Masterclass
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Premium ❘ FeatureMasterclass: Mozart Violin Concerto no.4 in D major, first movement
Remembering that Mozart was an opera composer and understanding harmonies are the keys to bringing out the various characters in this work, says violinist Tobias Feldmann
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Premium ❘ FeatureMasterclass: Saint-Saëns Violin Concerto no.3 in B minor, first movement
Violinist Benjamin Beilman explores how to navigate the athletic virtuosity of a work that requires the soloist to have firm technical and musical command
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Premium ❘ FeatureMasterclass: Schumann Five Pieces in Folk Style op.102, first piece
Cellist Trey Lee shares how a particular painting in London’s National Gallery provided his inspiration for this movement, which can be seen as a metaphor for life
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Premium ❘ FeatureMasterclass: Ravel Piano Trio, first movement
Keeping in mind Ravel’s orchestral sound palette is key to letting colour direct the myriad character and mood changes in this lilting movement, says cellist Carrie Bean Stute
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Premium ❘ FeatureMasterclass: Mendelssohn Violin Concerto, first movement
Although this concerto is a well-known staple of the repertoire, violinists can still find opportunities to explore refreshing interpretations in this movement, says Paul Huang
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Premium ❘ FeatureMasterclass: Schubert ‘Death and the Maiden’ String Quartet, second movement
Violist of the Kuss Quartet William Coleman emphasises the importance of creating a narrative arc in this movement, which encompasses a journey of emotional ambivalence
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Premium ❘ FeatureMasterclass: Saint-Saëns Havanaise op.83
Violinist Max Baillie gives smart and efficient practice tips to showcase a piece for violin and orchestra that juxtaposes lyricism with virtuosic passagework
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Premium ❘ FeatureMasterclass: Schubert Arpeggione Sonata on viola, first movement
Yuri Zhislin illustrates the importance of colour and harmony in a work renowned for its lyricism and technicality
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Premium ❘ FeatureMasterclass: Mendelssohn String Quartet in F minor, first movement
Second violinist of the Aris Quartet Noémi Zipperling examines Mendelssohn’s emotionally charged movement, considered to be a requiem for his sister and, ultimately, himself
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Premium ❘ FeatureMasterclass: Debussy Cello Sonata, second and third movements
Cellist Thomas Demenga reflects on the importance of restraint next to the extremes of expressive detail to be brought out in this masterpiece
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Premium ❘ FeatureMasterclass: Antonio Meneses on 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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Premium ❘ FeatureMasterclass: Schubert Fantasy for violin and piano – part two
In the second of a two-part article, violinist Alena Baeva continues the exploration of this epic piece, which she sees as a metaphor for life
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Premium ❘ FeatureMasterclass: Nikolaj Szeps-Znaider on Elgar’s Violin Concerto
The violin soloist, chamber musician and conductor gives practical advice on the great English composer’s noble string work. From November 2010
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Premium ❘ FeatureMasterclass: Ida Haendel on Bach’s Chaconne in D minor
To mark the 120th anniversary of The Strad, the great virtuoso Ida Haendel draws on a lifetime of playing to explore what is for many the pinnacle of the solo violin repertoire. From the May 2010 issue.
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Premium ❘ FeatureMasterclass: Schubert Fantasy for violin and piano – part one
Violinist Alena Baeva stresses the importance of slow and attentive practice when embarking on the opening sections of this monumental work, in the first of a two-part article
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Premium ❘ FeatureMasterclass: violist Tabea Zimmermann on Hindemith Sonata for solo viola op.25 no.1
Zimmermann shares a lyrical approach to a characterful, multifaceted work, in this article from April 2015
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Premium ❘ FeatureMasterclass: Cellist Raphael Wallfisch on Tchaikovsky’s Variations on a Rococo Theme
Wallfisch explores why cellists should investigate the original version of this famous work, in this article from February 2015
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Premium ❘ FeatureMasterclass: Franck Violin Sonata on double bass, first movement
Taking inspiration from Jacqueline du Pré and singers, double bassist Michael Rieber shares tips on cultivating Franck’s delicate sound world, despite playing stratospherically high on the instrument
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Premium ❘ FocusMasterclass: 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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Premium ❘ FeatureMasterclass: Rimsky-Korsakov’s Scheherazade with violinist Bart Vandenbogaerde
Concertmaster of the Bamberg Symphony Orchestra guides us through the work based on The Arabian Nights, which demands subtle articulation and careful attention to detail to make its colourful characters come alive. From October 2014
