All Masterclass articles – Page 3
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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
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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
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Premium ❘ FeatureMasterclass: Debussy Cello Sonata
Abel Selaocoe delves deep into the first movement of Debussy’s only sonata for cello
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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Premium ❘ FeatureMasterclass: A lesson in performing short pieces by Wolfgang Emanuel Schmidt
The cellist gives advice on how to present Fauré’s Élégie, Elgar’s Salut d’amour, and Saint-Saëns’s ‘The Swan’ with colour, contrast and expression
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Premium ❘ FeatureMasterclass: Richard O’Neill on Brahms’ String Quartet no.3 op.67
The Takács Quartet violist looks at the first and third movements of this well-loved B flat major work, where his instrument is thrown into a rare spotlight
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Premium ❘ FeatureMasterclass: Natalie Clein on Haydn Cello Concerto in D major
The cellist discusses the improvisational freedom, humour and joy that are central to her own interpretation of the first movement of this popular audition piece
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Premium ❘ FeatureMasterclass: Antoine Tamestit on Brahms Viola Sonata op.120 no.1 third and fourth movements
Folk dance and fireworks all feature in Antoine Tamestit’s discussion of the third and fourth movements, in the second of two articles about the complete F minor Sonata
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Premium ❘ FeatureMasterclass: Antoine Tamestit on Brahms Viola Sonata op.120 no.1 first and second movements
Antoine Tamestit discusses how he found an ideal piano–viola balance and came to love Brahms, after a long struggle. Here he covers the first and second movements, in the first of two articles
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Premium ❘ FeatureMasterclass: Tchaikovsky Souvenir d’un lieu cher
Violinist Jennifer Koh explores how imagination and a flexible technique can help to bring out varied colours and a feeling of dance in these three short works
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Premium ❘ FeatureMasterclass: Alisa Weilerstein on Chopin’s Cello Sonata in G minor op.65
The American cellist explores how to bring out all the romantic charm of the first movement using fingerings and bowings, without over-reliance on vibrato, rubato or a sticky, sickly sound
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