{"id":34567,"date":"2026-08-24T10:37:46","date_gmt":"2026-08-24T08:37:46","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=34567"},"modified":"2026-08-24T10:38:18","modified_gmt":"2026-08-24T08:38:18","slug":"top-2-le-violon","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/en\/basis\/asem\/2026\/08\/top-2-le-violon","title":{"rendered":"Top 3: The Violin"},"content":{"rendered":"

The violin has long been one of the most popular instruments in music schools.\u00a0 <\/span>Why is that? What do you think? <\/b><\/b><\/p>\n

In my opinion, one of the reasons is the opportunity to play in an ensemble or an orchestra. You can play not only at home in your own little room, but also with friends, or be part of a large orchestra and perhaps perform in a large concert hall.<\/p>\n

How long does it take before a child can play in an orchestra?<\/b><\/b><\/p>\n

At the conservatory, we\u2019ve developed an orchestra program alongside individual lessons to allow children to start early. These orchestra classes are free; they\u2019re offered by the school without families having to pay extra, which naturally makes them more accessible. We also offer group classes where children have the opportunity to experience playing together, first in unison, then in two parts, and so on.<\/p>\n

What made you decide to take up the violin?<\/b><\/b><\/p>\n

I don't remember exactly. I really liked the sound. It wasn't that easy, though, because my parents come from a family of lawyers that goes back generations, and they assumed their daughter would also pursue a serious career\u2014playing the violin wasn't really considered serious (laughs).<\/p>\n

The funny thing is that a few years after I started teaching, my uncle called me to say he\u2019d found a violin in a closet at my grandmother\u2019s house, and asked if I\u2019d like to have it. It\u2019s a great instrument. I studied in Milan, then started teaching in Lugano, and I really enjoyed it. It was an environment that allowed me to keep learning alongside my work.<\/p>\n

In your opinion, what's the ideal age to start playing the violin?<\/b><\/b><\/p>\n

I don\u2019t think there\u2019s an ideal age. When working with very young children, it\u2019s very important for parents to provide support, remind their child to do the exercises, and guide them through the process. In principle, a child can start as young as three or four years old\u2014I\u2019ve seen this firsthand. When I start working with an eight-year-old, the teaching method and approach change completely. Family support remains very important, but it\u2019s just as important to let the child gradually become independent. Parents can set aside a suitable place for the child to practice, making sure the violin is always within reach.<\/p>\n

Teaching adults is different, too. One of my first students was already sixty years old; he had worked with his hands his whole life and could no longer bend his index finger. After that, he played the violin passionately for twenty years. I sometimes hear people say that the violin is very difficult to play. That\u2019s a common misconception; I\u2019m convinced it\u2019s not true.<\/p>\n

\"\"<\/p>\n

Photo: Gabi Pavanello<\/p>","protected":false},"excerpt":{"rendered":"

Anna Modesti is a violinist and music teacher at the Conservatorio della Svizzera italiana (CSI) in Lugano. She has been teaching violin to children and adults there for many years and has also launched an orchestra project.<\/p>","protected":false},"author":21891,"featured_media":34566,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[56],"tags":[],"class_list":["post-34567","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-asem"],"acf":[],"yoast_head":"\nTop 3: le violon - Revue Musicale Suisse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revuemusicale.ch\/en\/basis\/asem\/2026\/08\/top-2-le-violon\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Top 3: le violon - Revue Musicale Suisse\" \/>\n<meta property=\"og:description\" content=\"Anna Modesti est violoniste et professeure de musique au Conservatorio della Svizzera italiana (CSI) \u00e0 Lugano. Elle y enseigne depuis des ann\u00e9es le violon \u00e0 des enfants et des adultes, et a \u00e9galement lanc\u00e9 un projet d\u2019orchestre.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revuemusicale.ch\/en\/basis\/asem\/2026\/08\/top-2-le-violon\/\" \/>\n<meta property=\"og:site_name\" content=\"Revue Musicale Suisse\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-08-24T08:37:46+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-08-24T08:38:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2026\/08\/C2A2217.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"667\" \/>\n\t<meta property=\"og:image:height\" content=\"1000\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Anicia Kohler\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@smusikzeitung\" \/>\n<meta name=\"twitter:site\" content=\"@smusikzeitung\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Anicia Kohler\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/basis\\\/asem\\\/2026\\\/08\\\/top-2-le-violon#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/basis\\\/asem\\\/2026\\\/08\\\/top-2-le-violon\"},\"author\":{\"name\":\"Anicia Kohler\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#\\\/schema\\\/person\\\/e4ba37136bd24461e8c7874590a4762f\"},\"headline\":\"Top 3: le violon\",\"datePublished\":\"2026-08-24T08:37:46+00:00\",\"dateModified\":\"2026-08-24T08:38:18+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/basis\\\/asem\\\/2026\\\/08\\\/top-2-le-violon\"},\"wordCount\":568,\"publisher\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/basis\\\/asem\\\/2026\\\/08\\\/top-2-le-violon#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revuemusicale.ch\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/C2A2217.jpg\",\"articleSection\":[\"ASEM\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/basis\\\/asem\\\/2026\\\/08\\\/top-2-le-violon\",\"url\":\"https:\\\/\\\/www.revuemusicale.ch\\\/basis\\\/asem\\\/2026\\\/08\\\/top-2-le-violon\",\"name\":\"Top 3: le violon - 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