All Masterclass articles
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Premium ❘ FeatureMasterclass: Brahms Violin Concerto, second movement
The feeling of rhetoric and a stream of consciousness must be represented when approaching this movement, says violinist Liza Ferschtman
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Premium ❘ FeatureMasterclass: Dvořák Romance in F minor op.11
Violinist Grace Park examines ways of creating nuance and variety in this seemingly simple piece, which is imbued with folk elements characteristic of Dvořák’s heritage
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Premium ❘ FeatureMasterclass: Ysaÿe’s Rêve d’enfant op.14 for violin and piano
Violinist Nancy Zhou demonstrates the breadth of Ysaÿe’s expressive devices in an intimate piece dedicated to his son
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Premium ❘ FeatureMasterclass: Beethoven Violin Sonata No.9 ‘Kreutzer’, first movement
Capturing the music’s sense of tumultuous energy is key to portraying Beethoven’s unpredictable character in this movement, says violinist Kristin Lee
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Premium ❘ FeatureMasterclass: Dvořák String Quartet no.12 ‘American’, second movement
Cellist of the Dover Quartet Camden Shaw illustrates the importance of sound exploration in this bittersweet movement that can be seen as a metaphor for life and its many tribulations
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Premium ❘ FeatureMasterclass: Schumann Fantasiestücke for cello and piano
These three pieces pose an opportunity to create a dream-like sound world illustrating love in all its forms, says cellist Christian-Pierre La Marca
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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: 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: 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
