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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
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
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
The Lithuanian-born violinist and violist discusses technical preparation, character and colour in the first and second movements of op.120 no.1
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
‘This is not bombastic Schubert. It is a gentle piece and it’s not about showing off - it’s about sharing music between friends’
Cellist Jan Vogler discusses how to colour these fantasy pieces using a mixture of technique and imagination
Cellist Lynn Harrell considers challenges and contemporary concepts in the first movement of a sonata conceived entirely in the imagination of a deaf composer
British cellist Guy Johnston talks about dialogue, contrast and sense of line in the German composer’s Classical–Romantic work
Berlin Philharmonic bassist Edicson Ruiz advocates Viennese tuning and a period bow to bring out the best in this sonorous Classical work
To say that repeated material always has to be played differently to make it interesting is a flawed interpretation of how we work as human beings' - double bassist Leon Bosch speaks about performing 'The Famous Solo' by Dragonetti to The Strad.
If you want someone to listen to you, you must express yourself with extreme clarity. This has to be exaggerated in front of a large audience.'
The French soloist and teacher advises on how to improve intonation and dexterity on the double bass. From the October 2015 issue
Degrees is The Strad’s international guide to further education for string players. Find details of courses in 50 countries worldwide, including the main string teachers on each, to help you make an informed decision about where to study next.
String Courses is The Strad’s annual guide to short courses, masterclasses and workshops. Whether you are looking for double bass tuition in Texas or teacher training in Prague, you’ll find something for every interest, age, ability and budget here.