Latest masterclass – Page 4
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Premium ❘ FeatureMasterclass: Mendelssohn Violin Concerto 2nd movement
Violinist Tessa Lark delves beneath the surface to discover why the concerto’s second movement is such a pleasure to perform
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Premium ❘ FeatureMasterclass: Ray Chen on Mozart Violin Concerto no.3
Ray Chen gives bowings, fingerings and ideas for interpretation in the first movement of the popular G major Concerto K216
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Premium ❘ FeatureMasterclass: Julia Fischer on Beethoven’s Violin Concerto, Third Movement
Conversations between instruments, harmony and articulation all form part of Julia Fischer’s discussion of this joyous third movement
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Premium ❘ FeatureMasterclass: Augustin Hadelich on Beethoven’s Violin Concerto first movement - part 1
In the first of two articles, Augustin Hadelich looks at direction and flow in the first movement of this notoriously simple and yet deceptively difficult work
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Premium ❘ FeatureMasterclass: Beethoven Grosse Fuge op.133 (part two)
In the second of two articles, Belcea Quartet violist Krzysztof Chorzelski paints a vivid picture of the dissolution and resolution in the second half of this great work
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Premium ❘ FeatureMasterclass: Tai Murray on Beethoven’s ‘Triple’ Concerto Part 1
In the first of two articles, violinist Tai Murray discusses individuality, balance and tempo in the lengthy first movement of the op.56 concerto for piano, cello and violin
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Premium ❘ FeatureMasterclass: Joshua Bell on Bruch Violin Concerto no.1, third movement
The American violinist discusses gypsy style, charisma, flair and contrast in the lively third movement of this much-loved work
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Premium ❘ FeatureMasterclass: Jack Liebeck on Bruch Violin Concerto no.1
Thoughts on sound, colour, phrasing and interpretation of the first movement from British violinist Jack Liebeck
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Premium ❘ FeatureMasterclass: Esther Yoo on Mendelssohn’s Violin Concerto Third Movement
Esther Yoo imagines a ballroom of swirling summer dancers and secret trysts as she talks through the sparkling third movement of this magical work
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Premium ❘ FeatureMasterclass: Rachel Barton Pine on Mendelssohn Violin Concerto
In our April 2017 Masterclass feature, US violinist Rachel Barton Pine shows why the first movement is not as easy as often assumed
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Premium ❘ FeatureMasterclass: Beethoven Grosse Fuge op.133 (part one)
Belcea Quartet violist Krzysztof Chorzelski guides us on a journey that requires courage from both listener and performer
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Premium ❘ FeatureMasterclass: Daniel Hope on the Franck Violin Sonata
The violinist takes a look at the second movement of the work and highlights the importance of a perfect piano-violin partnership
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Premium ❘ FeatureMasterclass: Hummel Potpourri for viola and piano
Violist Timothy Ridout considers the endless invention and simple elegance of a work written for popular appeal
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Premium ❘ FeatureMasterclass: Schumann sonata no.1 op.105 for violin and piano
Alexandra Wood explores the passionate and highly effective work of a composer tormented by his own ideals
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Premium ❘ FeatureMasterclass: Debussy Cello Sonata
Abel Selaocoe delves deep into the first movement of Debussy’s only sonata for cello
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VideoHow to practise Hummel: Tabea Zimmermann’s video guide
The violist offers tips and advice on how to approach the first movement of Hummel Sonata op.5 no.3
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Premium ❘ FeatureMasterclass: Hummel Sonata op.5 no.3 for Piano and Viola
Violist Tabea Zimmermann offers her advice on how to practise this playful, virtuosic work
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Premium ❘ FeatureMasterclass: Mozart String Quartet K428
In the first movement of Mozart’s third ‘Haydn’ quartet Johanna Staemmler, second violinist of the Armida Quartet, discusses the importance of harmony, colour and intellectual complexity
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Premium ❘ FeatureMasterclass: Debussy Violin Sonata in G minor
Fedor Rudin explores the emotionally volatile first movement of a sonata written by an anxious composer tormented by illness, old age and war
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Premium ❘ FeatureMasterclass: Simon Standage on Bach’s Violin Sonata in E major
Early music expert Simon Standage discusses historically informed performance, interpretation and balancing violin and harpsichord in the first two movements of BWV1016