Masterclass – Page 3
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Premium ❘ FeatureMasterclass: Glenn Dicterow on the Sheherazade violin solos
The former concertmaster of the New York Philharmonic reveals the freedom and agility needed to seduce the listener in this most sensuous of all orchestral violin solos. From June 2008
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Premium ❘ FeatureMasterclass: Dvořák Violin Concerto, first movement
In a work that had a complicated gestation Pavel Šporcl draws on its different influences to celebrate its parts and better understand it as a whole
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Premium ❘ FeatureMasterclass: Alban Gerhardt on Dvořák Cello Concerto, first movement
Alban Gerhardt provides practical tips to help you make the most of this popular audition piece
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Premium ❘ FeatureMasterclass: Reger’s Three Suites for Solo Viola, op.131d
Hartmut Rohde provides historical hints and practical tips for performing these innovative viola solos
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Premium ❘ FeatureMasterclass: Schoenberg’s Verklärte Nacht
Thomas Kemp gives practical advice on interpreting this passionate and evocative work for strings
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Premium ❘ FeatureMasterclass: Jan Vogler on the Schumann Cello Concerto
Jan Vogler gives practical advice to help you tackle and perform one of the composer’s most daring and adventurous works
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Premium ❘ FeatureMasterclass: Ginastera’s Variaciones concertantes double bass solo
Orin O’Brien gives practical advice to help capture the magic and mystery of this most musically satisfying of bass solos
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Premium ❘ FeatureMasterclass: Strauss Ein Heldenleben violin solo
Lyn Fletcher gives practical advice to help you perform the extensive violin solo in this Strauss masterpiece
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Premium ❘ FeatureMasterclass: Fauré Violin Sonata no.1 in A major, first movement
Violinist Fenella Humphreys discovers the intricate patterns that make up a work full of colour and contrast, and how their interplay shapes performance
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Premium ❘ FeatureMasterclass: 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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Premium ❘ FeatureMasterclass: 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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Premium ❘ FeatureMasterclass: Baiba Skride on the Berg Violin Concerto, first movement
The Latvian violinist discusses the importance of thorough planning, together with emotional engagement, when playing this awkward work
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Premium ❘ FeatureMasterclass: Glazunov Elegy in G minor for viola and piano op.44
Violist Paul Laraia explores the lyrical possibilities of this miniature masterpiece and the emotional journey on which it takes the listener
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Premium ❘ FeatureMasterclass: Augustin Hadelich on Tchaikovsky’s Violin Concerto part 2
Augustin Hadelich discusses Auer’s amendments, the cadenza and applause, in the second of a two-part article about the first movement
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Premium ❘ FeatureMasterclass: Augustin Hadelich on Tchaikovsky’s Violin Concerto part 1
In the first of a two-part article Augustin Hadelich discusses timing, tradition and character in the acrobatic first movement
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Premium ❘ FeatureMasterclass: Antje Weithaas on Brahms Violin Concerto part 2
Antje Weithaas completes her exploration of the concerto’s first movement, in the second of a two-part article
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Premium ❘ FeatureMasterclass: Beethoven Cello Sonata no.4 in C major
Cellist Amit Peled gives his thoughts on a second movement of introspection and wild exploration
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Premium ❘ FeatureMasterclass: Antje Weithaas on Brahms Violin Concerto part 1
In the first of a two-part article, Antje Weithaas discusses mystery and contrast in the first movement of this great work
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Premium ❘ FeatureMasterclass: 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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Premium ❘ FeatureMasterclass: Mendelssohn Violin Concerto 2nd movement
Violinist Tessa Lark delves beneath the surface to discover why the concerto’s second movement is such a pleasure to perform