Latest masterclass – Page 5
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Premium ❘ FeatureMasterclass: 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: Steven Tenenbom, Schumann Märchenbilder
The American viola soloist, chamber musician, and teacher explores how to find your own sense of character and flow in the first two contrasting pieces
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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: Schubert Quartet no.14, ‘Death And The Maiden’
Second violinist of the Chiaroscuro Quartet, Pablo Hernán Benedí, looks at the first movement of a work filled with secrets, threats, drama and tension
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Masterclass: Carolin Widmann on Schumann Violin Sonata no.2
Interpretational insights into the first movement of a work written by a musical genius with an increasingly unsettled mind
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Masterclass: Dittersdorf Double Bass Concerto, K172
Berlin Philharmonic bassist Edicson Ruiz advocates Viennese tuning and a period bow to bring out the best in this sonorous Classical work
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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: Beethoven String Quartet No 16 in F Major, Op 135, first movement
Casals Quartet violist Jonathan Brown scrutinises this movement and explains why this piece is less abstract and unruly than many musicians first assume
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Masterclass: Daniel Hope on 'Winter' from Vivaldi's Four Seasons
The British violinist offers ideas on how to conjure a frosty chill through your violin playing. From the January 2015 issue
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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: Julian Rachlin on Brahms’s Viola Sonata in F minor
The Lithuanian-born violinist and violist discusses technical preparation, character and colour in the first and second movements of op.120 no.1
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Masterclass: Christian Tetzlaff on Beethoven’s Violin Concerto – first movement
How to bring out the mystery and joy of one of classical music’s longest opening movements
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Masterclass: Arabella Steinbacher on Ravel’s Tzigane
The German violinist gives advice on how to inject character and charisma into the daunting solo introduction of this much-loved work
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Masterclass: Barnabás Kelemen on the first movement of the ‘Razumovsky’ quartet, op.59 no.1
The leader of the Kelemen Quartet discusses spontaneity and scales in the first movement of this ‘Rasumovsky’ Quartet. From the January 2018 issue
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Klezmer violin technique masterclass with Sophie Solomon
The violin is a vital ingredient of the klezmer sound. In this Masterclass from January 2007, Sophie Solomon, founding member of klezmer fusion band Oi Va Voi and artistic director of London’s Jewish Music Institute, explains that embodying a vocal quality in the instrument is the key to performing this ...
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Masterclass: Maxim Vengerov on the Caprice D’après L’étude En Forme De Valse
Being a good musician is like being a great cook, according to Maxim Vengerov. In this Masterclass first published in the November 2005 issue of The Strad, he gives his recipe for playing a fiendish Saint-Saëns waltz arrangement by Ysaÿe
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Masterclass: Leonidas Kavakos on the Sibelius Violin Concerto
The Finnish composer put all his knowledge as symphonic writer and frustrated violinist into this great, elemental work. First published in The Strad’s January 2008 issue, Leonidas Kavakos’s masterclass explains how to do it justice
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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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Masterclass: Hartmut Rohde on Reger’s Viola Sonata op.107
Taking the first movement, the German violist shows why it is so important to study the original clarinet score of this little-heard work, before approaching the viola version
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Masterclass: Erik Schumann on the Haydn ‘Sunrise’ Quartet, first movement
Erik Schumann, first violinist of the Schumann Quartet, looks at how a good structural understanding of the work’s first movement can lead to a more profound interpretation
