Strains of a virtuoso: pacemaker infection and ventricular tachycardia in a violinist by Yuanguo Chen, Haibo Zhang, Qi Qiao, Lian Ma

“…Methods A 76-year-old male violinist with a Biotronik Evia DR dual-chamber pacemaker presented with syncope and signs of a pacemaker pocket infection three years after implantation. …”
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Disturbed Pitch Perception during Antidepressant Therapy of a Combination of Lithium, Nortriptyline, and Oxazepam: A Rare Unexpected and Undesirable Side Effect for a Violinist by Siwert de Groot

“…After recovering, the medication was continued, but as a violinist, the patient was told that his intonation was too low with the consequence that he was not allowed to participate in the orchestra where he had been for years. …”
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APPROACHES TO THE AMPLE-FORM WORKS IN MUSIC SCHOOLS by Cătălina GUŢANU

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ESSENTIAL PRINCIPLES OF VIOLIN INTERPRETATION by Cătălina GUŢANU

“…Of course, we cannot deny its influence; however, in the interpretation of any beginner violinist, even of the most talented ones, tonal musicality is not something that appears from the start. …”
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ENSEMBLES MUSICAUX REPRÉSENTATIFS DE LA PHILHARMONIE « TRANSILVANIA » DE CLUJ-NAPOCA. LES QUATORS À CORDES PENDANT LES ANNÉES 1955 – 1989 by Simona-Mihaela SPIRIDON

“…The “Concordia” Quartet was formed in 1971 at the initiative of the young violinist Andrei Agoston. Considered one of the most prestigious Romanian chamber ensembles that have captured the audiences worldwide, the “Transilvan” Quartet first appeared on stage in Cluj in 1985 under the name “Allegro”. …”
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The role of music performance anxiety in musical training: four personal histories by Oscar Casanova, María Elena Riaño, Francisco Javier Zarza-Alzugaray, Santos Orejudo

“…To apply such an approach, we gathered testimonials of life histories from four musicians – two pianists, a violinist, and a cellist – through semi-structured interviews. …”
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Beethovens Violinkonzert als Modellfall. René Leibowitz’ und Rudolf Kolischs Projekt einer ›werkgerechten Interpretation‹ by Thomas Glaser

“…Leibowitz’ exegesis of Beethoven, the details of his performance practice and his attempts to realize ›adequate‹ interpretations can be traced back to Leibowitz’ exchanges with the violinist Rudolf Kolisch and studied in the orchestral scores and parts used for recordings (now in the estate of Leibowitz). …”
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