All masterclass articles
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VideoMasterclass: The Takács Quartet performs Brahms’s String Quartet no.3
Violist Richard O’Neill gives his thoughts on performing the work in the November 2021 issue
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Debate
In their focus on technical prowess, conservatoires neglect music theory
Instinct isn't enough for true musicality. Instead of simply drilling technique, performers should have a profound an understanding of music theory, argues cellist David Watkin
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Focus
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
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Focus
Masterclass: Erik Schumann on the Haydn 'Sunrise' Quartet, first movement
A preview of the October 2017 issue’s Masterclass, which features detailed performance suggestions and marked-up sheet music for the first violin part of the first movement of Haydn’s ‘Sunrise’ Quartet, op.76 no.4
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Video
Masterclass: Vadim Gluzman on Brahms's Violin Sonata no.1
The Israeli violinist discusses why colour, shading and restraint are key in the first movement of this often-misinterpreted work. From the September 2017 issue
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Video
Ray Chen teaches Harmonics
In the latest in Ray Chen’s ‘Masterclass Monday’ YouTube series, he looks at natural and artificial harmonics and offers some hard-won tips on getting them right
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Article
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'' Paul Silverthorne speaks about performing Brahms’s Second Viola Sonata to The Strad, and performs the entire work in the video above. Silverthorne continues The Strad’s marked-up ...
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Article
The Strad Masterclass: Pieter Wispelwey on Brahms Cello Sonata op.99
We need to look at this awesome, great, powerful and heroic movement with fresh eyes' Pieter Wispelwey talks about performing the first movement of Brahms's Cello Sonata op.99 and provides demonstrations in the video above. Wispelwey continues The Strad’s marked-up sheet music series in association with ...
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Article
Violinist and violist Pinchas Zukerman on sound production
You need to have the mechanism organised so that you can feel free to express yourself - which then becomes Schubert or Beethoven or Brahms. So you must separate the technique from the music. Most of the time when we try to express ourselves we lose the ...
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Article
The Strad Masterclass: Jack Liebeck on Bruch's Violin Concerto no.1
Music is about expression, about laying yourself out there naked. You have to show your soul to the listener' Jack Liebeck speaks about performing Bruch's First Violin Concerto to The Strad. The piece is performed in the video above by Pinchas Zukerman with the Israel Philharmonic Orchestra ...
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Article
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.' Christine Hoock speaks about performing Vanhal's Double Bass Concerto to The Strad. The piece is performed in the video above by Rinat ...
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Article
Violinist Maxim Vengerov on making one violin sound like three in Bach
I want to hear two or three violinists at one time' Maxim Vengerov gives a violin masterclass on the Fugue of Bach's Sonata No.1, recorded at the Royal Academy of Music in London. The student is Nasrin Rashidova. The full 45-minute video is available to buy as a ...
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Article
Cellist Frans Helmerson on bringing out the separate colour of each string
I love the specific colour of each string - it's not always about making the sound as equalised as possible. Each string has a different voice.' Kronberg Academy professor Frans Helmerson gives a cello masterclass on Schubert's Arpeggione Sonata, recorded at the International Musicians' Seminar, Prussia Cove. The ...
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Article
Alisa Weilerstein gives cello masterclass at Prague's Rudolfinum
You play much better in tune when you don't stare at the fingerboard. The brain should tell the fingers what to do. If you look at your fingers before your brain has had a chance to direct, you will reverse the process' Alisa Weilerstein gives a ...
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Article
The Strad Masterclass: Antje Weithaas on the Brahms Violin Concerto
For any violinist the Brahms Concerto is a special challenge and a precious gem - a piece one works on for decades' Antje Weithaas discusses and performs the Brahms Violin Concerto with the Camerata Bern. Weithaas continues The Strad’s marked-up sheet music series in association ...
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Article
The Strad Masterclass: Danjulo Ishizaka on the Grieg Cello Sonata
In the video above cellist Mischa Maisky and pianist Martha Argerich perform the first movement - Allegro agitato - of Grieg's Cello Sonata, op.36. Cellist Danjulo Ishizaka continues The Strad’s new marked-up sheet music series in association with Henle Verlag with the work's first movement – giving ...
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Article
Cellist Ralph Kirshbaum gives Haydn masterclass
You should play with a feeling of improvisation, as this is a cadenza. At the moment it feels too self-conscious' Ralph Kirshbaum gives a masterclass on Haydn's Cello Concerto in D for Play With A Pro Music Academy. The full 42-minute video can be downloaded here . Watch: ...
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Article
The Strad Masterclass: violist Maxim Rysanov on Schubert's Arpeggione Sonata
Maxim Rysanov performs Schubert's Arpeggione Sonata, arranged for viola by Dobrinka Tabakova, with DalaSinfoniettan, conducted by Tobias Ringborg at Vinterfest 2011. The violist continues The Strad’s new marked-up sheet music series in association with Henle Verlag with the Arpeggione's first movement – giving bowings, fingerings and ideas for ...
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News
The Juilliard School teams with medici.tv to broadcast live masterclasses
The three sessions this month feature cellist David Finckel, and conductors Harry Bicket and Fabio Luisi
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Article
The Strad Masterclass: violinist James Ehnes on Beethoven's Spring Sonata
Sometimes people seem to think it's more important that their interpretations be defensible than beautiful, and that's absurd' James Ehnes speaks about interpreting Beethoven to The Strad, and performs the composer's Romance no.1 with the Royal Stockholm Philharmonic Orchestra conducted by Marin Alsop (above). The violinist continues The ...
