The Artistic Director of Taikoz and Percussion Australia, Ian Cleworth, explains how Taikoz has a set of taiko drums custom-made by the venerated Asano family – who keep the secret to the Asano sound shrouded in mystery.
The world’s first Grammy-nominated mandolinist, Avi Avital, has gained the instrument its rightful place in concert halls and has also inspired a new generation of composers to write for this most modern of Baroque instruments.
Michael Pisani, Principal Cor Anglais at Melbourne Symphony Orchestra, didn’t even own the instrument when he was first offered the chance to play it. Now he is about to perform a new work by Anne Cawrse.
Andrew Bain now owns over 20 horns, two of which he will bring with him when he returns home to play with the Adelaide Symphony Orchestra and the Australian World Orchestra.
As celebrated American violinist Hilary Hahn makes her long-awaited return to Australia, she tells us about the instruments she owns and the connective power of music.
Leading Australian pianist Stephanie McCallum explains why she fell for the pianos from the workshop of French instrument maker Sébastien Érard.
When Stefanie Farrands, Principal Viola with the Australian Chamber Orchestra, picked up the viola for the first time she felt like she’d found herself.
Leading period clarinettist Craig Hill is “a constant tinkerer”, as he attempts to get one step closer to the perfect basset clarinet.
Joseph Tawadros recalls how he got hooked on the oud, and how the instrument – and the teaching of it – is evolving as it becomes more accepted into orchestras around the world.
Saxophonist, composer, educator and jazz legend Sandy Evans explains how and why she moved from classical flute to soprano and tenor saxophone.
Playing with the ELISION Ensemble for the first time was a wild ride – which is just how Ben Marks likes it. Now, he is discovering startling new possibilities for the trombone as composers explore the sounds ‘in the cracks’.
Affectionately known as ‘Tipi’, Timo Veikko-Valve is Principal Cello at the Australian Chamber Orchestra. He picked up the instrument to fill the family piano trio, and because a teacher once declared “he looks like a cellist”.
Born in Sweden and now based in Sydney, Tommie Andersson explains how he moved from the guitar to the lute and the theorbo, and why his theorbo is nicknamed the Thredbo.
