Masterclass: Natalie Clein on Haydn Cello Concerto in D major


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


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


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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Masterclass: Steven Tenenbom, Schumann Märchenbilder


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


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


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


‘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


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


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


British cellist Guy Johnston talks about dialogue, contrast and sense of line in the German composer’s Classical–Romantic work


Masterclass: Jan Vogler on Beethoven Cello Sonata op.69


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


Masterclass: Dittersdorf Double Bass Concerto, K172


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


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


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.


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


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.'


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


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