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Masterclass
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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
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Premium ❘ FeatureMasterclass: Beethoven Violin Sonata no.8, first movement
Violinist Viktoria Mullova describes how knowledge of historical style, a sense of spontaneity and precise metronome work are crucial for pulling off this cheeky movement
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Premium ❘ FeatureMasterclass: Beethoven Cello Sonata no.5, second and third movements
Cellist Gary Hoffman considers the importance of context to understand and appreciate this work, written in 1815 during a period of isolation and difficulty for the composer
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Premium ❘ FeatureMasterclass: Ravel Violin Sonata no.2, second movement ‘Blues’
Violinist Curtis Stewart looks at how to get the most from the different styles Ravel used, and how questions that arise from their juxtaposition are arguably more important than answers
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Premium ❘ FeatureMasterclass: Brahms Violin Sonata no.2 first movement
Taking inspiration from the composer’s Lieder, violinist Daniel Kurganov highlights the importance of emulating vocal lines in the second of Brahms’s violin sonatas
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Premium ❘ FeatureMasterclass: 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. From March 2019
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Premium ❘ FeatureMasterclass: Lynn Harrell on 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. From January 2019
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Premium ❘ FeatureMasterclass: Tim Kliphuis on Stéphane Grappelli’s Tournesol
Tips and tricks for playing in the manner of the great jazz violinist. From November 2013