Dan bass

Double bass technique: Back muscles, weight, and flexibility in the right hand

2021-11-30T19:01:00+00:00

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

WolfgangEmanuelSchmidt

Masterclass: A lesson in performing short pieces by Wolfgang Emanuel Schmidt

2021-11-17T09:15:00+00:00

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

Takacs

Masterclass: The Takács Quartet performs Brahms’s String Quartet no.3

2021-11-16T14:30:00+00:00

Violist Richard O’Neill gives his thoughts on performing the work in the November 2021 issue

RichardONeill

Masterclass: Richard O’Neill on Brahms’ String Quartet no.3 op.67

2021-10-19T17:27:00+01:00

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

Moog

Masterclass: Rainer Moog on Brahms’s Viola Sonata in F minor op.120 no.1

2021-08-11T11:09:00+01:00

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

2021-08-09T11:16:00+01:00

In this extract from the August 2021 Masterclass, violist Antoine Tamestit guides us through the Austrian countryside through rustic dance and seamless legato

WolfgangEmanuelSchmidt

Masterclass: A lesson in performing short pieces by Wolfgang Emanuel Schmidt

2021-11-17T09:15:00+00:00

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

2021-10-21T13:00:00+01:00

Cellist Jan Vogler explores the first movement of the first-ever sonata to give equal weight to both piano and cello

NatalieClein

Masterclass: Natalie Clein on Haydn Cello Concerto in D major

2021-08-24T21:26:00+01:00

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

AlisaWeilerstein

Masterclass: Alisa Weilerstein on Chopin’s Cello Sonata in G minor op.65

2021-04-27T20:53:00+01:00

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: Dittersdorf Double Bass Concerto, K172

2018-09-24T13:41:00+01:00

Berlin Philharmonic bassist Edicson Ruiz advocates Viennese tuning and a period bow to bring out the best in this sonorous Classical work

LeonBosch

The Strad Masterclass: Leon Bosch on Dragonetti's 'Famous Solo' for double bass

2017-02-22T00:00:00+00:00

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.

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The Strad Masterclass: Christine Hoock on Vanhal's Double Bass Concerto

2016-07-20T00:00:00+01:00

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.'

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Left-hand pivots and the crab fingering system with bassist François Rabbath

2015-09-21T00:00:00+01:00

The French soloist and teacher advises on how to improve intonation and dexterity on the double bass. From the October 2015 issue