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'Concentrating on perfectionism is never a good idea, so we focus on musical concepts instead' Masterclass: Mozart String Quartet K428

2022-08-04T22:16:00+01:00

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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Masterclass: Franck Violin Sonata (Cello Version)

2022-07-15T08:46:00+01:00

Preserving energy, planning ahead and prioritising phrasing in every line are key to cellist Antonio Meneses’s interpretation of the fourth movement

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Masterclass: violist Emilie Hörnlund on Beethoven String Quartet op.59 no.1

2022-03-16T15:55:00+00:00

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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Masterclass: Bruch Romance for Viola and Orchestra op.85

2022-01-25T23:57:00+00:00

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

2021-11-16T14:30:00+00:00

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

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Masterclass: Richard O’Neill on Brahms’ String Quartet no.3 op.67

2021-10-19T17:27:00+01:00

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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Masterclass: Johannes Moser on Brahms Cello Sonata no.1 op.38

2022-03-25T12:33:00+00:00

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

2022-01-31T04:34:00+00:00

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

2022-01-11T11:30:00+00:00

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

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Masterclass: Schumann’s Adagio and Allegro op.70

2021-12-09T10:20:00+00:00

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

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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

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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.

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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.'

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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