Masterclass
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Premium ❘ FeatureMasterclass: Franck Violin Sonata (Cello Version)
Preserving energy, planning ahead and prioritising phrasing in every line are key to cellist Antonio Meneses’s interpretation of the fourth movement
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Masterclass: Debussy Violin Sonata in G minor
Fedor Rudin explores the emotionally volatile first movement of a sonata written by an anxious composer tormented by illness, old age and war
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Masterclass: Simon Standage on Bach’s Violin Sonata in E major
Early music expert Simon Standage discusses historically informed performance, interpretation and balancing violin and harpsichord in the first two movements of BWV1016
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Masterclass: Bruch’s Kol nidrei op.47
Amanda Forsyth talks about finding inspiration from a Jewish cantor to help her play emotional slides and singing phrases
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Masterclass: Christine Hoock on Vanhal Double Bass Concerto
In our August 2016 issue, double bassist Christine Hoock emphasises serenity, clarity and flow, and the importance of preparation when tackling the first movement of this overtly Classical piece
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Masterclass: Johannes Moser on Brahms Cello Sonata no.1 op.38
Cellist Johannes Moser 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. From December 2017
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Masterclass: Eldbjørg Hemsing on Grieg Violin Sonata no.2 in G Major
To bring out all the joy, innocence and darkness in this first movement, it is essential to understand its combined roots in classical composition and Norwegian folk music, explains Eldbjørg Hemsing
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Masterclass: violist Emilie Hörnlund on Beethoven String Quartet op.59 no.1
Swedish violist Emilie Hörnlund, of the Chiaroscuro Quartet, discusses how to achieve optimal articulation, balance and flow in the first movement of the first ‘Rasumovsky’ Quartet
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Masterclass: Beethoven String Quartet op.132
Jacqueline Thomas, cellist of the Brodsky Quartet, which celebrates its 50th anniversary this year, looks at a third movement written by a composer convalescing from a near life-ending illness
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‘The viola timbre is so like a human voice’: Konstantin Boyarsky on Bruch’s Romance
The principal viola of the Royal Opera House discusses the connection between opera and Max Bruch’s Romance for Viola and Orchestra
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Masterclass: Moray Welsh on Schubert’s Arpeggione Sonata first movement
Moray Welsh looks at the cello version of the first movement, whose successful execution requires boundless musicality, lyricism and technical finesse
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Masterclass: Bruch Romance for Viola and Orchestra op.85
Violist and composer Konstantin Boyarsky considers nerves, narrative and the influence of the opera in his discussion of this late Romantic piece
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Masterclass: Maxim Vengerov on Mozart Sinfonia Concertante K364
This masterwork is often treated as a party piece, but there is much more to it than that. Understanding harmony, history and opera is vital in performing it, says Maxim Vengerov, in this article from February 2007
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Masterclass: Nikolaj Szeps-Znaider on Mozart Violin Concerto no.5
The simplicity and purity of the master’s violin concertos belie their great technical and musical demands. Violinist Nikolaj Szeps-Znaider delves beneath the surface, in this article from August 2006
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Masterclass: Ray Chen on Mozart Violin Concerto no.3
Francesca Dego offers tips on Mozart Violin Concerto no.4 in our January 2022 issue. Here’s a throwback to January 2016, where Ray Chen gives bowings, fingerings and ideas for interpretation in the first movement of the popular G major Concerto K216
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Masterclass: Bach Cello Suite no.5, Prélude, by Jean-Guihen Queyras
Practical tips to help you master the challenges of this most fundamental of repertoire
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Masterclass: Mozart Violin Concerto no.4 in D major K218
Violinist Francesca Dego looks at how to play the final movement of this violin concerto with direction, musicality and a sense of fun
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Masterclass: Jennifer Koh on ‘Méditation’ from Souvenir d’un lieu cher
The violinist offers practical tips on the first piece of Tchaikovsky’s set of three short works, including audio and sheet music
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Masterclass: Bottesini’s Elegy in D major
Canadian soloist and former principal bassist of the London Symphony Orchestra, Joel Quarrington demonstrates how he plays Bottesini’s Elegy in D major. From November 2015
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Masterclass: Schumann’s Adagio and Allegro op.70
Cellist Wolfgang Emanuel Schmidt discusses how to produce a true legato and varied tone colours appropriate to this tempestuous work. From February 2016
