Masterclass – Page 4
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Premium ❘ FeatureMasterclass: Hagai Shaham on Brahms Violin Sonata no.3
In his explorations of the first movement, the Israeli violinst discusses the German composer’s clear performance instructions, intimate Romantic style and self-critical nature
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Masterclass: Haydn C major Cello Concerto
Red Priest’s Angela East discusses her approach to phrasing and sound in the first movement, and the influence of Baroque and early-Classical vibrato, bowing and style
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Masterclass: Rosalind Ventris on Vieuxtemps Viola Sonata op.36
The British violist details the virtues of this underappreciated B flat major Sonata, with all of its structural surprises and ‘Jekyll and Hyde’ twists and turns
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Masterclass: Tai Murray on Beethoven’s ‘Triple’ Concerto Part 2
Violinist Tai Murray discusses balance and colour in the first movement of the op.56 work for violin, cello, piano and orchestra, in the second of two articles
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Masterclass: Henri Demarquette on Franck’s Violin Sonata (Cello Version)
The cellist looks at the conflicts of French atmosphere and German Romanticism in the first and second movements
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Masterclass: Liisa Randalu on Smetana’s Quartet no.1, ‘From My Life’
Violist Liisa Randalu of the Schumann Quartet gives her perspective on the first movement of the Czech composer’s passionate and dramatic semi-autobiographical work
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Masterclass: Augustin Hadelich on Beethoven’s Violin Concerto first movement - part 2
The German–American violinist considers ensemble, character and line in the first movement of this great Classical work, in the second of two articles
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Masterclass: Ravel’s second violin sonata
Philippe Graffin explores how to create an orchestra of abstract colours and characters in the first movement of the French composer’s last chamber work
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Masterclass: Leila Josefowicz on Berg Violin Concerto Second Movement - part 2
In the second of two articles, Leila Josefowicz discusses the Adagio of the second movement, in the context of the Viennese School and the Neue Sachlichkeit era
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Leila Josefowicz on Berg Violin Concerto Second Movement - part 1
ln the first of two articles, Leila Josefowicz explores ideas of feverishness, hallucination, death and resurrection in the second movement of a great 20th-century concerto
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Masterclass: Nils Mönkemeyer on Stamitz First Viola Concerto
The German violist looks at how to tackle the challenges in the first movement of this important audition piece with style, panache and calm
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Masterclass: Daniel Müller-Schott on Franck Violin Sonata (Cello Version)
The German cellist looks at the importance of connection, colour and line in the work’s third movement
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Masterclass: Johannes Moser on Mendelssohn’s Cello Sonata no.2
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
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Focus
Masterclass: Philippe Graffin on Ravel’s Violin Sonata no.2
The French violinist explores how to create an orchestra of abstract colours and characters in the first movement of Ravel’s last chamber work
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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: 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: 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: 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
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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: 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
