Philippe Graffin explores how to create an orchestra of abstract colours and characters in the first movement of the French composer’s last chamber work
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
The American viola soloist, chamber musician, and teacher explores how to find your own sense of character and flow in the first two contrasting pieces
The Lithuanian-born violinist and violist discusses technical preparation, character and colour in the first and second movements of op.120 no.1
Taking the first movement, the German violist shows why it is so important to study the original clarinet score of this little-heard work, before approaching the viola version
‘This is not bombastic Schubert. It is a gentle piece and it’s not about showing off - it’s about sharing music between friends’
Cellist Jan Vogler discusses how to colour these fantasy pieces using a mixture of technique and imagination
Cellist Lynn Harrell considers challenges and contemporary concepts in the first movement of a sonata conceived entirely in the imagination of a deaf composer
British cellist Guy Johnston talks about dialogue, contrast and sense of line in the German composer’s Classical–Romantic work
Berlin Philharmonic bassist Edicson Ruiz advocates Viennese tuning and a period bow to bring out the best in this sonorous Classical work
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.
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.'
The French soloist and teacher advises on how to improve intonation and dexterity on the double bass. From the October 2015 issue
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