intent, but that we are not bound to be carbon copies of a single performance of a piece. Augusta McKay Lodge: �The violinist is that peculiarly human phenomenon distilled to a rare potency--half tiger, half poet.� Menuhin Daniel Neuman: Yehudi Menuhin was the violin hero of our family. My father, a European violinist emigrated to the US in 1947 (and in his youth Huberman was his hero) introduced his sons to the magic of Yehudi Menuhin's music. Over the years I met Menuhin as a fan, on several occasions, but once was different. In 1970 I was in India, studying the sarangi, the Indian fiddle, and my teacher there, Sabri Khan was scheduled to play a duet with Yehudi Menuhin at All India Radio, The national radio broadcaster, I have never been musically interested in Western and Indian classical fusions; they are each wonderful musical traditions and are not augmented through fusions. On this day, however, Menuhin was coming in as "disciple" to learn a new raga. (It was Raga Gujari Todi for those who might be interested). What I was so very impressed by--and at this point I was very much at home with both musical traditions--was the humility and genuine inquisitiveness Menuhin demonstrated as he learned the raga. His desire to learn was authentic and the respect he showed to my teacher was really culturally sensitive at a time (remember, this was 1970) when such sensitivity had not yet become standard practice. After some minutes of learning, they performed together for a taped broadcast, and given the fact that Menuhin had just "learned" the raga, he gave a remarkable performance. On this occasion, Menuhin again demonstrated to me the connection between being a wonderful human being and an exceptional artist. Ruthann Biel: I love to read the children's book that he wrote. (The King, The Cat, and the Fiddle, read the story description if you click on the link!) Ruth Kuefler: The thing that I most love about Menuhin is his humanity and his genuine care for his fellow. It comes across so clearly in both his playing and his words. I remember watching him on The Art of Violin and thinking, "Wow, I really wish I could have met you." He is so sincere and genuine. So selfless and generous to others. I wouldn't necessarily copy everything he does technically or musically, but I admire his spirit so much, and hope I can imitate that type of sincerity in my own playing. Michelle Guthrie, and Sarah Westfall: �Music creates order out of chaos: for rhythm imposes unanimity upon the divergent, melody imposes continuity upon the disjointed, and harmony imposes compatibility upon the incongruous� Yehudi Menuhin Claudel Chouinard: Simply put, Menuhin is THE reason why I play the violin. During the seventies he was part of a documentary named "Man and His Music". I remember it was the first time I heard someone play the violin unaccompanied: It had a profound effect on me. Then I read his biography: "Unfinished Journey", bought many many records, even took a lutherie course (and made my first violin!), took violin lessons, and so on and so forth... The violin is a intricate part of my life since then. You may refer to him as "Sir" or "Lord" but to me, Yehudi Menuhin is my first music teacher. The first that made me understand that music is not "classical" or "jazz" or "folk": music is a "language". Music is so universal that it can touch anyone, anywhere, in the world. Christine Kharazian: My favorite quote by Menuhin is actually from that book: The Violin. This quote is posted on my website and in my studio above the piano. I ask all my students to read it, because it so beautifully describes the meaning of music in our life. Here it is: "Once upon a time, in an age forgotten by time itself, at the dawn of a humanity whose secrets remain a mystery to archeologists, historians, and scholars alike, a taut vibrating string made itself heard - and with this second voice the human being was no longer alone." Joseph Congiusta: In watching interviews of Yehudi Menuhin, I was always impressed with his panache and sense of style. He was not only a great violinist, but a real gentleman as well. Jerald Archer: Without any doubt, Mr. Menuhin will always be remembered in the annals of music history, and particularly in the violin world as a performer, humanitarian and teacher who carried on, and passed down the mantle to his students, the traditions of the great violinists before him. His illustrious career prompted the idea that classical music is for all people of all musical tastes, and that the violin itself could be utilized in many other styles of music effectively. If the violin world had saints, his canonization would be certain. Yehudi Menuhin plays Brahms "Hungarian Dance" with pianist Adolph Baller: You might also like:

The Enormous Legacy of Yehudi Menuhin

Interview with Daniel Hope: My Tribute to Yehudi Menuhin

Gordon Back and the History of the Menuhin Competition

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Violinist Leia Zhu Awarded Freedom of the City of London

Tue, 21 Apr 2026 21:20:44 GMT

By Laurie Niles: On Monday British violinist Leia Zhu, 19, was awarded the Freedom of the City of London, a civic honor that dates to 1237 and is given by the City of London Corporation at Guildhall.

Violinist and Financial Adviser Leia Zhu.

She is believed to be the first classical musician to be nominated for the award, as well as one of the youngest recipients in recent memory. She was nominated for this distinction by virtue of her studies in finance, through the Worshipful Company of International Bankers, a livery company of which Zhu is a member. At 17, she became one of the youngest holders of the Diploma for Financial Advisers. She also holds Associate Membership of the Chartered Institute for Securities & Investment. Zhu said that the pandemic inspired her to pursue finance alongside her performing career, as she watched other performing artists face economic hardship due to concert cancellations. "To receive the Freedom of the City of London is a profound honour, and one that I see as a responsibility as much as a recognition," Zhu said. "To thrive sustainably, culture must be supported by strong financial understanding, thoughtful governance and long-term thinking. This honor strengthens my commitment to contributing to that conversation and to the belief that culture and finance are not opposing forces, but complementary ones. Culture needs capital; capital needs soul. I intend to be that bridge." It's not the first time that Zhu has been among the "youngest ever" to win an honor - she gained early recognition for her accomplishments as a child prodigy, winning several competitions by age eight. She is also known for her YouTube Channel, The Violin Girl, started when she was of 4, which includes her performances and a personal video blog or "vlog." At age 12 she was the youngest artist ever signed by the classical music agency HarrisonParrott, and in the intervening years she has established a career as a soloist, performing in more than 20 countries, including at the BBC Proms at the Royal Albert Hall, with the London Symphony Orchestra under Sir Simon Rattle, and with the Tonhalle Orchestra Z�rich under Paavo J�rvi. When it comes to finance, she has said that her ambition is to help cultural institutions build the financial foundations that allow creative work to survive, and to make the case that the arts and finance are not opposing forces, but complementary ones. You might also like:

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The Week in Reviews, Op. 546: Joshua Bell, Nicola Benedetti, Vilde Frang

Tue, 21 Apr 2026 18:04:18 GMT

By Laurie Niles: In an effort to promote the coverage of live violin performance, Violinist.com each week presents links to reviews of notable concerts and recitals around the world. Click on the highlighted links to read the entire reviews.

Violinist Joshua Bell. Photo by Philip Knott.

Joshua Bell and pianist Shai Wosner performed a recital in San Francisco at Davies Symphony Hall.

San Francisco Classical Voice: "Most of the time, the 58-year-old violinist positively sang with light bows, long lines and rippling vibrato. His stylistic choices were never so ostentatious as to pull attention, yet every piece on the program sounded unmistakably like him."

Nicola Benedetti performed Elgar�s Violin Concerto with the Philharmonia and Cristian Macelaru.

The Times: "Benedetti, convincingly, (began) in impetuous style, her feverish energy rarely letting up � music lived in the moment. The tightening of the emotional screws continued in a gorgeous slow movement that Benedetti wrung for full-on pathos, startlingly forceful in the lowest range of her instrument."
Bach Track: "In the first movement, Benedetti was the epitome of Edwardian elegance, in the second a lyrical and passionate seducer, and in the third the real stealer of fire from the gods."

Vilde Frang performed Korngold's Violin Concerto in D major, Op. 35 with the London Symphony Orchestra and Sir Antonio Pappano.

Bach Track: "this was a beautifully Romantic-leaning, long-drawn, floating dream world full of bold freedom in the phrasing; indeed even the concerto�s vivacious, rhythmic finale, replete with formidable high-speed virtuosics for the soloist, saw Frang and Pappano leaning deep into its opportunities for gentler, more time-suspended expression..."
The Guardian: "Vilde Frang�s interpretation reminded us that the Vienna from which Korngold had escaped was not only a city of sachertorte and gold leaf but also the home of musical expressionism. Not that she shortchanged Korngold�s melodiousness; on the contrary, she spun out those long melodic lines with silky intensity."

Henning Kraggerud performed works by Mozart with the Irish Chamber Orchestra.

The Arts Desk: "Kraggerud has a way of slimming down his beautiful violin sound to a silver thread, and in perfect partnership with harpsichordist David Gerrard, he made the Tempo di Menuetto of the 21st Violin Sonata - the only one in a predominantly minor key - sound like transfigured mastery..."

Marissa Regni and tabla player Robert McEwan performed Jacques Loussier�s Concerto No. 2 for Violin and Tabla with the National Symphony Orchestra and Gianandrea Noseda.

Washington Classical Review: "Regni had most opportunity for fireworks in the finale, which she and Noseda took at a blistering pace. Regni played nearly continuously in a whirl of motion, making the music more exciting as the demands piled up."

Elina V�h�l� performed Bruch�s Violin Concerto No. 1 with the Sinfonia Lahti and Matthew Halls, who accidentally knocked her Guadagnini violin out of her hands and sent it flying to the floor during the final movement.

Helsingin Sanomat (original article in Finnish): "After a short break for tuning, V�h�l� and the orchestra continued playing from the beginning of the finale." (Note: While this made for spectacular viral video, the violin was unharmed.)

Hans Christian Aavik performed Erkki-Sven T��r's Violin Concerto no.2 "Angel�s Share" with the Estonian National Symphony Orchestra and Neeme J�rvi.

Arcana: "The silvery edge to the tone of violinist Hans Christian Aavik was the ideal spur for music that engaged in luminous dialogue, while laced with folksy references....Aavik�s virtuosity was key, convincingly delivering with spacious phrasing."

Jennifer Pike performed Bruch�s Violin Concerto No. 1 with Philharmonic Orchestra and Daniel Raiskin (in February).

The Strad: "She has a remarkable comfort and poise to her playing and is for sure a natural performer."

James Ehnes performed with pianist Andrew Armstrong at a recital at Wigmore Hall (in February)

The Strad: "Canadian violinist James Ehnes will never not be a hit when he performs in London. Alongside his long-time collaborator, pianist Andrew Armstrong, a masterclass in assurance was at the heart of their Wigmore Hall recital."

Please support live music in your community by attending a concert or recital whenever you can! You might also like:

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V.com weekend vote: At what age did you start playing the violin?

Sat, 18 Apr 2026 23:52:03 GMT

By Laurie Niles: Last week an article about starting the violin as a senior citizen inspired a robust conversation about people's experiences, starting the violin at an advanced age. It would seem that quite a lot of people have started playing their instrument late in life, so I wanted to re-do a vote we've done before: at what age did you start playing the violin? I have added a "senior citizen" category: people who started over the age of 65.

It's a great chance to talk about when all of us started, and I predict that the answers will be all over the map! Since the advent of the Suzuki method, it's not unusual to start at a very young age, even two or three. But you can enjoy this instrument starting at any age, and with the key ingredients of motivation and consistent practice, you can get quite good at it. Personally, I started violin a few days shy of my ninth birthday, in a public school program at Eastridge Elementary School in Aurora, Colorado. Thank you Mrs. Linda Walker, for inspiring young me to beg my parents to join your program! How old were you when you started playing the violin (or viola), and what was that initial spark that got you going? Please participate in the vote, and then tell us all about it in the comments! You might also like:

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Moni Simeonov Demonstrates 25 Modern American Violins at Metzler (Plus Cello and Viola Demos)

Fri, 17 Apr 2026 22:58:56 GMT

By Laurie Niles: Are you curious about the instruments being produced by modern violin, viola and cello makers? In March, violin dealer Thomas Metzler hosted a demonstration of 52 violins, violas, cellos and bows made by 48 American makers at Metzler Violin Shop in Glendale, Calif. We now have the videos from these demonstrations, created by Henry Slater, to help introduce you to modern makers and their instruments. Three performing artists came to demonstrate the instruments over two evenings: violinist Moni Simeonov, violist Drew Forde, and cellist Robert deMaine.

Violinist Moni Simeonov demonstrates a violin at Metzler Violin Shop. Photo by Violinist.com.

If you are in the market for a violin for yourself, your child, or a student, modern is a great way to go for sound, prize, artistry and durability. (Plus you often can meet the maker!) Enjoy exploring with these videos! VIOLINS: Violinist Moni Simeonov demonstrated 25 violins. Simeonov is Chair of the Chamber Music Institute at the Colburn School, Director of String Studies at the Bob Cole Conservatory of Music at California State University Long Beach, and as creator of zenviolin.com. Simeonov, who had the chance to play on a 1734 Strad in college, nonetheless told us that "I find myself most comfortable on the modern instruments." For one, there is less worry when traveling. And also "there is just something about playing an instrument where the maker has just made it, and I get to go back to them and talk about it, or have them work on the instrument." For each instrument, he first played a soft scale that would not "push" the instrument. He then also played excerpts from the concertmaster solos from Ein Heldenleben, which pushed the instrument a little harder. He did a fantastic job of pulling the tone out of each instrument. Below is the video, and underneath that, the names of the makers. (To scroll through to a specific maker in the video playlist, hover over the video and use the right arrow to go forward and left arrow to go back. The videos are in the order listed below.) Alex Buktenica Alexander Tzankow Andrew Carruthers Antonio Rizzo Artur Friedhoff Douglas Cox Duane Brewer Eduardo Casta�o George Yu James Ropp Jeffrey Haas Kevin Crow Kurt Robert Jones Marjolaine Honor Michael Daddona Michael Fischer Okkyum Kim Pete Morris Shahram & Saeid Rezvani Sofia Vettori Stephen Lohmann Stephen Sherman Steve McCann Theodore Skreko Todd Goldenberg

Here are the luthiers who were present at the 2026 exhibition at Metzler. Front L-R: Eduardo Casta�o, Stephen Sherman, George Yu, Michael Fischer, Isabella Wilbaux, Zacharie Rodrigue, Sofia Vettori, Theodore Skreko. Back L-R: Andrew Carruthers, Shahram Rezvani, Thomas Metzler, Saeid Rezvani, Moni Simeonov.

CELLOS: LA Phil Principal Cellist Robert deMaine demonstrated nine cellos. Below is the video, and underneath that, the names of the makers. (To scroll through to a specific maker in the video playlist, hover over the video and use the right arrow to go forward and left arrow to go back. The videos are in the order listed below.) Isabella Wilbaux Andrew Carruthers Eric Benning Michael Fischer Carlos Funes Kurt Jones Jason Starkie Jacek Zadlo Alexander Tzankow VIOLAS: Violist Drew Forde demonstrated 18 violas. Forde, known online as ThatViolaKid, has performed and recorded with A-list popular music stars as well as movie soundtracks. Below is the video, and underneath that, the names of the makers. (To scroll through to a specific maker in the video playlist, hover over the video and use the right arrow to go forward and left arrow to go back. The videos are in the order listed below.) Kevin Crow Stanley Kiernoziak William Atwood Michael Fischer Ute Zahn Okkyum Kim Mietek Rusnak Shahram & Saeid Rezvani Stella Yoo Marinos Glitsos Douglas Cox Alexander Tzankow Antonio Rizzo Andrew Carruthers Jaime Gonz�lez Dirk Henry Jeffrey Haas Guillaume Turgeon Here is a digital program with bios of the makers. And here are Metzler's listings for all the instruments in the Contemporary American Violin Makers Exhibition and Sale. If you ever get the chance, I strongly urge you to go seek out some modern instruments for yourself - listen, play, and make some of your own notes!

Tom Metzler, Andrew Carruthers, Zacharie Rodrigue, Laurie Niles, Nathalie Bonin, Isabella Wilbaux.

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For the Record, Op. 378: Renaud Capu�on, Stefan Jackiw, Duo Gazzana, Jupiter String Quartet

Thu, 16 Apr 2026 20:50:37 GMT

Chausson Renaud Capu�on, violin Nicholas Angelich, piano Quatuor �b�ne Brussels Philharmonic, St�phane Den�ve conducting

Eric Nathan: Double Concertos Eric Nathan, composer Stefan Jackiw, violin & Yoonah Kim, clarinet John Ferrillo, oboe & Amanda Hardy, oboe Hsin-Yun Huang, viola & Misha Amory, viola

Prokofiev, P�rt, Schnittke Duo Gazzana Natascia Gazzana, violin Raffaella Gazzana, piano

Undreamed Shores Jupiter String Quartet Nelson Lee, violin Meg Freivogel, violin Liz Freivogel, viola Daniel McDonough, cello

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The Week in Reviews, Op. 545: Anne Akiko Meyers, Shanghai String Quartet, Fabio Biondi

Wed, 15 Apr 2026 17:34:46 GMT

Violinist Anne Akiko Meyers, performing with the Los Angeles Chamber Orchestra and Jaime Martin on Saturday. Photo by Elizabeth Asher.

Anne Akiko Meyers performed Eric Whitacre's "The Pacific Has No Memory" and Vaughan Williams' "The Lark Ascending" with the Los Angeles Chamber Orchestra and Jaime Martin.

San Francisco Classical Voice: "Her polished, refined, and intonationally pure playing was the highlight of the evening....'The Lark Ascending' came between the two new works in the first half. Here, Meyers�s bowing technique � which she made look so easy � produced a flowing, liquid tone, a seamless stream of sound that along with her pitch-perfect fingering held the audience spellbound."

The Shanghai String Quartet performed a recital in Boston at Jordan Hall for the Foundation for Chinese Performing Arts.

The Boston Musical Intelligencer: "(in Dvorak�s American Quartet) the Shanghai delivered the generously kind and hopeful Bohemian tribute to American ideals with exuberant but un-pushed power, consoling warmth, exquisite collective advocacy, delicacy of details, and signal solo perfection..."

Fabio Biondi directed and performed with Music of the Baroque in Chicago.

Chicago Classical Review: "Directing from the violin at a small podium situated to the left of Stephen Alltop�s harpsichord, Biondi drew from the 16-piece string ensemble readings as crisply engaged, and engaging, as his own solo playing in concertos by Vivaldi and Pietro Nardini."

Chamber Music Society of Lincoln Center presented "Liszt and Bart�k: A Night in Budapest."

Blog Critics: "Whichever way political winds are blowing, for centuries Hungary has been fertile ground for music. It was so in Liszt�s time, it was so through the nightmares of the 20th century, and it continues during today�s more scattered nightmares � and moments of potential redemption."

The Attacca Quartet and composer/vocalist Caroline Shaw performed at the Taube Atrium Theater in San Francisco.

San Francisco Classical Voice: "During a deliriously entertaining performance by New York�s Attacca Quartet at the Taube Atrium Theater, it seemed everyone was having an engrossing, high time."

Leonidas Kavakos performed Shostakovich's Violin Concerto No. 1 with the Singapore Symphony Orchestra and Hannu Lintu.

Bach Track: "The concerto was clearly about a man against an oppressive totalitarian system, which the original dedicatee David Oistrakh fully understood. Kavakos, despite his cool approach, was never at odds with this, and the ensuing Passacaglia reinforced its gravity."

Njioma Grevious performed Mendelssohn�s Piano Trio No. 1 with cellist Carrie Bean Stute and pianist Efi Hackmey, co-artistic directors of the Chiarina Chamber Players, at St. Mark�s Capitol Hill.

Washington Classical Review: "When Prokofiev has the violinist play that wistful melody high and soft to end the first movement, Grevious conjured a breathtaking, radiant whisper from her instrument. The second-movement Scherzo featured hand-in-glove playing from Grevious and Hackmey, as the violinist tore through her thickets of notes with elan."

Nikolaj Szeps-Znaider performed Bruch's Violin Concerto No. 1 with the London Philharmonic Orchestra and Kirill Karabits.

Bach Track: "Szeps-Znaider gave an imposing performance of Bruch�s Violin Concerto No. 1 in G minor, aiming straight for the heart and scoring a direct hit. "

Please support live music in your community by attending a concert or recital whenever you can! You might also like:

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Starting Violin as a Senior Citizen: Is It Possible?

Tue, 14 Apr 2026 17:57:38 GMT

By Laurie Niles: Is it possible to start violin as a senior citizen? I was visiting my 86-year-old father last week when this question came up while we were at lunch with a group of his friends, all in their 70s and 80s. They know I'm a violinist and teacher, so they were quizzing me about music and music-making. I was, as usual, was preaching music education when they raised the question: Do older people ever start an instrument?

They may have thought this was a novel idea, but it's actually not unusual. I assured them that yes indeed, older people certainly do take up the violin, viola or cello. (Our own Well-Aging-Fiddler - who started at age 68 and wrote many blogs here about his experience - is a case in point!) In fact, the golden years can be a great time to start - or restart - an instrument. It can be wonderful way to fill hours in retirement, to give the brain and fingers a new challenge, and to connect with a new set of people. I have taught a number of senior citizens, and I have colleagues who specialize in older students and have created adult-beginner ensembles and orchestras to support their learning. Dad's friends found this quite interesting. So what do you need to get started? A violin, probably? Yes, but even more than that, you need motivation and commitment. You'll need to practice every day, and yes, I mean every day. Playing the violin is a little like physical therapy - it's a physical task that requires small-muscle conditioning and repetition. Especially for an older player, consistency is very important in developing and maintaining the muscles that support the instrument, control the bow and press the strings to create different notes. Devotion is what makes this work, both physically and mentally. So it is important that you feel motivated to set aside some time every day to practice, listen, study. Then the next two things you need are a teacher and an instrument, and it can be helpful to acquire them in that order. A good teacher and a satisfying instrument also will help your motivation. A "good teacher" means a good teacher for you. (Here is an article all about finding and choosing a good teacher.) Your teacher should be someone you trust, and who helps you feel confident and motivated. Not all teachers take older students, but many do, especially when the student appears to be committed, motivated and enthusiastic. You'll need to do some research, contacting people you know who are connected to music, people in the local symphony, local universities with music programs, the local music store. How about the instrument? Should you just get a cheap instrument on Amazon to try it out? I would discourage this, for many reasons. (Read the long story on that here). In a nutshell: there is a high chance you won't like it. You may not understand exactly why, but it will be a combination of being displeased with the tone, sometimes even finding the sound of the instrument painful, being unable to tune it, having parts break off, the feel of a cheap violin that doesn't really fit in the hand, the visual ugliness of something cheaply made, and the overall bad feeling of having an object that was not made with care. Conversely, a well-made instrument will support your efforts and fan your motivation: you will enjoy its pleasant tone, you will enjoy the way its mechanics support you, the way it fits in the hand and the craftsmanship behind it. Your teacher can help you pick out a good instrument and guide you to the right place, whether local or online, to buy one. Of course, if you already have a sense of the sound you are seeking, you might be able to do this on your own. But if you've never bought a musical instrument and don't feel confident about making that judgment, you probably will want help from someone in-the-know - a teacher or friend who is a musician. Once you are set up with a teacher and instrument, then it's a matter of enjoying the journey and celebrating incremental progress. Do older students learn slower than kids? Generally, no. They learn at about the same rate, it's just that kids are less bothered about doing things inexpertly for a while. After all, childhood is all about not knowing what you are doing and then figuring it out. Adults, especially very accomplished ones, have become accustomed to being experts. Adult beginners often apologize to their teachers for not being better - even though the teacher has no expectation that a beginner will immediately sound like an expert! It usually takes a long time for a complete beginner to get good at the violin - several years for proficiency, and even a decade to get "really good." It helps to embrace being a beginner - and to let go of the idea of being an expert. (Here is a good, cheeky podcast, entirely about that issue, written by my friend Andy Reiner, who is known to ski while playing fiddle!) Should you decide to take on the violin - at any age - embrace the journey and enjoy it. It's a challenge that requires you to solve problems, to improve your physical coordination and to strengthen your discipline. Along the way, it will connect you in a deep way to a beautiful world of music and musicians, both past and present. You might also like:

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