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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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’
Whatever choices you make, remember Brahms's reply to a musician asking for advice: 'Play it how you like, but play it beautifully''
British cellist Guy Johnston talks about dialogue, contrast and sense of line in the German composer’s Classical–Romantic work
Cellist Jan Vogler explores the first movement of the first-ever sonata to give equal weight to both piano and cello
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
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
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
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