Masterclass – Page 4
-
Premium ❘ FeatureMasterclass: Hummel Potpourri for viola and piano
Violist Timothy Ridout considers the endless invention and simple elegance of a work written for popular appeal
-
Premium ❘ FeatureMasterclass: Schumann sonata no.1 op.105 for violin and piano
Alexandra Wood explores the passionate and highly effective work of a composer tormented by his own ideals
-
Premium ❘ FeatureMasterclass: Debussy Cello Sonata
Abel Selaocoe delves deep into the first movement of Debussy’s only sonata for cello
-
VideoHow to practise Hummel: Tabea Zimmermann’s video guide
The violist offers tips and advice on how to approach the first movement of Hummel Sonata op.5 no.3
-
Premium ❘ FeatureMasterclass: Hummel Sonata op.5 no.3 for Piano and Viola
Violist Tabea Zimmermann offers her advice on how to practise this playful, virtuosic work
-
Premium ❘ FeatureMasterclass: Mozart String Quartet K428
In the first movement of Mozart’s third ‘Haydn’ quartet Johanna Staemmler, second violinist of the Armida Quartet, discusses the importance of harmony, colour and intellectual complexity
-
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
-
Premium ❘ FeatureMasterclass: 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
-
Premium ❘ FeatureMasterclass: 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
-
Premium ❘ FeatureMasterclass: 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
-
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
-
Premium ❘ FeatureMasterclass: 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
-
Premium ❘ FeatureMasterclass: 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
-
Premium ❘ FeatureMasterclass: 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
-
Premium ❘ FeatureMasterclass: 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
-
Focus‘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
-
Premium ❘ FeatureMasterclass: 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
-
Premium ❘ FeatureMasterclass: 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
-
FocusMasterclass: 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
-
FocusMasterclass: 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