Cello
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Premium ❘ FocusMasterclass: Johannes Moser on Brahms Cello Sonata no.1 op.38
Cellist Johannes Moser takes a look at structure, character and speed, and explains why it is so important to honour the composer’s bowings, in the first and second movements of the E minor Sonata. From December 2017
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Masterclass: Moray Welsh on Schubert’s Arpeggione Sonata first movement
Moray Welsh looks at the cello version of the first movement, whose successful execution requires boundless musicality, lyricism and technical finesse
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Masterclass: Bach Cello Suite no.5, Prélude, by Jean-Guihen Queyras
Practical tips to help you master the challenges of this most fundamental of repertoire
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Masterclass: Schumann’s Adagio and Allegro op.70
Cellist Wolfgang Emanuel Schmidt discusses how to produce a true legato and varied tone colours appropriate to this tempestuous work. From February 2016
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Masterclass: A lesson in performing short pieces by Wolfgang Emanuel Schmidt
The cellist gives advice on how to present Fauré’s Élégie, Elgar’s Salut d’amour, and Saint-Saëns’s ‘The Swan’ with colour, contrast and expression
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Masterclass: Jan Vogler on Beethoven Cello Sonata op.69
Cellist Jan Vogler explores the first movement of the first-ever sonata to give equal weight to both piano and cello
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Masterclass: Natalie Clein on Haydn Cello Concerto in D major
The cellist discusses the improvisational freedom, humour and joy that are central to her own interpretation of the first movement of this popular audition piece
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Masterclass: Alisa Weilerstein on Chopin’s Cello Sonata in G minor op.65
The American cellist explores how to bring out all the romantic charm of the first movement using fingerings and bowings, without over-reliance on vibrato, rubato or a sticky, sickly sound
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Masterclass: Alban Gerhardt on Saint-Saëns Cello Concerto no.1, part 2
Alban Gerhardt explains why it takes courage to fight tradition and forge your own interpretation – based not on what others play but on what the composer wrote – in the work’s third movement
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Masterclass: Alban Gerhardt on Saint-Saëns Cello Concerto no.1
In the first of two articles, the German cellist shows the importance of pulse, planning and precision in the first two movements of this underestimated Romantic concerto
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Masterclass: Haydn C major Cello Concerto
Red Priest’s Angela East discusses her approach to phrasing and sound in the first movement, and the influence of Baroque and early-Classical vibrato, bowing and style
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Masterclass: Henri Demarquette on Franck’s Violin Sonata (Cello Version)
The cellist looks at the conflicts of French atmosphere and German Romanticism in the first and second movements
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Masterclass: Daniel Müller-Schott on Franck Violin Sonata (Cello Version)
The German cellist looks at the importance of connection, colour and line in the work’s third movement
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Masterclass: Johannes Moser on Mendelssohn’s Cello Sonata no.2
Johannes Moser takes a look at tempo, dynamics and the relationship between instruments in the exciting and energetic first movement of the D major op.58 Sonata
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Masterclass: Jan Vogler on Schumann's Fantasiestücke
Cellist Jan Vogler discusses how to colour these fantasy pieces using a mixture of technique and imagination
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Masterclass: Beethoven’s Cello Sonata no.4
Cellist Lynn Harrell considers challenges and contemporary concepts in the first movement of a sonata conceived entirely in the imagination of a deaf composer
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Masterclass: Mendelssohn Variations Op 17
British cellist Guy Johnston talks about dialogue, contrast and sense of line in the German composer’s Classical–Romantic work
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Masterclass: Jian Wang on Brahms's Cello Sonata No.2 in F Major, second and third movements
The Chinese cellist gives advice on how to play the middle movements of this colourful, passionate work, and calls on cellists’ capacity to play cantabile
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Masterclass: Johannes Moser on Brahms E minor Cello Sonata no.1 op.38
The German-Canandian cellist takes a look at structure, character and speed, and explains why it is so important to honour the composer’s bowings, in the first and second movements of the E minor Sonata
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The Strad Masterclass: Torleif Thedéen on the Lalo Cello Concerto
Torleif Thedéen©Tony Sandin ‘Often this piece is played too heroically throughout: cellists feel as though they should perform it as loudly as possible to compete with the orchestra, and they do not bring out the contrasting moods’ Torleif Thedéen speaks about performing the first movement of Lalo’s ...
