The American violinist discusses gypsy style, charisma, flair and contrast in the lively third movement of this much-loved work
In the second of two articles, Belcea Quartet violist Krzysztof Chorzelski paints a vivid picture of the dissolution and resolution in the second half of this great work
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
Violist and composer Konstantin Boyarsky considers nerves, narrative and the influence of the opera in his discussion of this late Romantic piece
Violist Richard O’Neill gives his thoughts on performing the work in the November 2021 issue
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
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
Practical tips to help you master the challenges of this most fundamental of repertoire
Cellist Wolfgang Emanuel Schmidt discusses how to produce a true legato and varied tone colours appropriate to this tempestuous work. From February 2016
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
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.
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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