Michael Strauss

Known for his “rich tone and lyrical acumen” (Chicago Tribune), violist Michael Isaac Strauss has performed around the world as a soloist, recitalist, in chamber music, and in symphonic settings. His love for the intimate concert setting has led to performances on concert series, live radio broadcasts, and festival appearances across Europe, North America, and Asia. A former member of the distinguished Fine Arts Quartet, Strauss made several European and domestic tours with them, as well as a critically acclaimed recording of Mozart’s complete viola quintets on Lyrinx. He is a founding member of the new Indianapolis Quartet, which has served as the University of Indianapolis resident string quartet for 2016-17. He is currently on the faculty of Youngstown State University’s Dana School of Music. Strauss’ solo work is featured on several CDs—the debut recording of Jennifer Higdon’s Viola Sonata, David Finko’s Viola Concerto (re-released in 2015), Stamitz’ works for solo viola with orchestra (Centaur), and the Suzuki Viola School CDs, Volumes 8 and 9. Additional chamber music recordings with the Philadelphia-based Orchestra 2001 include pieces by living composers. In 2016, he released Wordless Verses—trio works inspired by poetry for oboe, viola, and piano—distributed by Naxos. Strauss was principal violist of the Indianapolis Symphony Orchestra for 20 years and has served on the faculty of several prominent schools including Oberlin Conservatory of Music, Indiana University’s Jacobs School of Music, and Swarthmore College. He is a graduate of the Curtis Institute of Music and performs on a viola dated 1704 and attributed to Matteo Albani of Bolzano, Italy.

Sound – Every musician has an inner sound. This is a sound conception that comes from within; its basis set on variables that may be infinite in scope. It is important that we accept our own values, and paramount that we allow our imagination be alive to summon our heart’s desire.

Defining technique – Left hand. Right hand. Posture/Angles:

The left hand will be our first focus and encompass placement and release of individual fingers, working fingers independently for maximum balance, with considerations of strength, flexibility, and the infinite variables therein.

The right hand follows. The right hand includes the entire right side from the back side of the left hip all the way through the finger tips on the right hand. This work will encompass considerations of angles, weight, speed, strength, on- and off-string bow stroke variables and basic techniques therein.

Posture/Angles is addressed next. This is to simply apply and coordinate left and right hand techniques into our sound universe. It includes a workshop of basic posture with an approach to left and right arm angles.