Latest masterclass – Page 3
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Premium ❘ FeatureMasterclass: 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: Bruch Romance for Viola and Orchestra op.85
Violist and composer Konstantin Boyarsky considers nerves, narrative and the influence of the opera in his discussion of this late Romantic piece
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Masterclass: Maxim Vengerov on Mozart Sinfonia Concertante K364
This masterwork is often treated as a party piece, but there is much more to it than that. Understanding harmony, history and opera is vital in performing it, says Maxim Vengerov, in this article from February 2007
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Masterclass: Nikolaj Szeps-Znaider on Mozart Violin Concerto no.5
The simplicity and purity of the master’s violin concertos belie their great technical and musical demands. Violinist Nikolaj Szeps-Znaider delves beneath the surface, in this article from August 2006
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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: Jennifer Koh on ‘Méditation’ from Souvenir d’un lieu cher
The violinist offers practical tips on the first piece of Tchaikovsky’s set of three short works, including audio and sheet music
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Masterclass: Bottesini’s Elegy in D major
Canadian soloist and former principal bassist of the London Symphony Orchestra, Joel Quarrington demonstrates how he plays Bottesini’s Elegy in D major. From November 2015
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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: The Swan by Saint-Saëns
Cellist Wolfgang Emanuel Schmidt guides players on how to create the perfect image of a swan gliding through water, in this extract from the December 2021 issue
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Double bass technique: Back muscles, weight, and flexibility in the right hand
How to get the most out of your body when playing the double bass, by Dan Styffe, principal bassist for the Oslo Philharmonic Orchestra and professor at the Norwegian Academy of Music
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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: The Takács Quartet performs Brahms’s String Quartet no.3
Violist Richard O’Neill gives his thoughts on performing the work in the November 2021 issue
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Masterclass: Beethoven Spring Sonata
James Ehnes gives his thoughts on the composer’s celebrated F major Sonata, disputing some accepted conventions and providing annotations for the first and second movements. From March 2016
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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: Richard O’Neill on Brahms’ String Quartet no.3 op.67
The Takács Quartet violist looks at the first and third movements of this well-loved B flat major work, where his instrument is thrown into a rare spotlight
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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: Rainer Moog on Brahms’s Viola Sonata in F minor op.120 no.1
Viola pedagogue Rainer Moog revisits the original score for clarinet and reveals some alterations that may be better left unchanged, in this article from the August 2015 issue of The Strad
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‘I think of the countryside when I play this’ - Antoine Tamestit on the third movement of Brahms’ Viola Sonata op.120 no.1
In this extract from the August 2021 Masterclass, violist Antoine Tamestit guides us through the Austrian countryside through rustic dance and seamless legato
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Masterclass: Antoine Tamestit on Brahms Viola Sonata op.120 no.1 third and fourth movements
Folk dance and fireworks all feature in Antoine Tamestit’s discussion of the third and fourth movements, in the second of two articles about the complete F minor Sonata
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Masterclass: Antoine Tamestit on Brahms Viola Sonata op.120 no.1 first and second movements
Antoine Tamestit discusses how he found an ideal piano–viola balance and came to love Brahms, after a long struggle. Here he covers the first and second movements, in the first of two articles
