I met Garth Knox in 2011 at New England Conservatory where I was studying for my Bachelor. He was teaching the viola class for a guest semester, and I asked him for a lesson. We soon started talking about his Viola Spaces, a series of concert studies for viola that had been published in 2008 and were starting to gain a lot of traction in the viola world. The question was .. would they work for violin transposed up a fifth ? We both missed the ringing of many bass notes, and it seemed like there was a lot more possibility in the brilliance register of the violin that should be taken advantage of. So it was decided to make a whole new series for violin. We spent a lot of time exploring these techniques together, Garth writing drafts for me to give feedback on, editing, editing, and re-editing. It’s been a great learning curve for me.  I’m proud of this project and so excited to share it with the world – in particular with young violinists who I hope will dig into the material with enthusiasm, discovering new pathways in the relationship they have with their instrument.

The Violin Spaces were published by Schott in 2018, the CD is out, and we are in the process of releasing instruction video’s.

order the sheet music here 

order the CD here

Violin Spaces tour coming up :

28 nov BIMHUIS Amsterdam

29 nov Muziekgebouw Eindhoven

30 november De Doelen Rotterdam

1 december Muziekcentrum Enschede

“Often in a humoristic manner and always with musical expression in focus, these eight pieces are perfect for every violinist to practice playing techniques and to enhance the enthusiasm to experiment and the joy of playing.” (Carolin Widmann)

‘This collection of concert studies for violin explores what are often referred to as “extended techniques”. These are for the most part techniques which are already present in classical music in a secondary role, but which have now, through continuous development, come to occupy a musical place of primary importance. Each of the studies concentrates on a single technique, investigating how it works technically, and exploring its musical possibilities. They are called “Spaces” because as well as being concert pieces, they are intended to open up spaces for exploration, discussion and improvisation around these techniques. They are also intended to be enjoyable to play, to work on and to listen to. Far from being an esoteric handbook of complex techniques reserved for contemporary music specialists, these “Spaces” are designed to help all violinists to explore, in a playful and imaginative way, the possibilities of their instrument and to discover some sounds and techniques that will have very tangible positive effects on their playing of all styles of music. We can all extend our techniques by opening up the space around them and taking them to their limits. The Violin Spaces are dedicated to Diamanda Dramm, whose talent, enthusiasm, suggestions and feedback were an enormous help to me in the construction of these “Spaces”.’ (Garth Knox)