chiaroscuro-living-room, cr Eva Vermandel

Masterclass: Schubert Quartet no.14, ‘Death And The Maiden’


Second violinist of the Chiaroscuro Quartet, Pablo Hernán Benedí, looks at the first movement of a work filled with secrets, threats, drama and tension


Masterclass: Carolin Widmann on Schumann Violin Sonata no.2


Interpretational insights into the first movement of a work written by a musical genius with an increasingly unsettled mind

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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

Paul neubauer

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’


The Strad Masterclass: Paul Silverthorne on Brahms Viola Sonata op.120 no.2


Whatever choices you make, remember Brahms's reply to a musician asking for advice: 'Play it how you like, but play it beautifully''

Guy Johnston 3

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

Wang 2 credit Xu Bin

Masterclass: Jian Wang on Brahms's Cello Sonata No.2 in F Major, second and third movements


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

Standing cello ∏ sarah wijzenbeek

Masterclass: Johannes Moser on Brahms E minor Cello Sonata no.1 op.38


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


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