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Masterclass: Jan Vogler on Beethoven Cello Sonata op.69

2018-08-15T15:00:00+01:00

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

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Masterclass: Beethoven String Quartet No 16 in F Major, Op 135, first movement

2018-08-06T10:58:00+01:00

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: Julian Rachlin on Brahms's Viola Sonata in F minor

2018-02-27T12:51:00+00:00

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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The Strad Masterclass: Hartmut Rohde on Reger's Viola Sonata op.107

2017-10-20T12:06:00+01:00

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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The Strad Masterclass: violist Paul Neubauer on Schubert's Arpeggione Sonata

2017-06-28T19:36:00+01:00

‘This is not bombastic Schubert. It is a gentle piece and it’s not about showing off - it’s about sharing music between friends’

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The Strad Masterclass: Paul Silverthorne on Brahms Viola Sonata op.120 no.2

2017-02-01T00:00:00+00:00

Whatever choices you make, remember Brahms's reply to a musician asking for advice: 'Play it how you like, but play it beautifully''

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Masterclass: Jan Vogler on Beethoven Cello Sonata op.69

2018-08-15T15:00:00+01:00

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

Wang 2 credit Xu Bin

Masterclass: Jian Wang on Brahms's Cello Sonata No.2 in F Major, second and third movements

2018-05-03T11:21:00+01:00

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: Johannes Moser on Brahms E minor Cello Sonata no.1 op.38

2017-11-20T15:00:00+00:00

The German-Canandia 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

Torleif Thedéen - ©Tony Sandin

The Strad Masterclass: Torleif Thedéen on the Lalo Cello Concerto

2017-07-25T14:22:00+01:00

’Often this piece is played too heroically throughout: cellists feel as though they should perform it as loudly as possible to compete with the orchestra, and they do not bring out the contrasting moods’

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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