Esther Yoo imagines a ballroom of swirling summer dancers and secret trysts as she talks through the sparkling third movement of this magical work
Johannes Moser takes a look at tempo, dynamics and the relationship between instruments in the exciting and energetic first movement of the D major op.58 Sonata
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 American viola soloist, chamber musician, and teacher explores how to find your own sense of character and flow in the first two contrasting pieces
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’
Cellist Jan Vogler discusses how to colour these fantasy pieces using a mixture of technique and imagination
Cellist Lynn Harrell considers challenges and contemporary concepts in the first movement of a sonata conceived entirely in the imagination of a deaf composer
British cellist Guy Johnston talks about dialogue, contrast and sense of line in the German composer’s Classical–Romantic work
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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