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EXCLUSIVE: Guitarist Jason Vieaux, Harpist Yolanda Kondonassis Talk 92nd Street Y Recital, Performing 'Together' and the Plight of Plucked Strings

One of the most unique duos in classical Christendom, the pairing of Grammy-winning guitarist Jason Vieaux with Grammy-nominated harpist Yolanda Kondonassis is no accident. Of course, their recently released LP for Azica, 'Together,' is hardly a standard marriage; no, there's much more that lies beneath the strings. As part of the 92nd Street Y's "Art of the Guitar" series, Vieaux and Kondonassis will be performing that album, in its entirety, this Saturday, Feb. 28 at 8 p.m. The program strictly follows the recorded disc, all the while bringing unique insights into two instruments that don't normally sit together on the stage.
By Ian Holubiak

  • MONAD Studio Releases Two-String Piezoelectric Violin Worthy of Sci-Fi Movie

    Perhaps it was bound to happen to the violin, but the 2-string piezoelectric designed by MONAD Studio brings a violin worthy of its own sci-fi movie. Something out of the Fifth Element, indeed, it's one of five modern instruments designed by the studio.
    By Ian Holubiak

  • EXCLUSIVE: Shara Worden on Playing My Brightest Diamond Songs with George Manahan, American Composers Orchestra at Carnegie's Zankel Hall

    Upon earning her undergrad in opera from the University North Texas, like so many others before and since, a doe-eyed Shara Worden packed up her scores and moved to New York City. Studying privately with Australian composer/violinist Padma Newsome, palling around with people like the Dessner brothers, she was determined--perhaps destined, even--for their kind of "crossover." And, indeed, just like Clogs and The National did, Worden struck gold first with the indie-r stuff. Cases in point: a gorgeous slew of remarkably baroque records--Bring Me the Workhorse (2006), A Thousand Shark's Teeth ('08), All Things Will Unwind ('11), last year's This Is My Hand--on Asthmatic Kitty Records, ground zero for through-composed indie rock.
    By Ian Holubiak