'Concentrating on perfectionism is never a good idea, so we focus on musical concepts instead' Masterclass: 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

Meneses cr Clive Barda

Masterclass: 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


Masterclass: 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

Boyarsky cr Andrej Uspenski

Masterclass: 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


Masterclass: The Takács Quartet performs Brahms’s String Quartet no.3


Violist Richard O’Neill gives his thoughts on performing the work in the November 2021 issue


Masterclass: 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


Masterclass: 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

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Masterclass: 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

queyras by francois sechet

Masterclass: Bach Cello Suite no.5, Prélude, by Jean-Guihen Queyras


Practical tips to help you master the challenges of this most fundamental of repertoire


Masterclass: Schumann’s Adagio and Allegro op.70


Cellist Wolfgang Emanuel Schmidt discusses how to produce a true legato and varied tone colours appropriate to this tempestuous work. From February 2016


Masterclass: Dittersdorf Double Bass Concerto, K172


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


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


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.


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


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.'


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


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