JuliaFischer

Masterclass: Julia Fischer on Beethoven’s Violin Concerto, Third Movement

2021-09-21T17:48:00+01:00

Conversations between instruments, harmony and articulation all form part of Julia Fischer’s discussion of this joyous third movement

NatalieClein

Masterclass: Natalie Clein on Haydn Cello Concerto in D major

2021-08-24T21:26:00+01:00

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

Moog

Masterclass: Rainer Moog on Brahms’s Viola Sonata in F minor op.120 no.1

2021-08-11T11:09:00+01:00

Viola pedagogue Rainer Moog revisits the original score for clarinet and reveals some alterations that may be better left unchanged, in this article from the August 2015 issue of The Strad

Antoint Tamestit_credit Julien Mignot 2

‘I think of the countryside when I play this’ - Antoine Tamestit on the third movement of Brahms’ Viola Sonata op.120 no.1

2021-08-09T11:16:00+01:00

In this extract from the August 2021 Masterclass, violist Antoine Tamestit guides us through the Austrian countryside through rustic dance and seamless legato

AntoineTamestit

Masterclass: Antoine Tamestit on Brahms Viola Sonata op.120 no.1 third and fourth movements

2021-07-20T19:03:00+01:00

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

AntoineTamestit

Masterclass: Antoine Tamestit on Brahms Viola Sonata op.120 no.1 first and second movements

2021-06-22T16:18:00+01:00

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

NatalieClein

Masterclass: Natalie Clein on Haydn Cello Concerto in D major

2021-08-24T21:26:00+01:00

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

AlisaWeilerstein

Masterclass: Alisa Weilerstein on Chopin’s Cello Sonata in G minor op.65

2021-04-27T20:53:00+01:00

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

AlbanGerhardt

Masterclass: Alban Gerhardt on Saint-Saëns Cello Concerto no.1, part 2

2020-12-15T03:57:00+00:00

Alban Gerhardt explains why it takes courage to fight tradition and forge your own interpretation – based not on what others play but on what the composer wrote – in the work’s third movement

GerhardtPhoto

Masterclass: Alban Gerhardt on Saint-Saëns Cello Concerto no.1

2020-11-10T03:11:00+00:00

In the first of two articles, the German cellist shows the importance of pulse, planning and precision in the first two movements of this underestimated Romantic concerto

NOHE9431

Masterclass: Dittersdorf Double Bass Concerto, K172

2018-09-24T13:41:00+01:00

Berlin Philharmonic bassist Edicson Ruiz advocates Viennese tuning and a period bow to bring out the best in this sonorous Classical work

LeonBosch

The Strad Masterclass: Leon Bosch on Dragonetti's 'Famous Solo' for double bass

2017-02-22T00:00:00+00:00

To say that repeated material always has to be played differently to make it interesting is a flawed interpretation of how we work as human beings' - double bassist Leon Bosch speaks about performing 'The Famous Solo' by Dragonetti to The Strad.

hoockdb

The Strad Masterclass: Christine Hoock on Vanhal's Double Bass Concerto

2016-07-20T00:00:00+01:00

If you want someone to listen to you, you must express yourself with extreme clarity. This has to be exaggerated in front of a large audience.'

clipboard_image

Left-hand pivots and the crab fingering system with bassist François Rabbath

2015-09-21T00:00:00+01:00

The French soloist and teacher advises on how to improve intonation and dexterity on the double bass. From the October 2015 issue