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Leila Josefowicz on Berg Violin Concerto Second Movement - part 1

2019-11-13T14:23:00+00:00By

ln the first of two articles, Leila Josefowicz explores ideas of feverishness, hallucination, death and resurrection in the second movement of a great 20th-century concerto

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Masterclass: Nils Mönkemeyer on Stamitz First Viola Concerto

2019-10-15T04:57:00+01:00By

The German violist looks at how to tackle the challenges in the first movement of this important audition piece with style, panache and calm

Steven Tenenbom

Masterclass: Steven Tenenbom, Schumann Märchenbilder

2019-03-13T12:32:00+00:00

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: 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’

Jan Vogler

Masterclass: Jan Vogler on Schumann's Fantasiestücke

2019-04-23T15:09:00+01:00

Cellist Jan Vogler discusses how to colour these fantasy pieces using a mixture of technique and imagination

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Masterclass: Beethoven’s Cello Sonata no.4

2019-01-21T13:59:00+00:00

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: Mendelssohn Variations Op 17

2018-08-21T16:12:00+01:00

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: 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: 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

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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