Masterclass

We have grouped a selection of masterclasses from The Strad archive allowing you unprecedented access to a wealth of information and advice from some of the world's greatest players and teachers.

Masterclass: October 2009

Masterclass article on extended bass harmonics

Masterclass: September 2009

Levon Chilingirian's guide to playing the last movement of Mendelssohn's String Quartet in F minor, op.80.

SIBELIUS'S VIOLIN CONCERTO IN D MINOR

The Finnish composer put all his knowledge as symphonic writer and frustrated violinist into this great, elemental work. Leonidas Kavakos, the only violinist to have recorded the original version of the work, explains how to do it justice.

This article first appeared in the January 2008 issue of The Strad.

RIMSKY-KORSAKOV'S SHEHERAZADE

Marking the centenary of the composer's death, Glenn Dicterow reveals the freedom and agility needed to seduce the listener in this most sensuous of all orchestral violin solos.

This article first appeared in the June 2008 issue of The Strad.

Peter Cropper

Peter Cropper's Masterclass article on the second and third movements of Beethoven's 'Kreutzer' Sonata.

Sophie Solomon

Masterclass article by Sophie Solomon on klezmer technique

TCHAIKOVSKY'S 'PATHÉTIQUE' SYMPHONY FIRST MOVEMENT: VIOLA PART

Roger Benedict, principal viola of the Sydney Symphony Orchestra, presents some practical tips for violists on how to prepare one of the standard audition pieces in the orchestral repertoire.

This article first appeared in the February 2008 issue of The Strad.

SCHUBERT'S ARPEGGIONE SONATA

Bruno Giuranna explores the choices open to violists in a subtly contrasting work conceived for a lower-register, six-stringed instrument

This article first appeared in the February 2009 issue of The Strad.

ASHAN PILLAI

To download a Masterclass article by Ashan Pillai on the viola part of Debussy's Sonata for Flute, Viola and Harp.

SCHOENBERG'S VERKLÄRTE NACHT

Will Conway, cellist in the Chamber Orchestra of Europe, explains how the secret to this piece lies in finding appropriate colourings and mastering its technical demands.

This article first appeared in the June 2007 issue of The Strad.

MAHLER'S SYMPHONY NO.1 AND PROKOFIEV'S LIEUTENANT KIJÉ SUITE: DOUBLE BASS SOLOS

Owen Lee explains how a wise choice of fingerings, bowings, shaping and dynamics can best convey the songlike simplicity of two great bass melodies.

Lee is principal double bass of the Cincinnati Symphony Orchestra. He has recorded Prokofiev's Lieutenant Kijé Suite with the orchestra on Telarc.

This article first appeared in the May 2008 issue of The Strad.

Three masterclasses on double-stopping by John Goldsby

John Goldsby has been a member of the Cologne Radio Big Band since 1994. Before that he was an active fixture on the New York jazz scene.

These articles first appeared in Double Bassist magazine in 2007.

Part one: getting to grips with double-stops.

Part two: using double-stops to enhance blues progressions.

Part three: using triple- and quadruple-stops.