More masterclass » (31 articles)
Detailed technical and musical guidance from some of today's leading violinists, violists, cellists and double bassists.
Top players introduce their chosen masterclass piece.
Sheet music marked up with the soloists' personal fingerings, bowing and musical ideas. Available when you purchase an issue or subscribe to The Strad. Print and digital options available.
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''
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
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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